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About The Battalion. (College Station, Tex.) 1893-current | View Entire Issue (Jan. 25, 1995)
25, Wednesday* January 25, 1995 I ielife The Battalion • Page 3 LEARNING Movie, soundtrack show explosive racial tensions in college pi! fhrrt; j Reputt rt L ey wot e Univs rc said, irector ideas a re pro: ^rces ai 3 area 2 said, for A&! “It woi hen thi service, jxtensi; hich pr; 2 perso: ^hile ti a props n saidl ents ar. he deve! really, jiiversit) c uss By Rob Clark The Battalion Various Artists “Higher Learning” Soundtrack 550 Music/Lpic Soundtrax ★★★ 1/2 (out of five) The soundtrack to John Single ton’s movie, “Higher Learning,” suc ceeds where most soundtracks fail. It provides an perfect backing to the movie and puts together an in triguing mix of two of music’s most creative forms — rap and alterna tive music. On the rap side, there is of course the presence of Ice Cube, who plays the politically-active Fudge in the movie. Cube takes a different approach on “Higher,” a kind of play-by-play of the movie’s events. The best lyric has to be when Cube describes the oppo site backgrounds of black and white roommates who have just arrived at college — “white boy in the room with me / who never saw BET/ What the f—k?” Other rap appearances are made by Mista Grimm with “Situation Grimm” and “Phobia” by Outkast. A touch of R&B flavor is added by an eclectic mix of soulful singers. From the smooth mellow feel of Me’Shell NdegeOcello’s “Soul Searchin” and Zhane’s “By Your Side” to the funky retro vibe of the title track by The Brand New Heavies, R&B has never sounded bet ter in the ’90s. Bridging the gap between rap and alternative is Rage Against the Machine. The band’s performance of “Year of the Boomerang” is fero cious, with the lead rapping vocals mixing perfectly with heavy guitar background. Liz Phair pops up on the sound track with “Don’t Have Time.” Al though her vocals are rather monoto ne, it seems Phair can do no wrong lately, as the infectious sound from her “Whip Smart” album is translat ed well onto this soundtrack. But the soundtrack is solidified by the stunning presence of Tori Amos. With two songs on the soundtrack, Amos displays the delicate emotions in the movie’s theme. Most surprising is her cover of the R.E.M. classic “Losing My Religion.” Similar to her version of Nirvana’s “Smells Like Teen Spirit,” Amos slows down the song, making it al most unrecognizable compared to Michael Stipe’s familiar wail. And Amos’ “Butterfly” is another emo tional rollercoaster with Amos’ frag ile voice. As a peaceful college campus turns into a racial battleground in the film, so does the “Higher Learn ing” soundtrack, as it goes from Amos’ quiet beauty to Ice Cube’s street knowledge to Rage Against The Machine’s intense auger without missing a beat. Omar Epps, Ice Cube and Busta Rhymez in “Higher Learning.” By Rob Clark The Battalion “Higher Learning” Starring Omar Epps, Ice Cube, Kristy Swanson, Michael Rappaport and Laurence Fishburne Directed by John Singleton Rated R Playing at Schulman Six ★ ★★★ 1/2 (out of five) Rarely does a movie come along that confronts the horror of racism on college campuses. But John Singleton’s third movie, “High er Learning,” explodes onto the screen, boldly thrusting racism into the spotlight. Set at the fictitious Columbus Universi ty, the movie explores the lives of three distinctly different students who have just arrived at college. Malik, a track scholar ship athlete (Omar Epps), a white student from just around Disneyland (Kristy Swan son) and a brooding social misfit from Idaho (Michael Rappaport). As each student adjusts to col lege life, a variety of characters jump into their lives, often pulling the naive newcomers into a whole new world. Malik joins the politically-aware Fudge (played hilariously by Ice Cube) and Rem- my joins the Nazi skinheads because they alone afccept him into their inner circle. From the black power flag in a black student’s dorm to the Nazi swastika flag in a white student’s dorm, the movie is filled with parallels from both sides of the race border. A white student calls a black woman a “black bitch.” A black student calls a white woman a “cave bitch.” Singleton doesn’t push the blame on either race, instead showing the ills of both sides. When racial tensions heighten on campus, Remmy and Malik are at each other’s throats, culminating with extreme violence at what is supposed to be a peace rally. Singleton shows how racism can go beyond negative thoughts and words and can reach the point of violence and the loss of human life. Singleton’s direction is once again bril liant, and calls to mind the emotion of his first movie “Boyz ‘N’ the Hood.” And the acting is excellent. Rappaport and Epps play the roles of their lives, rap pers Ice Cube and Busta Rhymez provide comic relief and Laurence Fishburne, in yet another stunning performance, plays the fatherly Professor Phipps, who guides Malik amid the confusion of racism. As racial problems seem to always be prevalent on college campuses, even our own, “Higher Learning” confronts the prob lem and shows just how far it can go, with the most disturb ing of results. A. Ice Cube stars as Fudge in John Singleton’s movie “Higher Learning.” . Bacon sizzles in ‘Mnrder’ s J to ste| ent, m /s offie n By Jody Holley he Battalion “Murder in the First” Starring Christian Slater, Kevin Bacon and Gary Oldman Directed by Marc Rocco Rated R *★★★ (out of five) utic he fl d tele jcretar) latode jally * was Jisaste! [t wa s ' l litor “Murder in the First” is a powerful and emotional ourtroom drama that tugs at basic human emotions Jnd tests just how far a human being can be neglected [tied till ief ore losing his mind. The film is set in the late 1930’s-early 1940’s, lenri Young (Kevin Bacon) is a prisoner of Alcatraz vho is sentenced to serve an undetermined amount •A °i ' if time in the dreaded dungeon, or “hole,” for a 20 ffl® ailed escape attempt. Young spends three years in the hole in total isola- ion and complete darkness. His only