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contents delakota, suede the fun loving criminals ray davies reviews · something about mary land girls director simon relfe : presidential e n quiry lethal weapon 4
we chat with Richard E. about Withnail, HoUywood, books and doing things for the money
new game nighdong reviewed aicole kidman strips merton competition
· paul
cooking for freshers
the comprehensive guide to what's on around norwich 'l'lle Event is produced forbtightly by Concrete:
PO BOX 410, NORWICH, NR4 4TB TEL: 01603 250558 FltX: 01603 506822 e-mail: su.concrete@uea.ac.uk and printed by: Eastern Counties Ne~spapers, Rouen Road, Norwich NR1 1RB Edltor-la·clalel: James Graham Editor: James Tapsfield Mwdc Edltor: Paul Stokes lllul&faat Mru:lc Edltor: Luke Turnercreea Edltor: Jack "piler" Hanauer /leiiDfJ IDteractiYe Editor: Stuart Dredge JltJverf&:lag Maaager. Emma "burning martyr" Newbery Coalrfbaffag Wrlfenr: Nichola Browne, Nikki Shariut, Steven Quirke, Paul Stephan, Jennifer MacDonald, Penny Broadhurst, Tom Dunn, Gareth LleweUen, Laura Neild, Carla Thorpe, JUison Bowditch, Nikki Fitches, Becki Farrant, Becki Barrett, Simon McCaUum, Ben Fanington, Kristian Sieikin.
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aLS@@ ~CDDUU[p0@ Few bands get to play on TV, and even fewer in front of )eremy Paxman on Newsniglal, but Delakota did. Luke Turner sampled their love of music
uring the past year a lot has been said about the so-called death of British music. The world's biggest-selling rock weeklies have all attempted to prove to us that 1998 is a year with little innovation and even less talent; that the Britpop bubble has burst, leaving nothing but a residue of insipid Oasis clones. However, Cass Browne, Dez Murphy and their band Delakota are here to prove them wrong. Delakota have an agenda which spans music past and present, and envelopes the entire world in style and attitude. Their debut album. One Love, is a reflection of this, pinching samples left right and centre. Browne and Murphy obviously have a very catholic taste in music. ranging from the Sex Pistols to Studio 1
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reggae and from Sly and the Family Stone to modern hip hop. The pair are firm believers in the art of sampling and re-using past music. "I think its complimentary," says Browne, "it's necessary to the evolution of music to actually be taking stuff and throwing it out again. If you come from nowhere you relate to nothing. We're cross pollinating the entire world, and that's why the album is called One Love: Delakota, and especially Browne, have certainly witnessed at close quarters the changes in British
I 88111J live ID froatoltbne music during the past decade. Browne began his musical career as the drummer for indie noisesters The Senseless Things before becoming bored with the standard guitars, drums, and bass format. When he found that his old mate Dez Murphy had a sampler the two began to collaborate, and, as Browne says, "Bang, we had an album." During this period Browne was discovering the new sounds emanating from across the pond: "A lot of really well produced rap music sounded so glamourous. So much better and more fun than when you have an indie guitar record where the guy just wants you to appreciate the sensitivity of his haircut." Delakota are certainly a band who know how to have a good time. Their support set is filled with a brittle and brilliant energy, coupled with a musical
tightness which is perhaps surprising when you consider that their first gig was mere months ago on BBC 2's Newsnight. The band were chosen to play as an example of music in 1998, as well as to prove that innovation 1s still alive and well. However, Browne believes the performance has a rather different significance. "The fact that we got asked to represent the death of music that day was A: a farce, and B: went down in the history of Delakota as the first gig we ever played • it was the first time I sang live and it was in front of three million people!" Delakota are clearly a band with enough talent, drive and ambition to steal the thunder of many of today's most successful groups. They take the death of music and string it up from the tallest tree: modern music is very much alive and kicking.
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Suede
What's The big fuss then? Suede exploded onto the music scene in 1992 with a burst of glamourous punk which woke up the world to the fact that, in the best traditions of the Stones and the Sex Pistols, rawness and pop music could actually an make ideal combination.
Anderson wanted to drink, take drugs and fornicate as much as possible, while Butler preferred to sit indoors fiddling with his guitar. The tension proved too much, and Butler was replaced by 17 year old photocopy Richard Oakes just as the second album was released . In 1996 Suede introduced keyboard player Neil Codling to fill out the sound - though during gigs he does very little except elegantly smoke a fag . Drummer Simon Gilbert and bassist Matt Osman have been permanent fixtures.
Who did/does what? Suede's original line-up was dominated by the Sold a few records? classic conflict between singer/lyricist Brett Their eponymous debut was the fastest selling Anderson and genius guitarist Bernard Butler. debut since Frankie goes to Hollywood's Welcome While in musical terms they gelled perfectly, to the Pleasuredome and they sold around a there was a distinct personality clash: million records before Butler's departure. The third . . - - - - - - - - - - - - - - - - - - - - . a l b u m, Coming Up, has also collected a fair stash of platinum disks. Which is the best? The first album, Suede, is undoubtedly the most catchy (who can argue with tunes like Animal Nitrate and The Drowners) , but Dog Man Star has a kind of brooding romanticism as yet unsurpassed. The rest you can take or leave. Did we mention Brett's gob? Brett's big mouth often got him into trouble during interviews. In the most controversial case, he claimed that "I am a bisexual man who's never had a homosexual experience." This little comment annoyed pretty much everyone, and cast doubt on the authenticity of many of the sexually ambiguous lyrics of Suede's songs. He also had a T-shirt
o.15 printed with "GAYANIMALSEX" emblazoned on it, which upset a few people. So what does the future hold? Suede are currently in the studio recording their fourth album, while Bernard Butler is pursuing a solo career and will play UEA in October. Sadly, since the split neither have been quite the same. In retrospect. .. So Young .... .. .. So Gone.
