5The Daily Tar HeelFriday, September 1, 1989
'Sex, lies, and videotape' explores sexual dishonesty
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Andie MacDowetl in 'sex, lies, and videotape'
This summer we've been inundated
with movies on drug wars, gang wars,
underwater wars, racial wars and the
Vietnam war. Anyone expecting the
same from "sex, lies, and videotape"
will either be severely disappointed or
pleasantly surprised.
4Sex, lies, and videotape" is a
movie that doesn't need to beat you
over the head to make its point. The
movie won the award for best film at
the Cannes Film Festival, and rightly
so: With its sardonic charm it
manages to be a delightfully dark
comedy and a powerfully disturbing
social commentary in one. Under
Steven Soderbergh's masterful
direction, the movie becomes one of
those rare gems that we get only ever
so often in American cinema a
truly intelligent movie.
The movie revolves around the
lives of four characters in Baton
Rouge, La. Ann Millaney is a
repressed housewife who hates to be
touched by her husband and feels that
sex is highly overrated. In the
opening of the movie, we see her
seated in her psychiatrist's office
trying to deal with her problems while
still refusing to face them. This funny,
moving scene is indicative of the
movie's attitude as a whole; instead of
facing their lies, characters try to hide
them in the fallacies that they have
created for themselves.
Ann is married to John Millaney, a
Hasanthika Sirisena
Cinema
successful lawyer. John is good
looking, dependable, successful and a
decent husband, on the surface.
Underneath this facade, John is
actually a sleazy, manipulative liar
motivated solely by his sex drive.
John is carrying on an affair with
Ann's sister Cynthia. Cynthia is a
highly sexual, passionate woman,
who is jealous of her sister's pristine,
respectable image. In fact, she is
jealous enough to carry on an affair
with a man that she neither likes nor
respects.
Their lives are disrupted by the
arrival of Graham Dalton, a dark,
errant young man returning to Baton
Rouge after nine years. Ann is drawn
to this unusual stranger, whose
honesty encourages her to seek
sympathy and comfort from him. But
Graham has his sinister side: For
sexual pleasure he videotapes women
confessing their sexual habits and
desires. Like the other characters,
Graham is trying to hide from his true
problems and the consequences his
actions have upon people.
Lies are, ultimately, the focus of
this movie. The lies these characters
tell each other are so integral to their
lives that at first not even the viewer
can tell who is lying or telling the
truth.
As the movie progresses, we watch
the lives of the characters slowly open
so that we finally see their hidden
motivations and deliberate
inconsistencies. With ironic twist
after ironic twist, we see the
consequences these characters'
actions have and how those
consequences come to haunt their
lives. We watch as they become
painfully aware of the results and
finally take responsibility for them.
"Sex, lies, and videotape" takes an
honest look at modern relationships,
and while it makes no judgment calls,
it does make demands.
The movie takes a disturbing look
not only at our personal lives but also
at our society. On a superficial level
the film is about four characters in a
Southern town. If you delve deeper,
you realize these characters could be
any one of us, and they are a part of
all of us. Their lives are only a
reflection of the society they live in
a society based on sex, lies and
videotape. The movie even questions
our own motivations behind watching
the film.
The acting in the film is excellent.
James Spader, as Graham Dalton,
gives a riveting performance; he is
one of the few actors who can use
gestures and expressions as
effectively as words.
Andie MacDowell is hilarious and
endearing as Ann. You might
recognize her as the L'Oreal girl, but
this lady can act. Her sensitive
portrayal of the confusion behind her
character gives Ann a convincing
strength and believability.
Peter Gallagher handles John's
duality superbly and lends a
surprising and unnerving
vulnerability to what could have been
an otherwise two-dimensional
character. Laura San Giacomo
manages to handle Cynthia's wicked
sensuality with an intelligence and
humor that adds depth to her
character.
We are so used to seeing fancy,
high-budget, mediocre movies that
we have forgotten what the standards
of a good movie are. This is a movie
that shows us what they should be.
"Sex, lies, and videotape" is well
written and deftly filmed. Steven
Soderbergh does not waste words or
camera movements to make his point;
instead, he relies on silence and
unobtrusive camera movements to
make a subtle but powerful point.
This is a movie that follows in the
footsteps of suspense masters like
Hitchcock, leaving you startled,
maybe amazed, but definitely moved.
4
Fetchin' Bones cranks out Monster music
By CARRIE McLAREN
Staff Writer
So who exactly is this blonde
bouncing around on my television?
This can't be the same Hope Nicholls
I saw nearly two years ago in Tampa.
Nope, Hope's new and improved.
She's grown up and moved to
Hollywood for her way-cool "Love
Crushing" video. In fact, Hope looks
like every other Flashdance-thing on
the screen now.
