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'JOHN®LIE FEVER'
Spike Lee's film looks
at interracial couples
from). At one point Flipper
play-fighting with his girlfrier
By Timm Doolen
Director Spike Lee contin
ues his analysis of racial atti
tudes in today's United States
with his most recent entry,
"Jungle Fever," a look at inter
racial couples and the problems
surrounding those couples.
The movie takes its name
from Lee's character whose best
friend Flipper is having an af
fair with a white woman. "You
got the jungle fever. Theboth of
ya's."
Not only is she white, she's
Italian - a temporary secretary
in the architecture office Flip
per (Wesley Snipes) works in.
He's happily married with a
childbuteasily gives into temp
tation when the opportunity
presents itself.
When his wife finds out, he
is kicked outof his house, forced
to live with his parents until he
and Angela (Anabella Sciorra)
move in with each other.
Soon after the affair is un
covered, family members on
both sides show their strong
disapproval of the situation.
Angela's father beats her, and
Flipper's friends and family
show their disapproval in their
own way.
After they begin living to
gether they realize how hard it
is to be an interracial couple in
New York (whether in Harlem,
where he is from, or
Bensonhurst, where she is
is
Friend
and is almost arrested for at
tacking her.
Possibly the most interest
ing and enlightening part of the
movie is right after the breakup
when several black women, in
cluding the estranged wife, start
talking about relationships and
the decline of the "black male."
Also interesting are similar
discussions among some young
Italian men, one of which is
Angela's old boyfriend, who,
having lost his girlfrieiid to a
black man asks a black girl out
himself.
The one quality I appreciate
in Spike Lee's movies is nis depth
of characters and his avoidance
of typical Hollywood endings.
Take the "hero" of the story
(there are no true heroes in Lee's
movies) - he has no problems
with an interracial love affair
but could not bear the thought
of having a child with mixed
strains of blood. Although he is
supposed to be one of the least
prejudiced people in the movie,
he still has his own prejudices.
Lee even makes something
of the differences between light
skinned and dark-skinned
blacks, which he also touched
on in his previous "School
Daze."
The acting was generally
good, especially by veteran ac
tors Anthony Quinn, Ruby Dee
See JUNGLE FEVER/Page4
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Roberts portrays type-cast role in ’Dying Young*
By Julia E.S. Spencer
Julia Roberts, she of the wild
mane and wide smile, has rock
eted to stardom playing mostly
unschooled, tough-but-vulnerable
young women, from sexy waitress
Daisy Araujo in "Mystic Pizza" to
hopeful Hollywood hooker Vivian
Ward in the phenomenally popu
lar "Pretty Woman." In her latest
film, "Dying Young," a three-
hankie weeper, she portrays yet
another variation on tnis character
in the form of Hilary O'Neil, a
street-smart working-class girl
from Oakland, Ca., who is looking
to escape from a life of failed rela
tionships and meager resources.
Opposite her is the immensely
talented stage and film actor
Campbell Scott, (son of George C.
Scott and Colleen Dewhurst), who
was recently acclaimed for his por
trayal of Willy in "Longtime Com
panion." Scottplays wealthy, privi
leged Victor Geddes, a reclusive,
highly intelligent young man who
is sick with leukemia, and looking
for a live-in caretaker to nurse him
while he goes through another
course of chemotherapy.
Although not quite what his
domineering father (David Selby)
had in mind, he finds his nurse in
Hilary, whom he hires more on the
basis of her short skirt than her
admittedly short qualifications.
Hilary moves into her quarters,
wary of men in general after an
unpleasant break-up with her lat
est boyfriend, and unaware of ex
actly now taxing and grueling her
job will be.
Surprised and horrified by
Victor's violent reaction to the
chemo, she tends him patiently
while he vomits in his pala tialbath-
room, but isn't sure if she can stand
Battalion File Photo
"Dying Young" stars Julia Roberts as Hilary O’Neil, an outgoing young woman hired to take care of Victor Geddes (Campbell Scott), a wealthy
recluse suffering from leukemia.
to watch his pain and suffering.
Ready to give up, she is convinced
to stay when she rea lizes how much
the lonely Victor needs friendship
and understanding, not just nurs
ing.
After a few weeks of treatment,
with Hilary preparing special
macrobiotic meals and Victor shar
ing his passion for classical music
and the art of Klimt and Rossetti,
he announces that his treatment is
complete, and suggests that they
take a vacation in tne wine country
north of San Francisco.
There, they rent an old Victo
rian house, and befriend Gordon
(Vincent D'Onofrio), a local
worker, and Estelle Whittier, (Col
leen Dewhurst) a thrice-widowed
winery owner. Hilary and Victor
also discover that despite their
many differences, they are falling
in love.
Director Joel Schumacher
(Flatliners) makes the most of the
gorgeous Bay area and northern
California locations in this film,
and brilliantly uses light and color
to si;
wor.
gnify the gapbetween Hilary's
•Id and Victor's. The smoky
clubs and bars Hilary freauents
are lit with red and blue neon lights,
while Victor's austere apartment
is a study in monochrome shades
of black, white and silver.
The red-headed Hilary very
literally brings color into Victor's
life, and resembles the Titian
haired beauties of Klimt and
Rossetti in the paintings he adores.
Schumacher also has Victor
See DYING YOUNG/Page4
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