Category: Arts

REVIEW: The Rocky Horror Picture Show

Mary O'Byrne Leave a comment

“I wish to lose all morals, and accept decadence into my heart.”

The night starts off with crowds of people in sparkles and lingerie and all black  piled up outside of the Michigan Theater, eager to begin their Rocky Horror experience. An experience that is varied and cannot be restricted by just one adjective. An experience that is energetic, erotic, campy, and…. scientific?

With an introduction from a moth, who welcomes all of the groups who are out – the straights, the gays, the sorrorities – the crowd is riled up before the film has started. Prohibited items include: ice, confetti, water guns, candles or lighters, whole rolls of toilet paper, hot dogs, and prunes. But the moth pointed out that squares of toilet paper, or streamers, or 3/4 of a roll of toilet paper, are allowed. It is only the Leather Medusa’s second year putting on a shadow cast show of RHPS at the theater, but they’re sold out.

I stand for my virgin pledge, with about half of the audience who are marked with red lipstick Vs. Surprisingly, such a prominent cult classic still remains unseen by many. Not so surprisingly, the Rocky Horror virgins of the world are curious about the film and its culture, intrigued by its ostentatious reputation and loyal followers. And tonight, our curiosity is to be fulfilled. Soon everyone stands together, for the Rocky Horror pledge and with much anti… cipation – the show begins.

Newly engaged Brad and Janet get stuck in the rain, and wander into Dr. Frank-N-Furter’s castle, where they have a long night ahead of them. The shadow cast saunters around the stage, their costumes and movements perfectly matching those of the film’s characters. The audience yells “ASSHOLE!” at Brad, “SLUT!” at Janet, “WHERE’S YOUR NECK?” at the criminologist, and a variety of other more specific, seemingly-scripted, comments. The film can barely be heard. This culture is not exactly for the prude or sensitive – although they are the ones that the culture loves to deflower the most. Similarly to the audience culture around Tommy Wiseau’s ‘The Room’, some describe this movie-going experience as wildly inconsiderate and vulgar. But the lines of accepted norms are blurred in the midst of such a cult classic, one that drew counterculture crowds as a midnight movie at its release and still draws those audiences (or those who shapeshift into such for a night) today.

Attempting to watch the film over the yelling of the crowd, I do my best to stay in-tune while actively participating. But the participation doesn’t take away from the film’s grandeur. The unusual set, defined characters, theatrical costumes and makeup, peculiar sci-fi characteristics, lively songs and dances, canted angles, effective use of various lenses, irony, and sexual notions, are enough to interest audiences even when they are unclear of the plot (which is somewhat unclear, anyway.) I’m sure all of the other virgins sometimes sat just as confused as me, but also pleasantly entertained.

Seeing Rocky Horror is a uniting experience: the audience, together, are just as important as the film. Dancing the time warp, throwing cards and pieces of toast, everyone is in tune with one another. Even the virgins. We catch on. If all goes as planned by the Transylvanians, by the end of the film you’re going to want to dance and yell and touch everyone and be covered in sequins and dramatic makeup.

REVIEW: Colette

Corrina Lee Leave a comment

Colette is a movie that certainly heightens the senses. The sights and sounds of early twentieth century France are detailed in every delicately plunked piano, in the layers of draped dresses and tightly fitted suits. Even the rank smells of the Paris streets, which should not be able to penetrate the separation of time and fiction, somehow seem to wind up in the theater air. That is the power of this film. It can entirely transport you from a seat in Ann Arbor to somewhere far away where life is one country trip after another. The world is exquisite and lush. As for the characters that inhabit it, unfortunately, they are not as well-drawn.