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New York cool guys the Fun Lovin' Criminals enjoy something of a bad-boy reputation. Klaus Estop checked out whether their criminal record is justified ven if you've never heard a Fun Lovin' Criminals record you should still be grateful that they exist. If by some remote chance your radio or record player has never asked you to "Stick it up p unk," or by some unlikely chain of events the coo l tones of Scooby Snacks has never resonated against your ear drum , you should still be thankful for New York's Fun Lovin' Criminals. Why is that you should show your gratitude for these selfstyled dudes? Services to human kind , that's why. Anyone who holds music dear will have been horrified by th e activities of Hanson, the three embarrassingly untalented sons of an American Oil tycoon. Instead of buying his children ponies or any of the other extravagant gifts that spoilt brats normally
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receive , this tycoon brought them their own record deal , thus inflicting MmmBop and several other second rate pops songs on the world. But when drummer Zack tried to wind up the 'Criminals at an MTV show, he picked the wrong guys to mess with. After an childish exchange (well, what can you really expect from a 13 year old) Zack had to be led off by Mr Hanson after Huey put him in his place. "We're not disrespectful people," explained Huey when asked about his band's tough image. "We don't go around starting fights and things like that, but y'know, you don't wanna mess with us just for the sake of trying." Hanson take note. Though the Criminals claim not to be into starting fights , lead singer and guitarist Huey's previous career as a marine led to him seeing active service in the Gulf War, before a return to civvy street and wo rk in a bar where he met fellow band member Fast. Huey and Fast got to know Steve when they were working at the Limelight bar where he went to fuel his alcohol habit. Soon the trio realised they shared a sense of humour and a good deal of musical talent, and so gradually they started playing together: "Just gaoling around a little bit," explains Huey, "it was really funny ." The band's break came when they were asked to play at a friend's party at the Limelight. The club's owner subsequently offered them filler slots when other bands cancelled . "We did about six shows," recalls the Criminal's mouthpiece "and on our sixth show some guy came up to us and said, 'Boys, you wanna make a record?' And we said, 'yeah, great,' and we made a record ." That record turned out to be the Fun Lovin' Criminals' much acclaimed debut Come Find Yourself, featuring the infectious single Scooby Snacks, a chilled out ode to bank robbing that allowed the Criminals to sneak into the mainstream. After that their tours sold out and the other singles enjoyed similar success. The release of the follow up album . 100% Colombian, confirmed their status in the higher echelons of American alternative music when , despite some unenthusiastic reviews , it managed to reach the top 10. 100% Colombian sees the Fun Lovin' Criminals pursuing a more mellow direction, although Huey has some misgivings about the slight digression from the first album. In fact, Huey claims that he wanted to entitle it The Mistake at one point. But the name remained , and has aroused great controversy. Some have criticised the 'Criminals for an apparently obvious drugs reference , but Huey denies that the record is named after Colombia's more shady produce: "Colombian is a term we use - it's like a vernacular. If something's good then it's Colomaian, if it's really really good then its 100% Colombian. I know that a lot
of people mix that up and put drug references on the end of it but, y'know, people are going to do that. So long as they don't say I am sleeping with Webster [a child actor in the US] it's fine!" Another, slightly less contentious confusion has surrounded the album track Sugar. Most people who hear the track believe it is about a faithful and true girl, however Huey wou ld like to correct this inaccuracy , stating that the track is in actual fact about his dog. "I love my dog and I figure the dog deserved a song," he explains, "it's just that my dog· doesn't lie because my dog doesn't speak." The tour to support the album , which included a date at UEA last Sunday, has been conducted in the usual 'Criminals style: laid back, slightly haphazard, with plenty of cool. "We don't really rehearse a lot and we don't put set lists together until the night of the show, so it's really on a wing and a prayer. I think that's what keeps it a little interesting." Despite this apparently relaxed attitude, the Fun Lovin' Criminals do exhibit a sharp, organised streak, both in the way they look and in their activities as a band beyond music. Always suavely dressed when on band duties photo shoots , interviews, performances and the like - Huey claims that the real reason they look as cool as possible is not for themselves but for others: "we just want our families , when they see pictures of us. to not see pictures of us in T-shirts and jeans, cos they've seen that all the time. "We want them to go up to friends and say, 'Oh look at my son in this magazine, he's got a suit on, he looks very nice'." And when not providing conversational gambits for their mothers or making records , the 'Criminals run a refuse collection company in New York, which they set up with the money they received from their first record deal. The company currently employs 18 people, but in the unlikely event of thei r musical careers ever going pear-shaped the 'Criminals of course have the option of increasing that to 21. Let's hope not, because "Throw it away punk, it's the Fun Lovin ' Dustbin Men" just doesn't quite have the same ring to it.
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Ray's career as he incorporates acoustic performances of his songs with readings from his autobiography X Ray. As part of his role as composer in residence at this year's Norfolk and Norwich Festival, Davies will be performing a Storyteller set in the city, though this is a prelude "so people can find who he is," according to the Festival's artistic director Marcus Davy. The more exciting prospect is the world premier of English Songs, a classical piece for choir and orchestra which Davies was
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y Davies, unlike the subject of one of his most well known songs, is not a dedicated follower of fashion . If anything, it has been the ongwriter's willingness to break with convention that has marked him out as an artist, and fashion has to a certain extent followed him. Indeed, without Ray Davies guitar based popular music, particularly in Britain, would be very different and arguably much less rich . This feeling is borne out by the fact that over the years artists from a broad musical spectrum have delivered glowing compliments to the Kinks' front man. Now, for next few weeks, Davies has come to Norwich in the capacity of composer in residence at the Norfolk and Norwich festival. The Kinks were one of the original groups who helped make the sixties swing. They released records right at the outset of the cultural revolution , many of which have since been recognised as modern day classics. There can be very few people who don't know Lazy Sunday Afternoon, All Day and All of the Night and You Really Got Me, all of which were penned by Ray Davies, and all of which are frequently held to epitomise the 60s. However, despite this place in the collective consciousness, the Kinks enjoy slightly more of a cult standing than their more mainstream contemporaries like the Beatles and the Stones. In America the Kinks enjoy superstar status, while in their native Britain they are well respected, but slightly less supported in terms of record sales. Despite, or perhaps because, of this the Kinks, and Ray Davies particularly, have consistently pursued a more unique and challenging direction,
and this innovation has meant that their influence remains strong and clearly visible in today's music. In the recent Britpop boom, the Kinks were cited by many bands as one of their most important influences. Damon Albarn played a duet of Waterloo Sunset with Ray on the White Room during the highest point of Blur's ascendancy, while elsewhere pundits and fans alike proclaimed the Kink the godfather of the whole scene. 1t was not, however, the first time that Davies had enjoyed such acclaim . One need only look back to the New Wave movement of the late 70s and early 80s, when it was artists like Squeeze and the excellent Elvis Costello who were publicly acknowledging his influence and songmanship. Some bands - for example the Stranglers and the Jam - went even further and included Kinks covers on their early albums. So while the Kinks did not sell as many records as the Beatles, their influence, particularly on the latest breed of British musicians, is on a similar level.
