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About The Battalion. (College Station, Tex.) 1893-current | View Entire Issue (June 21, 1990)
it The Battalion LIFESTYLES Thursday, June 21,1990 6 Dick Tracy’ amuses with laughs, stars, but not summer blockbuster for Beatty By DON ATKINSON JR. Of The Battalion Staff Most movie reviews are meant to answer one basic question — Will the public like the movie? But “Dick Tracy” is not like most movies. Released in a whirlwind of media hype and promotion, “Dick Tracy” has already been deemed a potential blockbuster and therefore must be judged as such. Unfortunately, the movie just doesn’t live up to blockbuster status. “Dick Tracy” is a well made film with good acting, clever dialogue, a fantastic cast and imaginative makeup and set designs. The prob lem is that the movie itself is flat, two-dimensional with little emo tional impact. If “Dick Tracy” was promoted as a movie rather than a blockbuster, it would be considered an enjoyable film and a hit at the box-office. How ever, in the face of current expecta tions, the movie stands a good chance of being called a failure. Produced and directed by Warren Beatty, “Dick Tracy” faithfully re creates the famous Chester Gould comic strip in exact detail. The sce nic backdrops of the city are painted matte shots with a comic-bookish ap pearance. The villians are grotesque and distorted images of men, and the hero is a walking paragon of vir tue. Beatty plays Dick Tracy with his usual boyish charm and honesty, but it is A1 Pacino as the villian Big Boy Caprice who steals the movie. Thanks to a clever makeup job, Pacino looks like the butt of every Italian joke you’ve ever heard. He screams, he pounds on tables, he misquotes famous people and he does all of that with sheer comedic brilliance. The plot of “Dick Tracy” revolves around Big Boy who wants to take over the city’s crime syndicate. His Dick Tracy Starring Warren Beatty and Madonna Directed By Warren Beatty Rated PG first move is to eliminate Lips Manlis (Paul Sorvino), owner of the Ritz club where Breathless Mahoney (Madonna) works. Afterwards, Big Boy gathers all the other crime bosses together to explain his vision of the future. Claiming to quote Abraham Lincoln, he says, “If you ain’t for the people, you can’t buy the people!” The rest of the movie finds Tracy desperately trying to stop Big Boy from taking over the city, Breathless from getting into his pants and Tess Trueheart (Glenne Headly), his girlfriend, from giving up on him. Headly as Trueheart is one of the few three-dimensional characters in the film and adds an emotional an gle to “Dick Tracy” that is lacking elsewhere. Aside from Headly, another cast member worth mentioning is Dustin Hoffman as Mumbles. Even though Hoffman is on-screen less than a few minutes, his character provides much-needed comic relief. Since Madonna has been pro moted almost as much as the movie, her performance must be addressed. When she is singing, dancing or slinking around in sexy outfits. Ma donna is at her best. But when she must recite dialogue, her delivery tends to be wooden. Whether she is pouting, bitching, crying or seduc ing, her inflections stay the same. Still, since most of the characters in “Dick Tracy” are two-dimensional, she doesn’t hurt the movie overall. “Dick Tracy” is a fun movie, the kind that most of us will enjoy. If you can put the hype and promotio nal overkill out of your mind, you will not be disappointed. In other words: expect a movie, not a blockbuster. In Advance Photo by Sondra Robbins Christina O’Connor, a sophomore theater arts major from Laredo and Ross Lambert, a junior theater arts and english major, star in “6 Rooms Riv Vu.” MSG Dinner Theatre and Ag gie Players will present “6 Rms Riv Vu” this weekend and next. Starring Ross Lambert and Christina Vela O’ Connor, the comedy is based on a play written by Bob Randall, and it is directed by Robert W. Wenck. The story involves two apart ment seekers, Anne (played by O’ Connor) and Paul (played by Lambert), who are attracted by an advertisement for an apartment with a view of the river. Before Anne and Paul are able to leave, they are locked together in the apartment. This predica ment leads to a round of humor ous exchanges as the man and woman become acquainted with one another in the vacant apart ment. Before the play, MSG Dinner