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Page 10 The Battalion Monday, May 1,1989 Reviews ‘CriminalLaw' brings film-noir flair to tale of crime, prosecution “Criminal Law” Starring Gary Oldman, Kevin Bacon, and Karen Young Directed by Martin Campbell Rated R ★★★ V2 Now playing at Cinema Three By John Righter REVIEWER Alfred Hitchcock would have been proud. “Criminal Law” serves up more suspense, sur prise, and no/r-influenced direc tion than even the potbellied Bri ton himself could have handled. Directed by Martin Campbell (a Briton himself) and starring Gary Oldman and Kevin Bacon, “Criminal Law” follows in the footsteps of “Jagged Edge” as a courtroom thriller in which a Boston defense attorney, Ben Chase (Oldman), gets his client, Martin Theil (Bacon), off on charges of rape and murder only to discover that Theil had com mitted the crime. Within 48 hours of Bacon’s re lease, two grisly murder/rapes oc cur and Oldman knows who is re sponsible. He is left with no alternative but to do what any self-respecting defense attorney would — he goes after Bacon. Well, at least that is what the pro ducers would like us to believe. As you can probably guess, the film turns into a cat-and-mouse game between Oldman and Ba con in which Bacon consistently gets the better of Oldman by tor menting him with knowledge and clues that Oldman cannot use as admissible evidence. The ending is a cliche. Oldman befriends Ellen Faulkner (Karen Young), a friend Bacon met on a late-night excursion. Bacon then goes after Young, but luckily Old man is there to save the day (as all good leading men should be). Unfortunately for Oldman, he must still face; Bacon in court, which presents the most tense and riveting scene of the movie, in which Bacon rids us of peren nial cop Joe Don Baker seconds after Baker informs Oldman that Bacon is “a crazy killer who you can bet is crazy, and who will kill.” Unfortunately, Joe Don was no better at law enforcement than he was at spouting out profane logic, and all hell breaks loose. I don’t want to give away the whole ending, but I’ll just say that it is predictable and that it did nothing to alter my already pessi mistic feelings for our legal sys tem. “Criminal Law” also plays ad vocate for a number of other cur rent and controversial issues, none more prevalent than that of abortion, a topic which is alluded to throughout the film and which finally resurfaces as the motiva tion for Bacon’s rampage. With the Supreme Court review of Roe v. Wade upon us, it is much more than a coincidence that “Criminal Law” is being released now. If you have already had enough of the abortion issue, then you may want to steer clear of Campbell and company’s interpretation, which gets pretty graphic at times. Speaking of graphic, Campbell makes an excellent decision in staying away from the exploita tion of some potentially graphic scenes involving abortions (both the legal and the not-so-nice ma tricide maniac kind), blowtorch immolations (among Bacon’s rep ertoire of nastiness was a strong penchant for pyromania) and rape. Sex-crimes detective Tess Harper provides us with all we want to know when she informs Oldman that the first victim had been “raped, murdered and mu tilated, and I don’t know which came first.” Campbell replaces the actual gore with an incredible display of cinematography (Phil lip Neheux, another Briton, de serves credit) that channels the movie’s settings and atmosphere into a film-no/r tunnel of heavy rains, black nights and bright, in tense lights. One particular scene breathes of Hitchcock, in which Oldman is running down a dark tunnel that seems to enclose upon him faster and faster, a la Cary Grant in “North by Northwest.” Even though the storyline of “Criminal Law” is wrought with cliches and predictability, Camp bell in making his first big screen release, did an excellent job of re focusing the direction of the film through his excellent use of at mosphere and photography and his refusal to rely on blood and guts. The producers knew what they were doing in hiring a Brit ish director for the noir feel, as they did in hiring Neheux and Oldman. Oldman, who has recieved crit ical acclaim for his roles as Sid Vi cious (“Sid and Nancy”) and Joe Orton (“Prick Up Your Ears”), displays why he is arguably the best actor around. He controls and manipulates every scene with his intensity and presence, and actually makes you believe that this London native is a Boston lawyer. Equally impressive is Kevin Ba con who is so convincing as a ma niac killer that I will never be able to relish my copy of “Footloose” in the same manner again. Old man and Bacon play off each other exceptionally well and fight for control of every scene. They smother everyone else and en abled the producers to get away with casting Joe Don Baker. Can this guy do anything but play gung-ho, incompetent detectives? If you can get yourself to imag ine that the lawyer/criminal-jus tice idea is original and if you can withstand some predictability, then definitely go see “Criminal Law,” especially if you are a noir freak who likes a lot of