Sidonie-Gabrielle Colette (Keira Knightley) is the woman that should be at the center of this particular story. She is a provincial girl, daughter of war hero. We are told these things in conversation. But it is Knightley’s portrayal that truly lends Colette her delicate naivete and youthful uncertainty. This early version of Colette may be more hesitant, but she still knows what she wants. Colette marries Henry Gauthier-Villars or Willy (Dominic West) because she loves him. He is charming, in his own way. At a party, Willy is always the one at the center. He is the booming presence that people will inevitably be drawn to. And Colette is drawn to him. Yet, it is just as easy to see that Colette and Willy’s relationship is fundamentally imbalanced, even by age alone. He is much older than her and he is the one who chooses to marry her even without a dowry. It is a decision that shapes the rest of their marriage, especially her attitude towards him. Colette feels in debt to Willy for noticing her, for choosing her, for giving her the opportunity to live and write in Paris. But what is clear to the audience is a more involved situation to Colette. She gets drawn in again and again, with less and less motivation to stay. Each critical juncture feels like an end. Each time she stays. It becomes more and more difficult to justify, especially as the film declines to give Colette a chance to voice her opinion. It is an inching journey that one wishes would progress in leaps and bounds instead.

Perhaps this wish springs from the contemporary tone, especially as it concerns societal views of gender and sexuality at the time. In its careful avoidance of the soapbox, the film becomes vague and passive. Colette proclaims to be an overtly feminist film, but it shies away from displays of feminine power until the end of the film. It even resists showing much of the sexist discourse that would surely be on display. It is freeing to cavort through the streets of Paris without the disdainful stares and the outright hostility. But it also uproots the grounded nature of the film. We are transported to beautiful place, albeit a bit fantastical.

The element that remains the most interesting is the relationship that forms between Colette and her initial literary creation, Claudine. Here, the quasi-fictional quality of the film works in its favor. Colette wrote Claudine on the memories of her childhood, already lending the novel an autobiographic feel. However, as Claudine becomes a phenomenon, Colette is shunted to the side. Thus, Willy is given credit for everything, even for Colette’s own life. The film is at its most potent when it reflects on Colette’s life through the distorted reflection of Claudine.

A biopic can never fully encompass a whole life. Colette makes a valiant if not complete effort. Ultimately, it is a beautiful period piece that shows less than it means to.

REVIEW: LIFE Magazine 1947 Homecoming Photographs

Ronald McTrump Leave a comment

This art display is being featured at UMMA until November 18, deceivingly before football season ends. If your schedule is based on Michigan’s football schedule, check out this art display before the Michigan-Indiana game. Unfortunately, Michigan is not playing for the Brown Jug this year, which happens when we play Minnesota, because the display consists of photographs taken by LIFE magazine photographers at the Michigan vs Minnesota game in 1947.  In addition to the photographs, which capture moments from all over campus (excluding north) and from all throughout the homecoming weekend, there is also a replica of the Brown Jug.

When first looking at the display it is easy to miss the hidden details and excitement of the photographs because the photographs are all gray-scale, which we are not used too in the digital age. However, when looking closely I realized that gray colors do not hide the expressions on faces and the details of the environment.   The photographs include pictures of young couples staring intently into each others eyes, army veterans walking with their families, and college students and adults alike simply enjoying themselves.  The most common photographs are of the football stadium, from the billboard, to players, to football announcers. However, my favorite photographs are of the student football fans, because it is these images that I can most relate too. When first looking at the photos I paid attention to the differences from my experiences at football games.  I saw no giant M’s on people’s shirts, no students being tossed into the air, a short brick wall to separate the field from the fans, and audience members drinking from alcohol flasks while watching the game. However, I saw something that reminded me of what I see every football game I attend, and it is the most important thing that I saw; joy and anticipation in every students face. In fact it seemed as if there was a greater sense of anticipation in the faces of students in 1947 compared to today. This could be because the photo was captured at a moment of great excitement in the game, like a touchdown being scored or field-goal being kicked. I think it was because of the significance of the year 1947.  World War II had recently ended and the emotions from the war time still affected the students. The anticipation of how your brothers fighting across the sea were doing, the anticipation of if a bomb could reach the United States, and the anticipation of  when the war would end all affected the anticipation of if Michigan will convert on fourth down, the anticipation of if the Quarterback will be hurt from that sack, and the anticipation of if Michigan will win the game. Football is timeless, and this art exhibit did a wonderful job allowing me to connect to the past.