Theatre will serve a buffet with rotating menus- Tickets for the dinner and the ater are $15 for students and $20 for nonstudents. For the theater only, tickets are $5 for both stu dents and nonstudents. “6 Rms Riv Vu” begins tonight with performances on Friday and Saturday. The play will also be presented next Thursday, Friday and Saturday. Tickets may be purchased at the Rudder Box Office. Public Enemy raps tough line on ‘Black Planet’ By JOHN RIGHTER Of The Battalion Staff Controversial rappers Public Enemy offer a tongue-in-cheek, sometimes-scathing rebuttal to the tumultous uproar they’ve created in suburban America with their latest release, Fear Of A Black Planet. I must admit. Fear Of A Black Planet lays to rest many ill feelings I held against the militant rap group. The axing of Professor Griff re cently buries a few more bones I had with Chuck D. and company. The straight-line philospophy of Public Enemy always wore caution in light of the group’s extreme unrest and dissatisfaction with the union of black and white America. A belliger ent “us against them” attitude, rather than an attempt at harmony and conciliation was my perception I he album is hilarious at times, especially when co-rapper Flavor Fav hams-it-up, but it sadly reminds of a certain inadequacy we’d like to forget. of the surrounding controversy. Fear Of A Black Planet tempers that belief, to say the least. Although the song matter defi nitely revolves around lyricists Keith Shocklee, Carl Ryder and C. Riden- hour’s perceptions of discrimination and racial unrest (on both sides), I find it difficult not to justify the opinions based on common sense. The ideas and pictures might not be pretty in an era of supposed racial acceptance, but it’s hard not to label them accurate. We’re just not as far ahead in ra cial harmony as we would like to be lieve, and sometimes it takes a slap in the face to realize this (a la Spike Lee’s “Do The Right Thing”). In “Burn Hollywood Burn,” guest rapper Big Daddy Kane furiously raps, “Like I guess I Figure you to play some jigaboo. On the planta tion, what else can a nigger do. And black women in this profession, As for playin’ a lawyer, out of the ques tion. For what they play, Aunt Je mima is the perfect term.” The anti-mainstream-movie-in- dustry song ends with a hilarious dub over where Chuck D. and the crew walk out on “Driving Miss Dai sy” (a shared opinion with the white supremist groups). The first single “Welcome To The Terrordome” works Chuck D. through the problem of racial vio lence. “First nothing’s worse than a mother’s pain, Of a son slain in Ben- sonhurst. Can’t wait for the state to decide the fate, So this jam I ded- Public Enemy Fear of a Black Planet Death Jam/Columbia icate, Places with the racist faces. Just an example of one of many cases. The Greek weakened speech I speek, From a lesson learned in Vir ginia Beach.” When not exposing racial injus tice, PE attacks the harsh criticism they’ve received with a trio of instru mental tracks (also courtesy of Shocklee, Sadler and Ridenhour) that use sound bites and dubs to in terplay hilarious extremes of listener ignorance. The Tipper Gore’s of the world get their say, bqt in less-than- ideal surroundings. With the finale, “Fight The Pow er,” the anthemic track from Lee’s “Do The Right Thing,” Public Enemy closes with the hardest bang of the entire album. PE’s militancy surfaces full tilt. “Elvis was a hero to most,” D. pounds, “But he never meant s—t to me you see, Straight up racist that sucker was. Simple and plain, “I l_ike I guess I figure you to play some jigaboo. On the plantation, what else can a nigger do. And black women in this profession, as for playin’ a lawyer, out of the question. For what they play, Aunt Jemima is the perfect term.” — Big Daddy Kane, Rapper Mother f—k him and John Wayne. Cause I’m black and I’m proud, I’m ready and hyped, plus I’m amped. “Most of my heroes don’t appear on no stamps. Sample a look back you look and find, Nothing but red necks for 400 years if you check. Don’t worry be happy.” Fear Of A Black Planet wears an other album title well: “How Will I Laugh Tomorrow, When I Can’t Even Smile Today.” The album is hi larious at times, especially when co rapper Flavor Flav hams-it-up, but it sadly reminds of a certain inade quacy we’d like to forget. I don’t agree with everything PE says, and