intense imagery and dark photography. The direction and acting are great, and nothing is wrong with a little predictability now and then. After all, its not like it’s as blatant as “Friday The 13th, Part 12,” or anything that Sylvester Stallone has ever been in. Handbook offers hints on cultivating Cannabis By Wade See CONTRIBUTING EDITOR Hey all you botany professors and marijuana growers, nave I got a book for you! The “Marijuana Grower’s Insid er’s Guide” by Mel Frank is both a notable work on the plant Cannabis sativa and a great book on growing weed. The book takes the reader through the process of setting up a garden, growing marijuana and fi nally harvesting the potent crop in a brilliantly simple yet scientific man ner. Far from just another pot-head’s ramblings, the Insider’s Guide is an excellent compilation of apparently extensive knowledge and research into the subject. The guide delves into subjects like the plant’s botany and history, scien tific descriptions of proper lighting and light spectrums, how photope riods affect the plant, a breakdown of important nutrients the plant re quires and the chemical properties tnat constitute potent marijuana. Frank’s book also addresses secu rity, problems caused by thieves and police. “An unfortunate fact of life is thai envy, revenge, greed and misplaced morality has made thieves or in formers of acquaintances and for mer friends,” Frank says. On one hand, Frank says,“Mari juana growing is fun and more re warding than you might imagine. “Any experienced grower will probably say, ‘There’s no place I’d rather be and nothing I’d rather be doing than sitting among my plants giving them a little TLC.’ ” On the other hand, Frank also emphasizes that growing pot is ille gal. “In all states except Alaska, grow ing is illegal, so take some time to consider all of the consequences. The purpose of this book is not to encourage you to grow illegally, but to report how growing is done le gally, and how it may be done when growing is decriminalized.” He writes: “Warning: if your propertv can be shown to have been purchased with funds from illicit drug sales, it can be confiscated; a vehicle used to transport illegal drugs or to transport materials used in an illegal garden is also subject to confiscation.” This book can be read with inter est and understanding by botany professors, high school drop-outs and everyone in between. T Country legend Jerry Jeff Walker shows true Texas honky-tonk styli By Shane Hall REVIEWER Jerry Jeff Walker is still one of the greatest singers in the state of Texas, as his Saturday night performance at the Bryan Civic Auditorium demon strated. Playing to an enthusiastic gather ing, Walker and his band presented an evening of honky-tonk music that raised quite a ruckus from the crowd present. He was backed up by a quartet of musicians — Lloyd Maines, steel guitar; Roland Den ney, bass; Paul Pearcy, drums; and Brian Piper, piano — all of whom showed great talents during the show. Maines’ steel guitar work was especially impressive. At times, his fingering of the strings made you wonder if an electric guitarist wasn’t playing backstage. Overall, it was a spirited show from Walker and com pany. Touring to promote a new album, Live at Gruene Hall, Walker’s per formance leaned in favor of the material on the recording. He began the evening with the album’s open ing track, “Lovin’ Makes Livin’ Worthwhile” and followed with “The Pickup Truck Song.” Other highlights of the show, drawn from the album, were Walk er’s tribute to his wife Susan on “Wo man in Texas” and the Steve From- holz-penned “Man With the Big Hat.” Of course, the show would not have been complete without a help ing of greatest hits material. It was these songs that received the most enthusiastic response from the audi ence. Especially well-received were Walker’s early hit, “Mr. Bojangles” and his version of Ray Wylie Hub bard’s “Redneck Mother,” during which the audience clapped and sang along. At times the audience was a little too enthusiastic. Enthusiasm is great, but whoever it was who said you can’t have too much of a good thing Especially humorous was a song that Wall described as being about “the cowboy’s real first love.” No, it’s not his horse, his pickup truck, or even his woman. It’s his gun. should have seen the audience Sat urday night. Several annoying indi viduals seated near the back of the auditorium felt obligated to provide a seemingly nonstop series of hoots and hollers throughout the show. “You learn that call in Animal Husbandry?” Walker asked after a prolonged round of noise from the back of the auditorium. Nevertheless, the show' continued and was well-received. Among the closing numbers were “L.A. Free way” and Chris Wall’s “Trashy Wo men.” Wall, a Montana songwriter, was Walker’s opening act Saturday night. Wall’s music shows a strong George Jones influence and lyrics with a sense of humor. Especially humorous was a song that Wall de scribed as being about “the cowboy’s real first love.” No, it’s not his horse, his pickup truck, or even his woman. It’s his gun. Country singer and guitarist Jerry Jeff Walker performs in Bryan April 29. Th cord comp this maga boan print HOT 1. (Sire) 2.