Nicholls' band, Fetchin' Bones,
matches her new shinefree look; so
does the Bones' latest album,
Monster. You might want to call
Monster polished. My handy press
sheet says Monster is money.
Monster is fame. Monster is the
band's grab for both. The album cries
out for salvation by the MTV
generation.
The Bones began upheaving guitar
chunks in October 1983. A rigorous
touring schedule helped the band
make a name for itself beyond its
local Charlotte scene. Atlanta's dB
records released their 1985 debut,
Cabin Flounder. Spewing ragged,
energized rock, country scraps,
psychedelic folk and swing, Cabin
Flounder came close to matching the
band's invigorating live shows.
Nicholls' guttural howls and growls
made an easy transition to vinyl,
courtesy of Don Dixon's competent
yet rough production.
Despite a switch to a major label,
Capitol, Dixon left the edges intact
for the second album, Bad Pumpkin.
This album brought more riveting
guitar work and furied cries, but, with
her wiry blond mop and adventurous
stage garb, Nicholls created an
enticing yet menacing persona.
After the album's release, the
Bones went on involuntary vacation
for a year when drummer Marc
Mueller and guitarist Gary White
opted out. The pair formed the
Skeeters with bassist Marco Heeter
and made Wine, Woman, and Walleye.
Meanwhile, Fetchin' Bones
collected Clay Richardson and Errol
Stewart and lashed out with another
Dixon byproduct, Galaxy 500.
Though glossier than its predecessor,
the album nevertheless had its share
of highlights, most hailing from the
Land o' Funk. (The CD version
boasts six additional tracks, including
a remix of "Stray" and hopping cover
of Rick James' "Superfreak.")
Monster breaks from the band's
tradition in more ways than one. Yes,
now Nicholls and friends have hit
MTV and the glossy-band-photo
scene. Ed Stasium, producer behind
Living Colour and Mick Jagger,
stepped into Dixon's shoes. Stasium
straightened out the quirks and added
catchy, if redundant, melodies.
Fetchin' Bones still have a few
hooks, though they toss in more than
ample choruses now and have sanded
the rough spots. They've twisted their
sound into something altogether
accessible. As a result, old fans may
entertain themselves more with the
surrealist dog-thing on the cover than
the album itself. It's easy to dismiss
the work as sell-out cancer when
placed beside older material.
On the other hand, a broader, more
mainstream crowd can enjoy
Monster's attacks. Toes will tap, hips
will shake, and more than a few
listeners may find themselves
crooning along in the shower. Though
the Bones probably won't make
heavy rotation on Top 40 radio any
time soon, the College Music Journal
eats this stuff up.
Fortunately, the Bones maintain a
lofty reputation for live performances.
In the flesh, this band is U-G-L-Y.
Thank God. But don't take my word
for it; the Bones beg to be seen live,
unmolested by the studio. The show
starts around 10. Dress for comfort.
Fetchin' Bones will perform at
Cat's Cradle tonight. Advance tickets
are available for $6 at Schoolkids
Records, Poindexter, Record Bar and
the Cradle. For more information,
call 967-9053.
Drama department
to hold auditions
From staff reports
The Department of Dramatic Art
will hold auditions Tuesday, Sept.
5, for its fall production, Lanford
Wilson's "Balm in Gilead." The
auditions are open to all registered
students.
The play, which has 25 roles for
men and women, will be directed
by Adam Versenyi, visiting
assistant professor of drama and
dramaturgy for PlayMakers
Repertory Company.
Auditions will be held from 3:30
p.m. to 11 p.m. Sept. 5. Sign-up
sheets for audition times are posted
in Graham Memorial 104.
Production dates for "Balm in
Gilead" will be Nov. 9-12, with
rehearsals beginning in early
October.
For more information, call 962-1132.
Send the Daily Tar Heel home
to Mom and Dad. Call
962-1163 for details
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Rumor has it that there is one place
in the Triangle that's got you covered
both coming and going.
University Mall has it coming with
the best of fall fashion and accessories,
the best of food and fun, and the best
of what's new for the home.
And as for going, University Mall
even has your rear view covered with
Fanny Packs. The packs will be
given away September 5-9.
Show $10 in University Mall
receipts and your UNC Student
I.D. to receive a free Fanny
Pack. There is a three-per-customer
limit.
The Fanny Pack Giveaway Booth is
located in the Ivey's Wing of the Mall.
Booth hours' are 12:00 p.m. to 8:00
p.m. Supplies of these totes are limited,
so hurry to get yours.
University Mall.
Where Taste Conies In Hundreds Of Flavors
UNIVERSITY
Mall & Plaza
15-501 By-Pass Estes Drive Chapel Hill
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