human contact are* omes ever y couple of days when a prison guard push- food through a small hole in the cell. While serving time in the dungeon. Young is beaten epeatedly by the prison warden (Gary Oldman). Vhile eating in the prison cafeteria after being re eased from solitary confinement. Young spots the in nate responsible for his confinement and kills him in font of 200 witnesses. Young Harvard Law School graduate James Stam- phill (Christian Slater) is assigned to Young’s case and finds him to be an almost animal-like creature due to the isolation and abuse of three years in the hole. As Stamphill learns to communicate with Young, he realizes this is not the average murder case. Stamphill is determined to make public the atrocities of Alcatraz and prove that a “co-conspirator,” the Alcatraz envi ronment, is as responsible for the murder as Young himself. Stamphill risks his career for Young, and a warm friendship emerges between the two men. Young is certain that he faces the gas chamber for the murder, and he accepts his fate because, for him, death is far better than returning to the dun geon of Alcatraz. The acting by both Slater and Bacon is outstanding, but Bacon’s portrayal of the beaten and mentally an guished prisoner outshines the rest of the cast. Bacon’s character evokes sympathy from the audience as he gives an unforgettable performance in an even more unforgettable movie. “Murder in the First” is based on a true story and director Marc Rocco brings the atrocities of Alcatraz to life. The gripping and brutal dungeon scenes give the audience an emotional work-over, and the courtroom scenes keep the audience in suspense as they wait for the verdict. Young’s case marked the beginning of the end of Al catraz, which officially closed its doors as a prison for ever in 1963. Christian Slater and Kevin Bacon star in “Murder in the First.” Go-Go’s rise from the grave /mg ^ys an« 040. , the re in [taliofl- *>ll itP a and ,2611- By Heather Winch The Battalion The Go-Go’s “Return to the Valley of the Go-Go’s” I.R.S. Records (out of five) If fluorescent net outfits, pink glitter jelly shoes or parachute Pants ever found their way into your closet, you were probably a part of the early ’80s and remem ber the once-popular, all-girl group the Go-Go’s. A group that once considered itself a punk rock/n e w wave band, the Go-Go’s came out nowhere to score top hits in the early ’80s. That sound is back in a double- CD set that in cludes 36 great est hits, live performances, B-sides and pre viously unreleased tunes as well as three new songs. The CD set successfully tracks the Go-Go’s from their beginning in the late 1970s until their break up in 1985. One of their new songs, “Has the Whole World Lost Its Head,” gives rabid Go-Go’s fans a chance to reminisce on the band’s heyday and split-up. The set also includes Go-Go’s classics such as “We Got The Beat,” “Our Lips are Sealed” and “Vacation.” Some of the lesser-known songs on the album make you understand why they weren’t previously released. The sound quality is weak, probably due to the over bearing guitar sounds drowning out the vocals. The live tracks are great for those who weren’t old enough to see the Go-Go’s, but they prove that the Go- Go’s excel more in the recording stu dio than on stage. “Return to the Valley of The Go- Go’s” is an excel lent CD set tracking the band from beginning to end and allowing a glimpse into the style and variety of songs that made the Go-Go’s a musical icon during the ’80s. ‘Legends of the FulV Stunning performances make film an extraordinary accomplishment By Jay Robbins The Battalion "Legends of the Fall” Starring Anthony Hopkins, Brad Pitt, Aidan Quinn and Henry Thomas Thomas and Julia Ormond Directed by Edward Zwick Rated R Showing at Hollywood USA, Schulman 6 (out of five) “Legends of the Fall” leaps off the screen and becomes far more than a movie. The end result is stunning. The talented cast and original plot forge a unique experience beyond simple entertainment. The film takes control of the audience’s senses and offers a window into the subtlety and drama of the characters’ lives. Anthony Hopkins plays Col. William Ludlow, a cynical veteran who left the cavalry to raise his fam ily on a ranch in the isolated Montana wilderness. The story begins to unfold in 1913, as Ludlow’s youngest son, Samuel (Henry Thomas), brings his fi ancee west to meet his father and brothers. Aidan Quinn plays Alfred, the oldest brother. Responsible, cautious and mature beyond his years, Alfred contrasts sharply with the wild, unpredictable middle brother, Tristan (Brad Pitt). Tristan, Alfred and their father cherish Samuel as “the best of all of us.” Newcomer Julia Ormond beautifully portrays Samuel’s fiancee, Susannah, torn apart by the love and passion the three brothers feel for her. One Stab (Gordon Tootoosis), a Cree tribal el der who serves the Ludlow family, narrates the film and adds a mystical element to the illustra tions of the epic. The film follows the Ludlow family through a decade of living. One Stab describes the brothers as they fight in the trenches in World War I and deal with the memories of the horrors they suffer. On the homefront. Col. Ludlow and Susannah watch the brothers fall victim to fate, and Su sannah slowly loses control of her life in the af termath of the Ludlows’ tragedies. Director Edward Zwick controls the film with a steady, if relaxed, grip. “Legends of the Fall” creates vivid, deep char acters for whom audiences can feel empathy — or pity, or hatred — as they face the world. The film includes “great entertainment’s” most cherished elements: war, love, family, wealth, passion, crime — even cattle drives and American Indians. “Legends of the Fall’s” single flaw is inherent to its accomplishment. The unique storyline includes a number of cli maxes and turning points, and the viewer is of- ,ten surprised that the movie continues to reveal more about these fascinating characters. “Legends of the Fall” is a true, and rare, cine matic accomplishment which anyone will enjoy.