“ Jovi ( 3. " (MC/ 4. " Loc( 5. " Abdi 6. ‘ Ei^hi tera ( 8.‘ mon< 9.‘ (Poly 10 Your (Mor TOP 1.‘ (Sire 2.‘ Loc ( 3. ‘ (Gef: millii 4. ‘ Fine Platt 5. ' Brov 6. ' -Plat i: On num 8. son ( 9. lanti unit; 1( Abd COl Live classic rock goes virtually unnoticed By John Righter REVIEWER I Find it hard to believe that out of nearly 40,000 students and the many Bryan-College Station residents, that the interest for live classic rock does not extend beyond 30 people. Unfortunately, that was the case both Friday and Saturday night, as a crowd that never exceeded 30 to 35 people was entertained by Gallery 13 and The Scroocs at Kay’s Cabaret in the Post Oak Mall. The band demonstrated that they are rigid in style, but not in sub stance, as they worked through clas sics such as Pink Floyd’s “Comfor tably Numb” and Bob Dylan’s “Knockin’ on Heaven’s Door,” add ing their own personal stamp to each song. I already had sampled a demo tape from Gallery 13 and knew what to expect from the Austin trio that began by playing with The New Bo hemians at the Prophet Bar and Theatre Gallery in the Deep Ellum section of Dallas. Vocalist and guitarist Wayne Sut ton and drummer Blake Murphy formed the group three years ago and completed the current lineup by adding bassist Chance Waite earlier this year. Their sound is indicative of their Dallas beginnings, reverting to the slow rhythm and melodies of the late ‘60s and early ‘70s. Even in their own material, from which the band drew most of their set, they adhere to the simple belief that classic is better. Playing two sets, the band seemed to gather momentum as the night went along, relying more on their own material and less on covers. Sut ton pointed out that the covers are only for the Bryan-College Station crowds, and that their Austin and Dallas sets are all original material. Not that Sutton minds paying tribute to his heroes. “They are why we do it,” he says. “We like to play some covers. Peo ple like David Gilmour (Pink Floyd guitarist) and Carlos Santana is the whole reason why ” They are the only band I’ve ever heard slow down Bob Dylan, and they turned “Comfortably Numb” into a 20-minute exploration of grunge and solos, culminating with Sutton’s climbing on the bar and playing behind his head. If Sutton is the showman who adds charisma, then drummer Blake Murphy is the technician who con trols the rhythm. Murphy didn’t in dulge in any long and cumbersome solos, but was instead content to pro vide the tempo, leaving the floor to Sutton and Waite. It did not take long to see that Murphy was the heart of this unit. He excelled on the instrumentals and stole the night with his effort on “Afternoon in the Spring,” an origi nal that showcased the band’s in genuity and flair for repetitive melo dies. My main complaint with Gallery 13 is that they tend to fall too much into a repetitive mode, making even the most imaginative melody seem long and cumbersome. In paying homage to their roots, they sometimes fall prey to a style that worked in the slow, progressive era of the early ’70s, but which is outdated and even impratical for an ’80s college bar scene. I have nothing against the sound, but it is one that will be just as mem orable in five minutes as it is in 15 minutes. The band is in the market for a new lead singer after firing their original vocalist for “differences in creativity.” But for now the band will rely on Sutton, who fills in respect ably, although he is not a long-range answer. But really, whoever sings is irrele vant, because the strength of this band is their music, a fact exempli fied even in their cover songs. Sut ton leads the group into a song and then steps back to join the others members in an excursion of melody and solos that seems to break into countless directions. Fifteen minutes and six rhythm changes later, Sutton returns to close out the number. Blueshounds, agreed to fill in regular drummer Will Nunt Faddy f ought all night with acytri stand and a broken stool, but uni! 1. (Cut 2. (RC. On the other hand, The Scroocs, a local favorite of the early ’80s that disbanded only to regroup earlier this year, offered its own interpreta tion of the '60s and ’70s. Shying away from the influences of Pink Floyd and Yes, guitarist and vocalist Mark (Scrooc) Botke, bassist “Spider Bob” Breefie and drummer Albert Faddy instead worked through a cat alogue that included The Grateful Dead, The Rolling Stones and The Kinks. The Scroocs are strictly a covers band, and as Spider Bob, a three time Aggie (undergraduate, mas ters, Ph.D. in entomology), points out, “Don’t take us seriously. We are a gigging band, nothing else, with no aspirations for greatness. Just a good dance band who has a lot of fun.” The band’s enjoyment of per forming was apparent. Culling re- ? [uests from the audience, the band ound its niche in upbeat songs, add ing a distinguished flair to Dead cov ers. Mark Botke, alias Mark Scroocs, is a complete “Dead-head,” even em bossing the Scrooc logo in the Grate ful Dead’s ring insignia. Botke and Spider Bob conversed frequently throughout the night, coordinating their selections with sit- in drummer Albert Faddy. Faddy, a member of a local jazz band, The the circumstances lent an admiral hand. On the w hole, The Scroocs aref actly as Spider Bob described - covers band — but they are an 8 joyable one that interacts wen rt the audience. Botke is especiallycc dial, and brandishes his Grate! Dead influence throughouttheirst even sounding qpite a bit like ft Weir (not to mention looking a! like him). If you like upbeat das rock, especially The Grateful Dei (although all Dead material is i* upbeat), then you can’t beatpaitf two bucks to sit back and listen t band that adds enthusiasm andsM to some already great music. 