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he Kinks were founded by Ray and his brother, Dave, in 1963 and since then have recorded over 20 albums. This is particularly impressive considering the band's history has been dominated by a love/ hate brotherly feud that makes Oasis' Gallagher brothers look like a pair of bickering old ladies at a ' tea party. Ray, who wrote the songs and sang, and Dave, who contributed lead guitars, have been a constant element in the band since the 60s, and though the feuding did at times threaten to engulf the band they did give the group an undeniable character. With Ray Davies at the helm, the Kinks moved beyond conventional rock n' roll , exploring rock opera territory with albums like Arthur and The Village Green Preservation Society. All the while, Ray, through the subject matter of his lyrics, attempted to push back many accepted conventions of the day. Most notably with Lola, Davies was able to explore transvestitism and sexuality, despite their taboo status in the late 60s. Away from the Kinks, Davies has maintained a healthy solo output including soundtracks, musicals and songs for other artists including Elvis Presley. This year alone he has produced a project called 80 Days which was staged at La Jolla Playhouse, and made solo appearances in Britain including sets at Glastonbury and the Edinburgh Fringe. The Storyteller, which ties together many elements of his work, is a musical trip through
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music, and is a project that, according to Marcus he has thrown himself into completely. He has apparently adopted a new mind set appropriate to the music and is working at it almost 24 hours a day in the run up to the performance to get the work finished on time. Ray, who is writing all the tunes and words by himself - although he has help with the orchestration - is not simply plundering classical music for interesting sounds as some inferior pop musicians have done in the past. He is taking his role as composer in residence very seriously, as Marcus explains: "it's the first long, major piece he's ever been asked to write - 40 minutes. it's big stuff , but he just went for the challenge and it's very exciting." The choral work will be performed by the Festival's Singers, who are all local and include some UEA students, along with the Britten Sinfonia under the baton of lvor Bolton, the artistic director of the Glyndbourne touring opera. So it is no stroll in the park, even for someone of Davies' chronicled abilities . Time permitting, Ray may also do some song writing workshops in schools and other places in the local community. English Songs (only a working title as the work is still not complete), accompanied on the night by the minimalist work of Sieve Reich and orchestrated songs of Frank Zappa, promises to be an interesting and rewarding experience for Kinks and Classical music fans alike. The meeting of differing genres is partly due to Marcus Davy's efforts and his maxim that "music is music is music"; he believes that the I. labelling of music is unnecessary \ and often unhelpful. At first glance it may seem odd that the writer of a pop thrash like A// Day and All of the Night is now composing a work for a festival that in its 250 year history has commissioned artists like Edgar. But when you consider his artistic development throughout the Kinks' history and in his solo career, and you examine the undeniable influence he has exerted over modern British music, it becomes clear that in Ray Davies, Norfolk and Norwich has made a worthy choice.
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Ray Davies performs his Storyteller show in St Andrews Hall on Friday, October 16 at 7.30pm English Songs is premiered also in St Andrews Hall the following day on Saturday, October 17 at 7.30pm. Tickets are available from the Guildhall ticket shop on (01603) 764764
Oak Street Norwich 620630
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the round up of this fortnight's music releases Stereo lab Aluminium Tunes For those unfamiliar with Stereolab, their material consists largely of strange noises, even stranger vocals and relentless experimentation . This combination has resulted in some great music and the latest compilation of the band's rare and unreleased material presents some excellent examples which will not disappoint their fans. Highlights include the trance-like phase of The Long Hair of Death, the epic New Orthophony, Get Carter and Ulan Batar, which is not the capital of Venezuela but a profoundly effective single chord drone song . Obviously, with 25 tracks ranging from unusual to just plain weird, not all the songs will appeal to everyone . But despite this Aluminium Tunes offers an insight into the world of the avant garde, making it an excellent start for those searching for something a little different, and a necessity for Stereolab fans . Phi/ Stephan
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Marion
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Marion have had an erratic build up to this , their second album. Indeed there is a certain irony to the title, The Program because th e band have done everything other than fo llow one. lt was recorded last year, with Smiths' guitarist Johnny Marr not only producing but also contribu ting creatively to the album . The band released only one precu rsor in th e form of single Miyoka Hideaway before being swamped by rumours of splits, overdoses, and rehab. With gigs and festival appearances scrapped , often at the last moment, it seemed Marion were finished and the album wo uld never see the light of day . Fort unately that was not to be. The Program is less direct than its predecessor, the 1995 This World and Body, leaving the songs and their messages to ease along , rather than bursting energetically forth as has been the case in the past. Gone, too, is the harmony and rough
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The James Taylor Quartet UEA, LCR Saturday, September 18 Saturday night saw a welcome return to Norwich for those old-school acid jazz funksters, the James Taylor Quartet. This time, with the gig moving to a larger venue, UEA's top movers and groovers crawled out of the brickwork and flocked to the LCR , all eager to get down to the swirling mix of upfront organ, tantalising tenor sax and exciting rhythms that is the JTQ. The entertainment was kicked off by DJs from Norwich's Gas Sta tion, who created an irresistible
fusion of funk and hip-hop, and managed to coax nearly everyone away from the bar and on to the dance floor. The show, however, definitely belonged to James Taylor and his band of merry men. Although they kept the same set, and indulged the crowd with many of the favourites from the previous Norwich gig , the JTQ flair never failed to work its magic. Their version of Mrs Robinson and the classic Starsky and Hutch created an atmosphere that we lco med new fans with open arms, while demonstrating exactly what brings the old ones back again . This, coupled with the free rides on the dodgems, made it a night that you shoul d never have missed. Nichola Browne
corners that gave the first album its undeniable charm . The Program is a far more slick affair and as such , some of the songs fail to truly establish themselves. However, the album still reta1ns most of the elements that made Marion great in the past , as tracks like Comeback and Strangers testify. An adequate if somewhat subdued effort. Paul Stokes
The Wiseguys The Antidote
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The Wiseguys ' reputation has so far been one of mindless pop, thanks to their single Ooh-La-La. So I thought I'd have to say some bad things about this release , but I can 't. Perhaps some tracks drag a little, but the aforementioned Ooh-La-La and other single Start the Commotion will have everyone up and dancing like idiots (or tapping their toes at the very least) . The rest of the album is a laid back mix of big beat, jazz, funk , hip-hop and easy listening. Think DJ Shadow meets Lewis Parker meets the Propellerheads and you're getting close . If you 're suffering from the new semester blues, then this record may be quite literally The Antidote. My advice? Take twice a day until course is complete . Stephen Quirke
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Walk In My Shadow . . . .<?' Any credible contempo rary musician will have been in fl uenced by one of Britain 's finest rock exports of the late 60s - the phenomenon known as Free. Now Island records have raided Free's back catalogue with tracks ranging fro m 1968's Tons Of Sobs through to 1973's Heartbreaker to produce a short introduction for the first time listener. This whole opus perfectly captures the mood of a late night, laid back jam session in the studio with highlights including opener Catch A Train and the classics Fire and Water and Wishing Well. The subdued master piece that is Heavy Load is an added bonus . Walk In My Shadow features two live tracks amongst the stu dio material - Mr Big and The Hun ter. Notably absent, however, is the chewing gum classic All Right Now - presumably because it is featured on every Rock Anthems compilation released in the last decade. But despite this shortcoming, Walk In My Shadow is a perfect introduction to a perfect band. Nikki Shariat
The first single from new album Kingsize is about Huey Newton of the Black Panther movement of the 1960s. Somewhere in between the pop of Wake Up and the experimentation of C'mon Kids, this infectious, funky track with a heavy guitar riff, is straight out of the Screamadelica tradition. and will go down well with Primals and Radleys fans alike. Penny Broadhurst
Fat boy Slim Gangster Trippin' Funk Soul Brother Norman Cook evidently has a bet with his record company that he can come up with a melody that's more annoying than Spitting Image's Chicken Song. Some tasty mixing and givin'-it-large samples, but Gangster Trippin' isn't up to his usually high standard of bigbeat trickery. Gareth Llewellyn
Specimen A Hate This System Lurid Home Counties techno-toss from these two adolescent brothers whose tiny, fairground rave misses the Prodigy by a fu rlong , and is left floundering somewhere between 2 Unlimited and the KLF. Shouting quickly into a four track recorder won't impress anyone, lads. 'We're gonna smash this syster"(l with you!" Tom Dunn No, you're not.
