LIFESTYLES
Wednesday, May 23,1990
Movie preview: big-money sequels
highlight, dominate summer season
Controversial comedian Andrew Dice Clay makes his debut this
summer in the action film, “The Adventures of Ford Fairlane.”
By TODD STONE
Of The Battalion Staff
This summer’s movie season is
making a tradition of last year’s
flood of sequels.
With the successful sequels to “G-
hostbusters,” “Indiana Jones” and
“Lethal Weapon,” and the inability
of the movie industry to consistently
release creative films, more sequels
were inevitable.
The films “Die Hard 2” and “Back
To The Future 3” are this summer’s
big-production sequels, and both
have the most potential of being hits.
The strength of “Die Hard 2” is
the return of star Bruce Willis and
most of the excellent supporting cast
of the first “Die Hard” — including
William Atherton’s popular role as
the cold-hearted aggressive news
man, Dick Thornberg.
If new director Renny Harlin is as
slick with the action as former direc
tor John McTiernan, “Die Hard 2”
should be a big money maker.
Robert Zemeckis returns with co
screenwriter Bob Gale to finish the
“Back To The Future” trilogy. Since
the film will not have the cliffhanger
ending of the first sequel, “3” should
be as satisfying as the original.
Zemeckis is one of the best come
dic directors around, and with the
return of stars Michael J. Fox,
Christopher Lloyd and Lea Thomp
son, “Back To The Future 3” could
be the best of the trilogy.
“Excorcist 3” is coming, and it fea
tures the screenplay writer of the
first film, William Peter Blatty.
George C. Scott stars, which offers
romise. However, Blatty is making
is directorial debut. It’s a scary en
deavor considering another well-
known horror author, Stephen
King, failed miserably as a director
with “Maximum Overdrive.”
I guess “Young Guns 2” was made
because the first film was somehow
profitable. At best, “Young Guns”
was a mediocre western. Money is
the only reason a sequel to an aver
age film is made.
Certainly, it won’t be difficult
matching the quality of the first
“Young Guns.” Emilio Estevez,
Keifer Sutherland and Lou Di
amond Phillips return. Who cares.
Eddie Murphy and Nick Nolle
team up again for “Another 48
Hours.” They had great screen
chemistry in the first “48 Hours,”
but I have my doubts since Murphy
helped write the story, an endeavor
he has failed at in the past.
Murphy and Paramount Pictures
were sued and lost because Mur
phy’s script for “Coming To Ameri
ca” was too similar to a story by
writer Art Buckwald.
Murphy’s story contributions to
“Beverly Hills Cop 2” did not equal
the quality of the first, and his screen
play for “Harlem Nights” was a
bomb. Still, it’s tough to bet against
Murphy.
Another sequel of interest where
the star helps with production is
“Two Jakes,” the follow-up film to
“Chinatown.” Jack Nicholson will di
rect and star.
However, there are more than
just sequels to this summer’s movie
selection. The controversial come
dian Andrew Dice Clay will appear
in his first starring role with “The
Adventures of Ford Fairlane.”
Clay has found success as a tour
ing comedian, but his crude humor
has been branded sexist by many in
Hollywood, leading to the highly
publicized “Saturday Night Live”
Clay-boycott by scheduled per
former Sinead O’Connor and SNL
regular Nora Dunn.
It will be intersting to see if Clay is
taken seriously as an actor and not
just a crude comedian by the movie
masses. Clay also has a concert movie
to be released in August.
For the second straight summer, a
comic book character is getting all
the big production hoopla. Last year
it was “Batman.” This year it’s “Dick
Tracy.”
Warren Beatty will try to come
back from the disastrous film “Ish-
tar,” his only film since the highly ac
claimed “Reds.” Co-star Madonna
hopes “Dick Tracy” will be her step
to movie stardom.
“Dick Tracy” will probably be
rofitable because of the Roger Rab-
it cartoon, appearing at the begin
ning of the film.
With sequels leading the way, this
summer should offer some interest
ing movies for the average movie
consumer.
Vega’s ‘days’ sustains focus,
explores humanity’s dark side
Suzanne Vega
days of open Hand
A&M Records
By DON ATKINSON JR.
Of The Battalion Staff
On the first listen, Suzanne Vega’s
new album, days of open Hand, can
be misleading.
The simplicity of the music cou
pled with Vega’s soft voice suggests
an atmosphere of contentment. But
on subsequent listenings, the deeper
message of the album is revealed.
days of open Hand presents an
unflinchingly real portrait of the
darker side of humanity. Vega has
managed to create an album that ex
plores the pain of loneliness and yet
convey a sense of hope.
