8
THURSDAY, MARCH 18, 2004
Franz strokes competition
Bouncing energy
Scotsmen's sound
BY ROBBIE MACKEY
STAFF WRITER
Bands don’t pay their dues any
more.
And, frankly, it’s all our fault.
In today’s hot-button world of
rock journalism, instantaneous
canonization is a far too common
occurrence.
If you’ve got a fresh set of digs
and the “it" sound, you’ve got all
you need to impress the pundits
and hop on the train to immediate
must-hear status. Just look at the
current “New York” scene.
In a word, it’s omnipresent, sat
urating the musical landscape so
thoroughly that the terms “retro,”
“revival” and “garage” find them
selves at pen’s end of nearly every
balding rock critic and A & R shark
on the block.
Asa result, mainstream rags will
toss Franz Ferdinand’s eponymous
debut LP in with the camp of funky
post-punk rip-offs that call the Big
Apple home or sound like they
should.
But in reality, Scotland’s dolled-
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MUSICREVIEW
FRANZ FERDINAND
FRANZ FERDINAND
★★★★
up dance-popsters boast a sound
that’s far more akin to the Britpop
of Suede or Blur than the canned
sass of Radio 4 or marble-mouthed
garage of The Strokes.
“Jacqueline,” the album opener,
begins with Alex K&pranos’ lilting
baritone, quaintly peppered by a
simple acoustic guitar progression.
But in mere seconds, the track
bursts into a full-on dance floor
sprint stuffed with chiming guitars
and the lyrics of a lovesick alco
holic.
“I’m so drunk, I don’t mind if
you kill me,” Kapranos admits,
above the herky-jerky gallop of the
track’s rhythm section.
Merseybeat aesthetics creep in
here and there, too, as the chorus
es of “Tell Her Tonight” and
“Cheating on You” blossom into
close harmony’d gambols any self
respecting British Invasionist
would be proud of.
But with its bony guitar lines
and disco-glitz, the lead single,
“Take Me Out,” is Franz
Diversions
Ferdinands high point, oozing
with the same blatantly sexual
majesty that Jarvis Cocker’s Pulp
perfected in the mid-’9os.
Unfortunately, the latter third of
the album sags under the weight of
superfluous studio garnish, slower
tempos and a curious lack of mem
orable choruses.
It is here that Franz Ferdinand’s
sound will undoubtedly be
accused of borrowing from the
garage-y grandeur of the New
York scene.
Indeed, “Darts of Pleasure,”
originally released on the band’s
2003 EP of the same name, comes
off as a lackadaisical version of the
venomous “This Fire,” or even
worse —a cover by the Natural
History.
Even so, it’s quite apparent that
the Glasgow four-piece isn’t just
the Scottish Strokes. And it defi
nitely isn’t the latest assembly line
dance-punk outfit.
Filled with hip-shucking odes to
love, fame and excess, Franz
Ferdinand is an electrically ele
gant, decadently romantic record.
No garage could hold this.
Contact the AdE Editor
at artsdesk@unc.edu.
duke
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Depp left to hang in spoiled ‘Secret’
BY BRIAN MILLIKIN
SENIOR WRITER
Screenwriter David Koepp isn’t
a household name, but on paper
you’d think he could be.
After all, he’s responsible for
both “Jurassic Park” and “Spider-
Man,” two of the biggest hits of all
time. Add “Panic Room” and his
resume isn’t so shabby. (We’ll
ignore “Stir of Echoes” and the
offensive “The Trigger Effect”)
No one will ever confuse these
with nuanced masterpieces, but in
pure story terms Koepp usually gets
the job done, doing a Hollywood
writer’s invisible dirty work.
“Secret Window,” his latest
adaptation effort, won’t help his
case. Koepp also directs the psy
chological thriller, based on a 1990
Stephen King novella. But as a
director he’s mediocre, with an
above-average visual sense and a
penchant for pulp.
Thie to his roots, Koepp launch
es straight into the story. It’s a
refreshing approach at first, after a
2004 filled so far with a narrative
free “The Passion” and 50 bland
comedies galore.
The always watchable Johnny
Depp plays Mort Rainey, an author
holed up in a lakeside cabin six
months after splitting with his wife.
fln£|o&K'
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HHH9
COURTESY OF COLUMBIA PICTURES
Johnny Depp is a quirky, sluggish writer who struggles with slinkies,
among other things, in David Koepp’s disappointing "Secret Window."
Rainey immediately gets an unwel
come diversion from his work when
he opens his door for John Shooter
(John Turturro, doing his best “O
Brother, Where Art Thou”).
Shooter claims Rainey plagia
rized his story, and he wants an
uncertain measure of payback.
“Secret Window” develops into an
entertaining enough thriller from
there, paced with an endearingly
demented and offbeat force.
Depp, a catalogue of gestures
and quirks, fits right in. His Rainey
is a disheveled, wiry sort of goofball
hero. You have to like a guy who, in
a dangerous situation, can’t escape
because his leg is asleep.
Depp is the film’s highlight. He’s
alone on screen for great stretches,
and still he captivates. But even his
performance can’t save the film
when it rounds its last few turns.
That’s where “Secret Window”
STARSYSTOfI
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falls apart in excessive absurdity,
with its inevitable Big Twist. The
ending sucks all the shock and sus
pense out of the film, twisting
“Secret Window” into a psycholog
ical character study that it really
never was or should’ve been.
The Big Twist is definitely dar
ing, decidedly unhappy and depth
charge unexpected. But mostly it’s
just disappointing. And mildly
perplexing.
It worked better in the novella,
which has more room to operate
and which is followed by another
story just on the next page.
But on screen Koepp’s last act
erases all the shock and all the
charm of “Secret Window.” All we
get is an especially awkward silence
in the line to escape the theater.
Not even Depp, one of the most
winning actors in both America
and France, can redeem the film.
One wonders if the bitter after
taste will cost Depp the burgeon
ing, giggling fan base he won with
“Pirates of the Caribbean.”
As for his own popular break
through, Koepp’s got to go back to
the drawing board. Asa writer he
committed the cardinal sin: He
ruined the ending.
Contact theA&E Editor
at artsdesk@unc.edu.
Bhßffiaa
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