Hurricane #I Rising Sign This, the mighty return of Hurricane #1 actually turns out to be one of the dullest record ings in ages. The over familiar indie guitar riff is pleasing, as are the almost catchy lad rock vocals, but after eight minutes of the stuff it becomes extremely tired. People with such a total lack of originality and talent should not be allowed to make records . Laura Nield
David McAimont Honey This single from Bemard Butler's former singing friend, sees McAimont move firmly from guitar pop into a sort of 1-want-to-be-R Kelly swing. The result isn't bad but then it's in no way as earth shattering as You Do or any of his other work. Despite his excellent singing voice, th is is a disappointing mediocre effort. Jennifer MacDonald
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There's Something About Mary
Dir: Peter and Bobby ~ Farrelly 1998 . . . .CV Now showing
She's intelligent, beautiful, funny and, best of all, she's played by Cameron Diaz. So when she asks accident-prone Ted (Ben Stiller) to go to the High School prom with her, he can't believe his luck. Unfortunately for him, Ted's dream date does not last long. An unfortunate incident involving his danglies and a particularly unforgiving zipper results in Ted spending several weeks in hospital. By the time he recovers Mary has moved away, and although Ted gets over his embarrassment, he is never fully cured of his affection for Mary. Many years later, he enlists the help of slimy private eye Pat Healy (Matt Dillon) to track her down. Ted's unlucky streak continues, and Healy soon falls for Mary as well. The situation is further complicated when Tucker (Lee Evans) appears, and also becomes besotted. As they battle for Mary's affections beauty, increasingly ridiculous and cringeworthy situations arise, culminating in a denouement that makes all the other excruciating scenes pale in comparison. This is an unusual film for Hollywood, relying as it does on smutty, slapstick humour more characteristic of British offerings. One of the most memorable scenes comes just after Ted has "cleaned his pipes" in preparation for a date with Mary. He somehow loses track of his- ahememission, only to learn of the substance's whereabouts when Mary appears and removes some "hair gel" from his ear. This sounds farcical on paper, yet on the screen the humour works remarkably well. lt may not be the most sophisticated offering ever made, but if you fancy a couple of hours of mindless hilarity, this is Jack Hanauer for you.
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Have film-makers gone power-mad? Jan llaucller takes a lo ok at the glut of presidential films and decides they p robably have he President of the United States of America is perhaps the most powerful human being in the world, but history shows us that they are by no means superhuman. Kennedy, although extremely popular and arguably successful , had a sexual appetite that makes Clinton look like a trappist monk, and Nixon's failings are well known . Similarly, Reagan had the Iran Contra affair. There can be few presidents, in the modern era at least, who have left office without a degree of scandal. Considering Clinton's continuing presence in the White House, Americans now seem to accept that their presidents are not going to be paragons of virtue, but it seems that there is still a deep yearning for a leader big enough to do the impossible ; a charismatic, forceful president with integrity and a clean pair of pants. Tt1is is where Hollywood comes in . A wealth of films dealing with the subject of the presidency have been released in recent years , and most of
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them have been pure escapism. Bill Pullman in Independence Day is the most implausible premier imaginable. Not only does he satisfy the criteria of general , all-round wonderfu lness he also happens to be an ace fighter pilot, and inevitably ends up leading the liberation from the aliens. Th e film also manages to absolve the presidency of responsibility for covering up the discovery of the alien ship: Pull man is shown Area 51 and asks, "why wasn't I told?".
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But this is the kind of thi ng Ameri can (and , to be honest, British) audiences want. They are so sick of the politicians they have to live with in real life that a character like Pullman's, no matter how ridiculous, restores their faith in authority. The American President is another unrealistic depiction of the US's top man . Bu t this one provides the audience with their portion of hope and encouragement by suggesting that, although it may not seem like it fro m the outside, the President is in fact just a silly old romantic at heart. Bless. The only problem is that the man we're supposed to believe is a closet romantic is Michael Douglas, a man who has actually had therapy for sex addiction. Air Force One also depicts the premier in a heroic light. Harrison Ford leaves more cerebral duties behind him as he almost single handedly eradicates a group of terrorists who have hijacked his plane. A new ingredient is added to the presidential recipe in Deep Impact, when Morgan Freeman takes on the role. Not only is the president black, but whi le making a tel evision broadcast he rolls his sleeves up to reveal a tattoo on his forearm. Hollywood, th en, has often tried to exemplify what an ideal president should be. But if in one respect th e film industry enjoys a love affair with the most powerful office on the planet, it is also not afraid to express disillusionment and frustration with certain aspects of the status quo. Films like Absolute Power- which focuses on a lecherous Head of State (Gene Hackman) whose over-active libido results in him provoking the death of a young woman and trying to cover it up - and Wag the Dog, which stars Dustin Hoffman as a premier who tries to cover up a scandal by starting a war, rely upon the idea that the power of th e presidency can be easily misused. Further, offering such as Nixon and JFK point to instances where the film makers believe an abuse of presid ential power has actually occurred. Such films may have serious points to make about power, corruption and politics, but all too often the message can get lost as shades of grey in real life become black and white on fi lm. There is also a tendency for Hollywood ideals to get in the way of rea lity: A prime example is Dave, in which Kevin Kline portrays the president as an adulterous and corrupt slimeball with all the sincerity of a used car salesman.
When he is incapacitated after getting a bit too frisky with one of his lady friends (Monica does around a bit, doesn't she?) , th e lookalike who takes his place - in all other respects an average Joe - turn s out to be the ideal man for the job. The suggestion is that the average man on the street is at least as capable of running th e country as someone who has gone th rough the normal political channels, and that 'ordinary' people are somehow immune to the corruption that afflicts professional politicians. This is surely far too simplistic: presidents rarely make decision where all th e issues are black and white, and to claim that any member of the public could deal with the pressures and vagaries of politics better than politicians is ridiculous. But with Primary Colours, wh ich features a very Clinton-esque president played by John Travolta, flopping at the US box office, maybe audiences are tiring of the American chief, particularly when the saga surrounding real man is dominating the TV at the moment. Why go out?
Pullman is shown Area 51 aad asks, "Why wasn't I told?"