The first song, “Tired of Sleep-
Bird on a Wire
Starring Goldie Hawn and Mel
Gibson
Directed by John Badham
Rated PG-13
ByTODD STONE
Of The Battalion Staff
The previews sure are tempting
— Mel Gibson and Goldie Hawn to
gether in a movie. For fans of the
two stars who can’t wait to see this
film, take my advice.
Wait.
Despite the potential screen
chemistry between Hawn and Gib
son, “Bird on a Wire” is just another
mediocre romantic adventure.
Hawn stars as Marianne, a cor-
orate lawyer who stumbles upon
er former fiance, Rick (Gibson),
who she believed was killed 20 years
a &°\
Rick testified against a couple of
drug dealers, and he was then
forced to play dead to avoid the bad
guys. Under the protection of FBI
witness re-location, Rick is nomadic,
using a variety of identities.
It must have been cinematic coin
ing,” sets the tone for the entire al
bum. Using a musical arrangement
that should be familiar to previous
fans of her work, Vega discusses the
futility of depression, a theme she
returns to many times on the album.
On later tracks, such as “Rusted
Pipe” and “Institution Green,” Vega
collaborates with fellow band mem
ber Anton Sanko. His clever use of
synthesizers and new age arrange
ments works well with Vega’s folksy
acoustic sound and poetic lyrics.
Their collaboration works best on
“Room Off The Street,” a song that
combines strong lyrical imagery with
a bouncy, eastern melody. Vega uses
a slice-of-life style in describing a
man and a woman in a room, to
gether but alone. The man is swept
up in political ideology to the point
of being oblivious to the woman who
is slowly drinking herself to death.
However, the strongest song on
the album comes not from Vega’s
cidence that Marianne bumps into
Rick the same day the bad guys do.
Naturally, they spend the remainder
of the film running from the drug
dealers.
Just for kicks, the filmmakers
throw in a crooked FBI agent to'
make things more complicated. I
just wish they would have made this
movie more interesting.
Typical good guy-bad guy action
follows with car chases, gun fights
and narrow escapes. The action is
broken up with moments of Mari
anne and Rick re-kindling the old
flame, but Hawn and Gibson never
make the romance interesting.
Surprisingly, director John Bad-
ham’s action scenes increases pulse
rates higher than Hawn or Gibson’s
sex appeal with roller-coaster angles
of typical car and airplane chases.
Badham spends a lot more time
on action than Rick and Marianne’s
relationship. This seems odd be
cause the focus of the promotion
seems to rest on Goldies sweet charm
and Gibson’s handsome mug.
But I believe screenwriters David
Seltzer, Louis Venosta and Eric
Lerner are responsible for the lack
of significant interplay between
Hawn and Gibson.
Oh, there are a few moments
collaboration with Sanko, but with
Philip Glass, an avante-garde com
poser famous for works such as
Einstein On The Beach and Koyaa-
nisqatsi.
“Fifty-Fifty Chance” uses a string
arrangement by Glass that under
scores the sadness of Vega’s lyrics.
The song chronicles the pain of hav
ing a loved one close to death.
As the song unfolds, it is revealed
that the person hospitalized is a sui
cide victim. However, the manner in
which Vega explains this to the lis
tener is heartbreaking.
“She’s going home/ tomorrow at
ten,” Vega writes. “The question is/
will she try it again?”
The album ends with “Pilgrima
ge,” a song that conveys an underly
ing sense of hope. Vega seems to be
telling us that there is a way out of
the pain but that it will not be easy.
“Travel. Arrival./ Years of an inch
and a step/ toward a source./ I’m
where the two stars make you giggle,
but overall, the filmmakers wasted
the talents of Gibson and Hawn.
Gibson has a few more amusing
moments than Hawn because he had
the wity one-liner role. Hawn had to
play it straight. Still, Gibson nor
Hawn deserve any medals for their
performances. At best, they were
going through the motions.
I hope Gibson gets to make an
other “Lethal Weapon” movie, so he
can again be an entertaining actor.
He has the looks and charm, but not
the script.
Hawn desperately needs another
“Private Benjamin” or “Swing Shift”
if she really wants to revive her
movie career.
With the lack of significant char
acter development, Badham proba
bly had no other choice than to con
centrate on the action, which carries
the film until the climax.
At this point the action is painfully
extended, mundane and could have
been settled in half the time. The
movie ended, and I felt relieved,
which is no way to feel after a movie.
Yes, it is Mel and Goldie, but their
presence fails to produce an enter
taining film. You need a good story
for that. “Bird on a Wire” is a golden
opportunity that is wasted.
coming to you/ I’ll be there in time.”