I’m damn glad to see them dump Professor Griff and his para military thugs (just pray they don’t pick them back up — again), but I also recognize the importance of works such as “Do The Right Thing” and Fear Of A Black Planet. Musically, Fear is but a spark, lyri cally it just set the entire forest ab laze. Lifestyles Editor Todd Stone 845-: Weekly videos feature Patient donitis to parti' evalual best, worst in movies By TODD STONE Of The Battalion Staff Music Box (Rated R) You will see a lot of Jessica Lange this summer on video. Her two most recent films will be at your local video store within the next month. Lange earned a 1989 Best Ac tress Oscar nomination for her role in the film “Music Box” —de buting on video today. Her other film, “Men Don’t Leave,” will ap pear in your video store July 18. In “Music Box” Lange plays an attorney, Anne, whose father (Armin Mueller-Stahl) has been charged with war crimes during World War II. She agrees to de fend her father in court. Although her father appears innocent, Anne’s search for the truth raises doubts about her fa ther’s mysterious past. This film has first-rate court room drama and tension, but it also has a sincere, human side, as Stahl and Lange’s performances explore a father-daughter relationship. If you like Jessica Lange, this film will please. Re lease date — today. Grade: B Ski Patrol (Rated PG) “Ski Patrol” may be the worst movie of the ’90s because it may take a decade before lousy filmmakers around the world equal the stench permeating from this film. Actually, “Ski Patrol" is only bad if you go to a movie expect- ing good acting, an inlerestiii. story and clever directing. Ho» ever, despite the dumb storyanf lame dialogue, this film has oat good thing (besides its sh length) — great skiing. Fortunately, fantastic ski was given more screen timetl acting and plot development you enjoy skiing, it might Is worth a couple of bucks toseetlii movie. The story is flimsy. Aniceoi man (Ray Walston) who owns ski lodge has his lease up font newal with the Parks and Reot ation Department. A merry of guys in charge of safety-tit ski patrol — try to help thelodt; pass inspection. However, a greedy, corporatt money-sucking bad guy (Mam- Mull) wants to sabotage the iis spection so he can takeoverant start his own development. The actors do nothing to satt the mundane script, but in fairness, they were subject to whims of the boneheaa Filmmal ers. By far the best performans was by the bulldog who occasiot ally would belch and break wi Sure, uncouth dogs are ta'ck, compared to the rest of the f the bulldog was creative mow making genius. Enough said lease date — Wednesday. Grade: D + Other releases: Ewoks: Tk Battle For Endor, Tuesday Gross Anatomy, Wednesday Prev Eligible Volunte tc ★ Pf Rapid 5 Volu G ( SKIN G&S Stc on acute the folow jgible •infected •infected •infected G£ The perio< sign u Psych 491 Battalion File Photo From left to right — Armin Mueller-Stahl, Lukas Haas and Jessica Lange star in “Music Box.” Video debut is today. Video Spotlight: ‘Hawks’ Editor’s Note: Video spotlight ■ ■ ‘ iflLr- is a new feature that highlights an ' fUn * “ unknown but quality him to offer more entertaining video options. If you like dark comedies, “Hawks” starring Timothy Dal ton (of James Bond fame) and Anthony Edwards (“Top Gun”) is sure to please. Both actors play characters that are stuck in a hospital, dying from a disease that sounds suspi ciously like bone cancer, although their ailment is never identified. Edwards plays an ex-football player who is content to lay around and wait to die. A success ful British attorney, played by Dalton, encourages him to spend his remaining days in pursuit of his ultimate fantasy: a nightman Amsterdam brothel. With a deft touch, director Robert Ellis Miller manages to swing “Hawks” back and forth be tween sheer comedy and heart stopping drama. Although everyone in the film does an incredible job, Dalton de serves the lion’s share of the credit. His character is the center point of the story and is played so well that all the other elements come together without a hitch. Grade: B • DON ATKINSON]l Hall a day 1 "76-0946. tandy need lust, experic 37 jowzA of' bv 13uI CowDnL ... Aajd now we tsee - tibe n\at/m^ hAbl-t-s }uc.k-bil!fcC> "PUryPus.,... £■«.... Ah... CouU 4ALE DA? 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