Everyone lalows it's a hard Ufe ID the ar•l'· ladr llanaae.r flwlw end it wasa't
so 8889 at laoaae eitbe.. ess than 60 years ago a nasty Httle German chap with a horrendously unhip 'tash and trousers that were three sizes too big for him decided that it would be a good idea to take over Europe~ The resu~ was the Second World War, and ever since horrific conflict films have been made about it. Some have been moving, thoughtful accounts of the horror of war, others have been Irresponsible and immoral attempts to glorifY. war in order to get aucf181'108S Into the ci~ and make some money. But although they 8\BY be different In this respect, nearly all of them have focused on the men doing the fighting. Few films have been made about the people wh.o stayed behind during the war, in particular all the lonely women who were left with no husbands, brothers or fathers and had 1helr own impof1ant role to play In the war effort. This deficiency was all loO apparent to film producer Slmon Relph, eo when he and director Davld L.eland were presented with the chance to make The Land Gil1s, a tllm about pr&Cisely that topic. he felt a raspociSiblllty to do something about it. •The Land Gltls Is a fRm which we hoped would
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Introduce people of the younger generallona to a time In our hialocy we thought they didn't know much about. and to tall them what their grandpalents dd during the war. But we didn't want 110 make a movie about the tlghllng ltlal. We were lrlllrulalf In tn11NnQ one about
. . . .. , . .................. In particular one about the Women's Land Army.• The WLA was made up of active, and therefore often young, women who left the comparative comfort of their own homes and went to farms al CNet the country to replace labourers who had gone off to fight. An tmglamocou8 role, oertainly, but one that was vital in terms of provklng provisions for British soldiers, as wal as the public at large. "They are rather unsung heroes of our time, raally. They stepped into the bNach when they were needed and cld a fantasllc job.• The Land Girls follows three such young women as they struggle to deal with the physical pressures of the farm wor1<, while also · endeavouring to cope with the anxieties of war ind the onset of womanhood, maiOOg it a social drama and character 8IUdV as well as film Intended to Inform people. "'fs got a bit of a message. Ifs a salute to the land ~. but Ifs for people 10 er1oY as well. The nice thing about the film Is that one minute it rnake8 you laugh, and the next minute it makes you cry. Ifs an entertainment.• And 11 seems as though Slmon and the team cld succeed in recreating the kind of environment experienced by the real members of the WlA. "''m happy to say that a lot of Land Girll have been to see the film and they aeemed to er4oY I. Baalcelly they felt that it was Vfii'J much a raall88c p1c1ure of how it was for them. • However, Slmon did have to confess that they
were not all completely satisfied. "'ne of them said that the only thing wrong was the sound of the threshing machine. Another complained about the scene in which one of the girls wears a tie in the farmyard. She said that they never wore ties. A third said that they didn't have as much sex as the girls to in the film, because they were much too tired!" Hardly cutting criticism, and it seems Hkely that the positive response can be at least partly attributed to the hard wor1< put Into the enterprise by the director and his actors. "Davld Leland really wanted the girls to be able to do the wor1< that was called for in the flm. There were all sorts of things from milking to ploughing, to threshing and mucking out, and he was very keen that all these things which Involved physical work would be second natura to them - so that when they had to act as well they weran1 picky about hoW to hold a pitchfork and the Dke.• The method adopted by Leland to achieve the desired authenllclty ran along the lines of the old adage, 'pnlctlse rnake8 perfect'. "He did CNet1hree weeks of rehearsals with them and packed them off to apeclallst training. Staven MacldldoSh (who works on the farm the glrtl are sent to), amazingly learned to plough wtlh two honles, which you see him doing In the film. There are no doubles, no cheating. AB the jobs are done by the actors lhemaetYes and what's mora it was al done in the deplh8 of winter, because it gave lhem a sense of ........ - . a l l y like. lltink it helped
of screens with fantastic publicity campaigns. Whereas we have much less financial backing so we always feel slightly disadvantaged." And the type of film that tends to come out of British film studios, often more thoughtful than those being churned out by Hollywood, also puts the UK's film industry at a disadvantage. ., think that cinema audiences have got used to popcorn movies - blockbuster films like Armageddon and Godzi/la - so a movie of this kind is often a bit difficult to get across.• · But it's not all bad news. "Things have definitely improved. There has been
a different climate in the last couple of years that has made everything much better. The Lottery money has made a lot of difference, and the government's attitude to films is very good. They see the industry as an important part of our economic future and are also aware that we have a lot of talented people in the movie business. 'We're certainly not there yet, but we've had a few notable 1riumpfls • like Trslnspotling- and things are looking up: Simon says that the tide is beglMing to turn. Let's hope he's right.
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h may have helped their performances, but the idea was not such a hit with the members of the C88l to Sl8rt wl1h. "There was a moment on a particularly cold day when Anna [Friel] said: 'Why are we doing this?' But 1a1er on 8M said V8l'f graciously that she realised why she had been made to do it and that it had made all the difference 10 her performance.· Friel was one of the three up-anck:orl*lg female actors who slamld In the film {the others being Calherine McCormack - best known as Mel Glbson's first wife in Braveheert - and Rachel Welsz) and Slmon was not concemed that the- fact she was best known for her role in Broolcfllde ~ make people think she was playing that lclnd of role in the film and put them off. "Not at all. in fact we were completely delighted that Anna was a bit famous, and she's been brUIIant about supporting the film. going as far as Inverness to promote it.. In fact Simon ~that the casting of the three girls was instrumental in the llm's 8UCC886. "lt was important from the point of view of raising the money for the ftlm. lt was not a very expensive movie, but it was not a meap fllm ellher. 11 cost about £5 mlllon, so the CXJfl1bNIIon of .... thra8 actreaaaa, al of whom have had 101118 consldarableauccess in oiler~
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SECURE YOUR PLACE IN HISTORY BY DRINKING THE FRIDGE AND ENTERING THE OWENS HALL OF SHAME
THE EVENT, WEDNESDAY, SEPTEMBER 30, 1998
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hroughout the history of Cinema theta hiM been many the8ps who haw possessed lhe surname Grant. In the begiunlng was Cary, star of such classics as The Philadslphis Stoty and Bringing '-" Baby. More recently we have seen the rise and plummet of Hugh, famed tor cavorting In cars with call gil1s. But pemaps the most important Grant la the one with christlan name Richard E., the colonial born star of unmlssable cult classic Wlhllll'l and I, as well as How to get Ah86d In Adv8rfislng. 0racu1a. Hudson Hawks and, erm, Spice WOrld. Rlchald E. made the
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jump from celluloid to paper In 1996 Nith the publication of his film diaries, entitled With Nails, which soon became a huge best-sell9r. Now his first novel proper has been 191eased. caHed By Design it tells of a Hollywcod Interior designer and their interaction with a Yariety of stars about to embark on filming the biggest disaster movie ever, which conoema the first ~rity space flight. Obviously this is no literary heavyweght, and nor Is it Intended to be; Instead Grant dai!Yll he wrote the novel for the cash and the chance to publish some ot the aneodotes he has amasaed 0\8r nearly a decade in tinsel town. Before his life hob-nobbing with the stars and popr*lg 01191" to Stave Martin's for a quick break, Richard E. !Mid deep in darkest Swazlland, offspring of an &K-pat, colonial family Though he neY8I' felt completely lmmeraed In S\'lllZI culture "There was a sense that you were In an Ealing 80Uth of lhe equator. We were doing Oid<ens and Shakespeare In the middle of lnctedble subtropical heat, which did rather seem lk8 an aoachronisrn" - he is able to giYe a OOfl1)lete rendition of the Swazl national anthen, and can speak the language lluently, complete with aqueaks and pops. He ltlCMd to England in 1982, and alter a studying for a degree In literature and per1onrance, embarlf8d upon a career In acting, adding the E to his name to~ l1imlllf from existing fllchal'd Orants1nfibliS61ess: "In the beginning I did sman theatre tours. I played a Gloucestershire farm worker, ard then I was a waiter, a painter and decorator; all the menial work actors cJo between jobs." FolloWing this stint producing the 'oo rrr'. sounds of the West Country rural type, Grant got his first break in Hooest Decent and True, a film for
the BBC which satirised the ad man. Lady Fortune now began to smile: "I changed my agent, and on the dily Hon9St Decent and True came out I was getting cans from all kinds of people I'd been knocking on the doors of for four years. Then, when Daniel Day Lewls puHed out, I got WithnaH." The rest, as they say, is history. Richard E. went on to perform magnificently as the drunken, nicotine yellowed, vaguety psychotic falling actor Wlthnail. What many people do not realise is that just prior to the start of shooting of Wdhnall and I Richard E's wife suffered a miscarriage after seven months of pregnancy. Perhaps much of the pain and frustration of Wlthnall's character came from Richard E. Grant exorcising his own demons through the role.