Overall, “days of open Hand” is
Vega’s strongest album yet. She
seems more focused than ever be
fore. This is most evident in her ly
rics which used to resemble novels
rather than songs. Her writing style
has developed into an amazing sim
plicity that still manages to convey
the complexity of her subject matter.
Credit must also be given to An
ton Sanko who has helped Vega
broaden her distinctive musical style.
Unfortunately, the album does
have its weak moments. Songs like
“Book of Dreams” and “Those
Whole Girls (Run In Grace)” are not
necessarily bad, just out of place.
“Book of Dreams” is just too com
mercial and “Those Whole Girls”
never seems to get off the ground.
Still, I definitely recommend this
album to anyone tired of a steady
diet of love songs and radio fodder.
Country artist
Keen returns
Texas A&M graduate Robert Earl
Keen Jr. will make his grand return
to College Station at the Front Porch
Cafe this Thursday night. The for
mer roommate and close friend to
Lyle Lovett is creating a storm of his
own with his three releases — the
most recent being West Textures.
The country and folk singer-
/songwriter is a square block in the
circle of down-home Texan music,
blending multiple influences into his
one-man presentation.
Keen draws from the experiences
around him in the tradition of great
folk, but adds a twist of tongue-in-
cheek fantasy to temper the tradi
tionalist feel.
Although he lacks the success and
notoriety of Lovett, many observers
in Austin feel Keen’s varied song
writing style will carry him to par
with Lovett in the near future.
Keen follows in the footsteps of
fellow Texan songwriters Lovett,
Nancy Griffith and Steve Earle, com
bining rich, descriptive snapshots of
middle America with witty, satirical
humor, such as Keen’s collaboration
with Lovett on the “The Front Porch
Song.”
Keen’s performance is scheduled
to begin at 9 p.m. with tickets costing
$8.
• JOHN RICHTER
Mel, Goldie fizzle in film
Lifestyles Editor Todd Stone
845.;
Oingo Boingo
performs tight,
devilish show
By JOHN RIGHTER
Of The Battalion Staff
from Boingo’s latest release, D®
The End Of The Tunnel.
Early on, Boingo focused o:
HOUSTON - At the end of a mar- new material, leaving therein^
athon two-hour-plus set, Danny Elf- age for later. Elfman introducer
man, Hollywood soundtrack wiz and funky “Flesh And Blood” asaJ
lead singer of Oingo Boingo, walked t>er that deals with his favorite
to the front of the University of ject: Immortality. He describee
Houston’s Cullen Auditorium stage, wistful “Skin” as “a song about:,
leaned over the applauding audi- peeling your skin, which wouldr
ence and showcasedhis classic devil- very pleasant if you know wlj|
ish grin. mean.”
Elfman’s trademark “smile from What was pleasant was ElfiJ
hell” captured the frenetic feel of a role as band leader, which hei
performance warped with the bi- formed to perfection. Flauntin;
zarre and nostalgic tones of Boingo’s evil grin, Elfman grooved omiJ
decade-long existence. a cross between Peter Gabriel;
I know it sounds unbelievable, but David Byrne (particularly the “(I
Oingo Boingo has been around for In The Lifetime” look), prowl
ten years folks, and last Wednesday the group’s focal point along,
night the results of “Father Time” bassist John Avila,
were sprinkled throughout the inti- While Elfman was content io|
mate Cullen audience. The fact that tertain with his bizarre faciai:
the straight-laced eight-piece band pressions and subtle, albiet sm
looked like “My Eight Dads” did not movements, Avila became thek
lessen the effects of the time funnel resident mosher. The tinybassir;
that has somehow kept America’s monstratively grooved and stor ;
best new wave band alive and under across the congested stage,
wraps.
Regardless of age or appearance,
though, Elfman and company gave a
clinic on live-pop performance.
The cozy confines of Cullen were synchronized fashion with Elfc
perfect for Elfman’s clear, crisp har- and guitarist Steve Bartek.
stopping to add backup vocals,
keyboardist Carl Graves.
Avila also got into the
pression routine, hamming-itu;|
monies and bottemless howls, while
the three-piece horn section of
“Sluggo” Phipps, Leon Schnei-
derman and Dale Turner hung
beautifully in the acoustic-minded
>res-
sax
group’s tight
delivery.
Utilizing an array of instruments,
Boingo doubled as a mini-orchestra
with xylophones, accordians,
bongos, chimes, clarinets, trom
bones, saxophones and trumpets,
among the usual mainstays, revving
up the groups eclectic throttle.
With Elfman’s vocal alterations,
ranging from sinister spieler to rap
turous crooner, Boingo split the
twenty-song set between hyper, full-
audience stomps and reticent, struc
tured ballads that showcased the
group’s recent efforts toward a ful
ler, more accessible sound.