REVIEW: Pat Metheny

ajayw 1 Comment

This past Wednesday night, UMS brought in jazz guitar legend Pat Metheny to play on the Hill Auditorium stage.  He delivered a performance that was incredibly interesting and complex to listen to.  The night started with a solo piece by Mr. Metheny on what was probably the strangest guitar I have ever seen.  It looked like a regular guitar for the most part with a half of a short extra guitar stacked above the regular one.  In addition, there seemed to be other sets of strings on the body of the instrument and there might have been a kalimba or something hanging off the end.  It was hard to see everything because the strings were clear, but the sounds he made on whatever this hybrid instrument is called were absolutely wild.  He went on to improvise for about 7-10 minutes and it was all really interesting material.  He made it clear from the start why he is considered such a huge name in the jazz world, especially regarding jazz guitar.  After the opening improvisation, the rest of his band came out featuring a pianist, a string bass player, and a drummer.  From what I could tell all of the band members sounded fantastic.  They had multiple solo opportunities and were clearly more than qualified to play with a talent on the level of Pat Metheny.  I paid close attention to the drummer in particular.  His groove was really solid and he was jamming a lot, but the chops he showed off were pretty insane.  Throughout the performance, they deviated from the full band set up with some smaller arrangements of the ensemble.  Pat played on at least 6 guitars throughout the night.  I tried to keep track, but it proved to be too tall a task with a stagehand coming out every few songs to switch them out.  They all had a distinct character and suited the vibe of the music perfectly.  At one point in the performance, he took a minute to address the audience and explain that he really enjoyed his current tour because it wasn’t to promote an album or anything like most tours are.  He’s just touring to have some fun and play some old tunes that his most die hard fans love to hear.  He then reverted to telling a kind of awkward story about how he loves this area because he loves Detroit.  Artists often try to establish a connection with a local crowd with a personal story about the area they’re playing in, but I just didn’t feel like his was necessary.  Overall, the concert was well worth attending and the music was great.  However, I think it was too long.  The projected time of the concert in the email UMS sent around to ticket purchasers about the concert was 2 hours and 40 minutes with no intermission.  Everyone in attendance that night definitely loved the music of Pat Metheny, but, in my opinion, 2 hours and 40 minutes of sitting and listening to music is way too long without a break.

PREVIEW: A Star is Born

Corrina Lee Leave a comment

It is not the first time. Or even the second or the third. It is the same story, told under different titles, told by many different actors and actresses. This version is called A Star is Born and it stars Bradley Cooper and Lady Gaga. Cooper is Jackson Maine, a fading country singer. She is Ally, the waitress with the beautiful voice, who he discovers one alcoholic night. One career falling, one rising. It is a story of contrasts, but also of a journey that can only be taken together. Their relationship is crucial to the film. Judging from the early praise and festival buzz, it seems that Cooper and Lady Gaga were largely successful. A Star is Born is yet another romance after a long drought. I, for one, am quite excited. I am in love with the genre. It will be interesting to see if this remake will be able to live up to its predecessors and the already building hype. A Star is Born is currently showing at the State Theater. Tickets can be bought online or at the box office ($8 with a student ID).

PREVIEW: Colette

Corrina Lee Leave a comment

Colette is certainly not Kiera Knightley’s first period piece. From her most prominent role as Elizabeth Bennet to her work in Oscar nominated films like the Imitation Game, she has never been a stranger to the past. In Colette, she, once again travels back, this time to portray the life of a woman who did a little bit of everything. Colette was a French novelist who won the Nobel Prize in Literature for her novella, Gigi. But she was not always recognized for her work. Before she became an independent author, she was a ghost writer for her husband. The film centers on her struggle to break out of societal expectations of women, especially the expectations of women as writers and artists. Although it is set in the past, it is also a story relevant to the present. Women are still struggling to be heard. I am glad that Colette’s story is finally being told. Colette is currently showing at the State Theater. Tickets can be bought online or at the box office ($8 with a student ID).