it appearing in Malibu was so ludicrous and appealing that 1couldn't say no. We all thought we'd be making Die Hard 3, but we just ended up dying... very hard." Though the film was such a Hop - voted 'Turkey of the Decade' in 1991, Grant has no regrets about making it, though rather more because of the work the film brought~ any artistic pride. "At the premiere of Hudson Hswke - which was an absolute funeral Robert Altman was sitting behind me, and he tapped me on the shoulder and said 'What are you doing next month?' Thafs how I got the part of the screenwriter in The Player." During the rest of the 1980's and the earty 90's Richard E. spent most of his acting time in Hollywood, a testament to the then dire state of the British film Industry. He feels mor~ confident about the industry In 1998. "There's been a complete revival and renaissance of the British film industry which means lt's possible to work in England rather than go to America to get work "lt's the best its ever been in the 16 years that I've lived in England. Ifs buoyant, and that's relative, but students can now come out of drama school and quite realistically say 'I want to pursue a career on the screen' rather than 10 years ago when there I was no industry support.• Richard E. attributes much of this change in fortune to a film starring one who shares his name; namely Hugh, who is apparently a good professional friend: "I think it's because after a diet of Merchant Ivory art-house pictures and then the gritty realism of working class films produced by Mike Leigh, Four Weddings and a Funeral presented England in a totally different way, a way that was attractive, sexy, rich looking and funny. I think it altered people's perception that it was not possible to make a British film where people didn't have rotten teeth and bad feet:' This improvement in the state of the industry in Britain in the late 1990's has seen Richard E. make a welcome return to our screens with Dennis Potter's final work Karaoke, the forthcoming BBC Sunday tea time ]oiliness The Scarlet Pimpernel, and, of course, in SpiceWorfd - The Movie. Grant has no qualms about having taken the role as the Spice Girls' manager, saying that he did it for the money and for his nine year old daughter "who would have killed me if I hadn't." He also claims that starring alongside the Spices was a most uplifting experience: 'Working with the Spice Girls was absolutely fantastic. Being fondled kissed and hugged by those five nubile young babes on a daily basis - I mean, I'd have paid themI"
O
n a lighter note it is Interesting that while the Character Withnail would imbibe all the Intoxicating substances he could lay his hand upon ('1 could take double anything you could, and run a milei. Richard E. is actually allergic to alcohol; ao when film's writer Bruce Robinson took Grant and eo- star Paul McGann on a terrific booze binge he was rather the worse for wear the next day, and ended up vomiting viOlently through the days shooting. In the film there is a classic sequence, when Withnail downs a can of lighter fluid because the pubs are 8hut. To add a touch of authentlcity to Granrs reaction, Bruoe Robinson filled the can with a potent vinegar which, as those who have seen the film will know, nearly blows the eyeballs out of Withnail's head. These scenes of debauched abandon have made Withnall and I a cult classic amongst scores of people who were far too young to know what purpose a Camberwell carrot served when the film was released. This produced a whole class of acolytes Who know the entire film by heart, and are able to quote vast chunks wb~n inebriated. But it seems that this doesn't bother
Richard E. in the least "There was one occasion in the South of France a couple of years ago in the middle of a completely remote village and somebody shouted out of a car at me, 'Scrubbers!', and I thought 'oh my God, there's no escape,' but it was good because they were pleased to see me, and they had remembered a line from the film. Although I did have to explain to the people that I was with that it was a term of affection rather than of abuse." He doesn't even feel that the film has stayed with him in any negative way. "Withnail And I has such an ongoing life because of video and the tenth anniversary re-release. People hold it in such continuing affection. If I had never worked since, or had only ever played drunken, out of work actors then maybe I would feel haunted by it, but I think its a good luck talisman that will nrol:'latllll be with me for the rest
seems that Grant appreciates being able to work in England again, away from the haos and craziness that is Hollywood. His self proclaimed outsiders perspective, gained from being an Englishman abroad. has made him aware of both- the pleasures and the pitfalls that lurk within the City. "Working there is absolutely Is absolutely fantastic" he admits. "fNery door seems to be open to you, you meet everybody and feel on top of the wor1d. The whole City Is geared specifically to making movies, the climate is incredible, the restaurants are absolutely amazing." he enthuses, "But you don't want to be there and unemployed, having to lie and SWf 'well I've got things in development.' "If you live In New York, London; any other major city, ifs not the raison d'Atre of the place so your whole life is not judged on whether you're working on the latest blockbuster·or not, or whether you look 25 even though you're actually hitting so.·
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lt seems that Richard E. has avoided Hollywood's dangers: the scandal, the adcllctlon to booze, drugs, gambling or compuislve . poodle preening. Instead he's been happily married for 15 years, and is trying to avoid having to spend too much time In Hollywood so that he can ~ with his daughter. He 81111 doesn't drink or smoke - the only exception perhaps being after an Oscar ceremony a taw years ago, the effects of which were well recorded In a documentary Grant made for British lV. He believes that the only wtJti to avoid the destructive power of Hollywood is "bv not living theru and by not being there and being unemployed; because being unemployed is Hke being a leper, walking