3. vis ( 1 4. (MC 5. Lov< 6. The same can be said for Gab 13. 1 wo bucks spent supportiK hard-working college band tl loves what it is doing (even if! from Austin), is money well The lack of support of local mu* Bryan-College Station makes fl sick, which is why Gallery 13star Austin to play most of their sho* But as Sutton puts it, “Hey, ifp is one person who catches what say then it is worth it.” I’m sure The Scroocs wo® agree. If there are any of you who at tired of being a homebody, thf suggest you check out Gallen and The Scroocs the next timedl* are in town. Gallery 13 should back in a couple of weeks, and Scroocs are scheduled to be part®' three-band show at The Yank Tavern in Somerville on May! will also put in a nice little word Kay’s Cabaret. Though it is s» and a little cramped, the atmosph is great. ne^ Tow 8. and 9. Stev 11 (RC ADI SIN 1. tera 2 Eigl 3. Bett 4 (Sin 5 tus ( 6 lie C 7 fen) lum 9 (Wi] 1 (Vir BL/ 1 (MC 2 (Atl 3 4 (Wa 5 (De Guitarist Cockburn seeks ASSOCIATED PRESS Bruce Cockburn, who is on a North American tour through May promoting his Gold Castle album, “Big Circumstance,” says: “People coming to the shows are hearing the record somewhere. The single is get ting mainstream attention. That’s unusual.” Cockburn — whose name is pro nounced “Coburn” with a long “o” — is a 43-year-old Toronto resident who is accustomed to being known as a socially concerned singer-song writer and phenomenal guitarist in Canada, but unknown in the United States. His current single is “If a Tree Falls,” about destruction of the world’s tropical forests. “We alwavs put singles out,” Cock burn says. “I personally don’t expect them to be played. The record com pany has to pretend it expects it. “I never wanted to be famous,” he says. “I wouldn’t turn it down. At one time I was afraid of being in the public eye, afraid of having an image foisted on me. I sort of got over that. “More money means you can pay the band better, stay in better ho tels.” Cockburn is touring with two musicians. “Big Circumstance” is being played on college radio stations, which was the U.S. launching pad for such other socially committed musicians as U2 and Tracy Chap man. “I don’t write the songs to sell causes to people,” Cockburn says. “I write songs because I’ve been moved by something and have to talk about it.” When he started, music came be fore lyrics with a message. Cockburn says: “I was aware of is sues, for want of a better word, when I was in high school. Friends and I used to go for coffee after school. We fancied ourselves intellectuals. “The general consensus among us at that time was that any kind of po litical involvement wasn’t going to change anything. I’ve since revised ‘lyrics with a my thinking on that score. “Music was the first thing I discov ered I could get personally involved in in a real way. I played clarinet a year and trumpet for three years. It wasn’t until I discovered guitar that it started to happen. I w'as 14 and looking for an out from the horrors of adolescence in high school; the guitar was it.” Cockburn wanted to play rock ’n’ roll and says his parents were “horri fied.” But he took lessons and “learned to play properly. In their minds, anybody who could play properly wouldn’t play anything as dumb as rock ’n’ roll.” He attended the Berklee School for a year and a half, learning to write for big bands. ‘‘It doesn’t have mu c h relationship to w hat I’m doing now,” he says. “I never had the motivation to get the chops you need to be a jazz musician.” Cockburn dropped out and joined a rock ’n’ roll band in Ottaw'a, where he grew up. message "It was made up of some M I’d been hanging out with belt) went to music school,” he says, thought we were going to bf next Beatles. We had no record was a good thing, too. We were rible.” H is general idiom now is rock from 1965 to ’69, Cockburn pl J ' in blues and rhythm ’n’ bluesb 1 and “a band that played some I chedelic and some folk rock auj fended everyone.” He says: “Partly as a result of depressed state of being in al that level and because I lik songs better the way I sang 11 ' 1 alone, at the end of 1969 I made 1 first album. I’d been doing the solo thing, folk festivals and houses.” In 1979, his “Where the b Are” was on the charts. “But i when the ‘Stealing Fire’album out, was the beginning of anyd 1 happening in the United State-!