Neglecting an opening act, the
group hit the stage flanked by a
large screen that flashed the band’s
trademark caricatures of Hispanic
lore and twisted ghouls.
Immediately, Boingo had the
crowd racing with “Dead Man’s Par
ty,” from the album of the same
name, and followed with “When
The Light’s Go Out,” the lead track
As the band began to sprint:
the “old glory” of early dayu
lly took
show really took off. Wild versl
of “No Spill Blood” and “S»J
from Good For Your Soul and*
Matter” from Nothing To fJ
topped the night’s perform®
he au '
The audience’s on cue deliver
catch phrases anti hand gesture!
hanced the songs’ white-c
dity and again reminded of^
band’s longevity.
Smoking to a finish with “Who!
You Want To Be,” “Not My St
and “Only A Lad,” Boingo retun
for a well-deserved double erc
highlighted by “Wild Sex (InTj
Working Class)” and “Weird
ence.”
Just before the group dosed
the finale “Goodbye,” E!fm]
thanked the audience for acm
contributing to the evening's
and informed them that the ni|
performance was the final shod
long tour.
But before returning to his
Elfman glared out into theaudienj
swivelled his head from side to
and flashed his Joker “Who
grin one last time.
“Tonight’s a fitting end I thinil
Elfman said.
It was.
Activist, singer Trudell
draws song inspiration
from personal tragedy
NEW YORK (AP) — John Tru
dell can still remember the date (Jan.
14, 1979), the place (Vancouver,
British Columbia) and what he was
doing (riding in a car) when he
wrote his first lyrics.
“Suddenly, these lines came into
my head, ‘Gently the rains of purifi
cation wash my mind,”’ recalled the
44-year-old Trudell, a longtime In
dian activist who has recorded seve
ral albums of his poetry. “Something
told me to write them down and I’ve
been writing since then.”
His writing found its way on tape
with friend and guitarist Jesse Ed
Davis composing backing tracks for
two albums. Unable to sign with any
record label, Trudell formed Peace
Music and released the songs on
mail-order cassettes. In 1986, a.k.a.
Grafitti Man wound up in the hands
of Bob Dylan, who called it the best
record of the year.
“I think he was doing the Grateful
Dead tour that year and he played
our tape at his concerts,” Trudell re
called. “The effect wasn’t monetary
at that time. What it was was more
recognition from other artists.”
So rock stars Jackson Browne,
George Harrison and Bono became
fans, too, and Midnight Oil made
Trudell the opening act for their
1988 tour.
But while many of his co-stars are
musicians who developed politically,
Trudell is an activist now giving live
recitals.
“I knew how to handle the stage
for myself, but I had never worked it
this way, with four or five other peo
ple. That’s something that I’m not
trained for,” Trudell said.
Why he began writing is almost
too painful to talk about, a time he
refers to as “when things changed in
my life.” In 1979, after Trudell led a
march in Washington and spoke out
against FBI policy towards Indians,
a mysterious fire at his Nevada home
killed his wife, his three children and
his mother-in-law.
“I realized I needed to sir
but surviving isn’t enough," ||
Trudell, who soon develope
“compulsion” to write. “Therei||
to be something else that goes'
it. Otherwise, a lot of things
their meaning and purpose. I ;
trying to figure out how I wasgfl
to deal with that.”
He was born in Omaha, Net
1946, and lived on and off the!
tee Reservation until joining
Navy in 1963.
“I knew the realities in rayre(
vation and life of the resenW
and I knew the reality of racism;
a whole lot of things. Butwhenh
in the military it showed me
there were a lot of Indians arof
the world as far as America wasc
cerned,” said Trudell, whoservft
Vietnam.
He went to college and beat
leader of the Indian rijj
movement in the late 1960s, set
as chair of Indians of All Tribes%i
ing the occupation of Alcatraz li
in 1969, and heading the Amer
Indian Movement in the ’70sit
protests took place at Mount fc
more, Washington and Wouit !
Knee.
“Graffiti Man” includes polt
songs such as “Rich Man’s War,'®
love songs such as “Stardreat
Woman.” Trudell speaks of his*
ing as the next new wave in m
“because the music industry, wilt
its high tech, has basically gone
as it could go, it’s stagnant. It nee*
new infusion of human enerf
think spoken word can be thatfff
sion of hi
luman energy.
“People are used to language;
ing spoken, used to being talked;
he said. “In our generation,!
poets got sucked up as mustf
and are identified as musicians;
that put it out of reach of youra'e
age person. Poets are within e«'
person’s reach.”
SAL
SAl