around wllh a andwlch board declaring 'I am a leper, I am unemployed - my failure Is catching, your Hmbe will drop off If you 8hak8 my hand'. So I tound that to get out is the best way of 88Ying my sanity.· Spencing Ume 8Wtli from lhe hectic shooting BChedule of Holywood M8 enabled Grant to conceutrate not only on his family life. but also on his own pet pnlfect, a ecreenplay he is wrlting for a film he plana 1o c1rect hlm8elf •lt deals prec:lsely With my colonial beckground", he axplalns; ~'ve always stuck With 'wtlte about what you know'. n because 1t was exactty at lhe cutp end of Empire in 1968, lt became one of the last gasps of the Raj days, al)elt In Africa. lt coincided with the hippie movement, Vietnam, draft escapees, there was a great bl-cullural change going on... Plus, what was happening In my family was very dramatic at the time. So all of Ihasa things combined can make a compelling comedy drama, which is what I'm writing." And so Ric:hatd E Grant zooms off for another hectic night promoting the new book, thundering around the aides of Englan(lin a
helicopter. But this legend of modem British cinema will surely not be absent from us for long, as he enjoys the prospect of more and more success with films, screenplays and Hollywood revelation thinly disguised as literature. In the words of Wilhnall, "Chin Chlnt•
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THE EVENT, WEDNESDAY, SEPTEMBER 30, 1998
• , THE EVENT, WEDNESDAY, ~PT~M·
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Dir: Brad Silberling 1998 Friday, October 2
our films and still going strong, the ageing Riggs (Mel Gibson) and Murtagh (Danny Glover) find themselves in the middle of another action packed adventure set to be far bigger and better than the rest. A thrilling, fiery and funny start promises more of what we have leant to love from these films, before the attention switches to the main focus of the movie: a Chinese ship packed with illegal . immigrants which 'coincidentally' crosses the detectives' path. Will an evil triad gang, speeding car chases and a never-ending stream of bullets prove too much for our heroes? Of course not. Desperate to 路keep face and defy what can only be called plain old
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age, Riggs and Murtagh take Kung Foo fighting to the absolute limit in stunt after stunt, leaving no room for realism. Despite the wrinkles, Gibson is on top form, and the strange yet absorbing partnership with Glover provides enough jokes to keep you laughing from start to finish. Old favourites Joe Pesci and Rene Russo put in good performances, while newcomer Chris Rock fits to perfection as Murtagh's surprise son-in-law and father of his grandchild. Humour, violence, unstoppable action, a hint of romance and lots of babies make Lethal Weapon 4 one to see. Go on, you'll love it ! Nikki Fitches
Los Angeles' pseudonym, City of Angels, has never been taken so literally as in this. image of a metropolis patrolled by a troop of angels in black trench coats. As a remake of Wim Wanders' 1987 film Wings Of Desire, the LA location detracts somewhat from the original, which targeted the Berlin divide, but the love interest in the movie suitably brings it into line with Hollywood style. The story centres on the debate about the worth of human experience, illustrated by the deliberation of Seth (Nicolas Cage), as to whether he should give up his angelic immortality to experience the physical sensations of humanity, made desirable by his love for Or Maggie Rice (Meg Ryan). Seth seeks advice from his fellow angels, and also Messinger, who had already taken the plunge into mortality. Needless to say, the angel decides to fall and lands in real life with a knock which is both literal and metaphorical. After struggling with tears, blood and discrimination, Seth is rewarded for his toil by receiving the love of Maggie. Unfortunately, tragedy awaits and he soon learns that life is as painful as it is pleasurable. Even so, he maintains that just one moment with his love was worth the heavy price he has to pay. The simple plot is punctuated with long episodes of striking cinematography which, though beautiful, can leave you giddy from swooping over the Los Angeles skyline. The soundtrack makes a valuable addition to the film with notable musical interludes including the appropriate Angel by Sarah McLachlan. Cage's performance is hauntingly empty and it falls to the supporting actors, particularly Dennis Franz, to hold the film together. With a few good one-liners and a great soundtrack, 'this film suffices as simple entertainment, though one is left with the feeling that much of the potential was left unrealized. Alison Bowditch
director's csool5
Forest Wbitaker Starting....O ""-= ut" - - - - - - - - From relatively humble beginnings as the son of an insurance salesman and a teacher in Longview, Texas, Forest earned himself a football scholarship to Pomona College, California. Time away from the football field was spent acting in College stage productions, where he was spotted by a Hollywood agent and was cast in a small role in the 1982 Comedy Fast Times at Ridgemont High.
THE EVENT, WEDNESDAY, SEPTEMBER 30, 1998
Whitaker has been concentrating on other projects for his multimedia company, including a new music label, Spirit Dance, and several TV offerings. However this year he has returned to directing, and his latest film, Hope Floats, starring Sandra Bullock, is released this month.
He
sa~s:
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Making the Break
"I'm an actor. And I guess I've done so many movies I've achieved some ldnd of high visibility. But a star? I guess I still think of myself as some kind of worker ant. n
After numerous small parts throughout the '80s, he landed his first leading role in Bird, Glint Eastwood's 1990 Biography' of Jazz legend Charlie "Bird" Parker, a performance which earned him the 'Best Actor' award at The Cannes Film Festival. His acting reputation continued to grow, particularly with films like The Crying Game. But over the next few years he moved towards directing after working with greats such as Martin Scorsese, Oliver Stone, Robert Altman and Barry Levinson. Having learned the trade on a few low budget projects, he achieved success with his first major effort, Strapped, for which he won the 'Best New Director' award at the Toronto Film FestivaL Box office success followed in 1995 with Waiting to Exhale, starring Whitney Houston and Angela Basset. But since then
Filmogre~hY-_______________ Acted: Fast Times at Ridgemont High (1982), Platoon (1986), The Colour Of Money (1986), Stakeout (1987), Good Morning Vietnam (1987), Bird (1990), A Rage in Harlem (1991), The Crying Game (1992), Smoke (1994), Pret a Porter(1994), Species (1995), Phenomenon (1996). Directed: Strapped (1993), Waiting to Exhale (1995), Hope Floats (1998), BlackJaq (1998).
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NiRhtlongUnfon City Conspiracy PC (min pI OOmhz, I 6mb ram) ~29.99
Out Now lt's not easy betng a pnvate investigator. QUite apart from the danger, all that Intense thinking certamly can't be good for you. And now, just because a bloke saved your life a few years ago, he expects you to help him out th a case for free. Th1s is the Situation that confronts Joshua Reev, a shaven-headed ex-army man who looks about as hard as a Waveney Terrace breeze block, and In Nightlong you have to direct Joshua in his quest to solve the case. A backdrop of 'the world gone mad' is VIrtually compulsory for these k1nd of games, and Nightlong is no exception. The year is 2099, technology has advanced to the point where even video timers work properly, and there IS a whole world of Cyberspace people can plug themselves in to and experience whatever they desire without moving from the comfort of their own armchairs. Meanwhile the multinational companies have long s1nce rendered the governments obsolete and the world IS now run by faceless bureacrats. Graphically, Nightlong is pleasmg but nothing particularly new. I! looks and plays distinctly like the old classics Another World and The Secret of Monkey Island, with 1tems to be collected and utilised at the right time and place in order that Joshua can progress in his mvestigations. Interspersed 1n the action are animated sequences 1n which you can admire the way the light gleams off Joshua's hairless pate as he chats With characters or exammes th1ngs more closely. All movements are controlled w1th the mouse, and while the lack of commands - there IS only really 'look at' and 'use' - nsks making the game qUite shallow, it does mean that there IS none of that scrambling about m the manual to make sure there's not some v1tal command you have m1ssed And the gameplay IS actually surpnsmgly good. If you hke adventure games then N1ghtlong, With three Cds worth of playt1me, IS likely to g1ve you hours of fun. But if you prefer m1ndless act1on go elsewhere, you may as well watch your screensaver. James Tspsfield
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Fe stival cheer Christmas is coming early this year with the arrival of the Norfolk and Norwich festiv al
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he Norfolk and Norw1ch festival returns for an 1ntensive two weeks with over 150 events taking place in and around the city of Norwich. The festival, which has a 250 year history and a solid tradition of attracting original and often exclusive contributions, has th1s year broadened its profile to produce one of its strongest line ups in recent years. Classical music, which makes up th e mainstay of the program, ranges from Baroque performances of Vivaldi and Purcell (Thursday, October 15) to brand new works, taking in Mozart, Ravel and a who le host of other composers on the way, thanks to a wide variety of quartets and orchestras that are travelling up the A 11 in the next cou ple of weeks. World Music and jazz is also apparent, and the excellent Courtney Pine leads th e way with a concert in St. Andrews Hall on Friday, October 9. Ray Davis , wh o, along with classical musician John Wvolric h, is composer in resi dence, represents pop with his solo set on Friday , October 16. Several stand up comics will be making appearances at th e festival, with televis ion's Paul Merton (Sunday, October 11), Ardal O'Hanlon (Friday, October 9), and All Garnet! - AKA Warren Mitchell - (Sunday October 18) all treading the boards at the Theatre Royal. Radio Four regula rs, the Nimo Twi ns, wh o have recently enjoyed sell out shows at thi s year's Edinburgh Fringe, are also worth checking out with two shows, Normal for Norfolk Ill: Return of the Jed (Saturday, October 10), and Charged and Sentenced (Thu rsday, October 15). Dance and cabaret are also represented , and a number of artistic workshops a scheduled . With a series of exhibitions and other events planned to take place throughout the Festival period the organises are hoping people will want to try something different of an evening instead of the usual trip down the pub. Tickets and information for the Norfolk & Norwich Festival, which runs from October 7 till 18, can be obtained on (01603) 764764.
FOLLOWING A RE-SHUFFLE WE NOW STOCK
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Open 9am - 5.30pm weekdays, 9am - 1pm Saturday THE EVENT, WEDNESDAY, SEPTEMBER 30, 1998
When presented with the latest anthology of work from UEA's Creative Writing MA to review it is inevitable to have certain expectations of the content. Given the reputation of the department, the work should be original, contemporary and of the highest quality. Thankfully, the MA students' latest volume Take 20 delivers on all these counts. There is a consistent freshness to all the work which gives the anthology a collective cohesion beyond the individual writers' varying styles and subject matter. The poetry is thoughtful and complex, but very accessible. From the powerfully delicate poems of Pele Cox to the vivid imagery of Sarah Corbel! there is something here for all tastes. The short prose pieces in Take 20 reveal not only a depth of talent but also a real breadth of talent. You can find modern 'street' writing here Noel Ponthieux's Recoil sticks in the memory like a dream you never quite wake up from finely crafted imagery and accomplished storytelling.
This is a book you will want to dip into again and again. While an occasional story might seem to lack a little climatic punch even these are so well written you will barely notice. In short, an excellent anthology and at £4.99 a good investment: there are writers here whose early works will be collectibles in the future.
Kristian Siefken
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The Event selects a handful of tasty tit-bits from the arts world for your delectation he death sen tence wh ich has been hanging over the head of Sal man Rushdi e since 1989 appears as th ough it could finally be lifted . The Ira nian govern ment have claimed that they are no longer financi ng the Fatwa against the controve rsial author, seem1ngly because they wa nt to improve diplomatic relations with the west, and although the sen tence has not been offi cia ll y withdrawn it is th e most positive development so far in the situation. But the nightmare is not over for Rushdie. Now he has to decide whether to risk coming out of hiding , or remain underground because of the danger of an extre mist group ta king th e matter into the1r own hands .. Another famous fi gure who has a dilemma on her hands at th e moment, albeit one that is not nearly as serious as the one facing Mr Rushdie, is Glenda Jackson MP . A fai led would-be Labour MP , Christopher Bryant , is writing an unofficial biography of th e form er
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No chance of Welsh being had up for Trades Descriptions on this one: as the title suggests, his new crime novel is stuffed with graphic sex, bodily functions and is laced from start to finish with a blue streak of profanity. Filth follows the alarmingly rapid physical and mental decline of Detective Sergeant Bruce Robinson of the Lothian Flying Squad, a man brutalised by working in homicide to the point where he hates and abuses both criminals and victims alike. Bruce's commentary on his life and work among the scumbags and slappers of Edinburgh (and that's just his colleagues) is caustically funny. Welsh's gift for capturing the broad Scottish accent and local lingo remains, thankfulty, undiminished by fame. Uke the product of an unholy alliance between Harvey Keitel and Rab C Nesbitt, Bruce is hardly an advert for the Force. Living on a diet of half· reheated junk food, booze, confiscated drugs and pornography, he spews -out an endless but frequently hilarious stream of bile about the city's inhabitants and what he would like to do to them should the opportunity arise. Unfortunately for them. it will. Bruce's investigation of the brutal murder of a young black journalist is hamstrung by office intrigues. But much more importantly, his guts are in uproar due to the growth of a talking tapeworm. Even worse, perhaps due to his reluctance to wash or do laundry (Freshers
actress and will not let Jackson see the text before it is published , suggestin g th at it will not be overly fl attering . Eve n worse for the MP is th e release date for the book: September 1999, when she could be stuck into her campaign to become Mayor of London. Someone who is receivmg more desirable attention at the momen t is Nicole Kidma n, who has taken time out from movies for a while to appea r in the play, Th e Blue Room. She plays five di fferent parts in the David Hare production being performed at the Don mar Theatre. London , and has been receiving rave rev1ews. Perhaps she got bored of wai ting for her latest screen outing , Eyes Wide Shut. to be released . Following Mrs Cruise 's acting and clothin g di recti ons (ie none) is the soon to be Mrs Major, Emma Noble . The former game show hostess and general it-girl who's engaged to John Major's son James , apparently made an unexpectedly good debut in the West End . Worringly, with Tara- Palmer and the other one Thingy-me-jig Beckwith both appearing in a forth co ming film adaptation of Oscar Wi lde's An Ideal Husband, th ere is a real dan ger th e it- girl gang might actu all y do something useful.
The aftermath of the First World war and the rise of Communism led to great discussion about different possible styles of government which could arise in the power vacuum created after the collapse of established systems. Huxleys take on this in his 1932 novel, Brave New World, was the creation of a form of UJopia where science bred people expressly suited to particular tasks: menial labour is undertaken by Epsilons, citizens engineered stupid enough not to get bored, while more complex roles are undertaken by the intelligent Alphas. Central to the success of A Bra ve New World is the idea that the state could manipulate hu mankind's
emotion. In Huxley's vision promiscuity is encouraged, and problems can be avoided using the mind drug Soma - in many ways an anticipation of the drug culture of the sixties. Huxley's genius lies in his ability to play with the mind of the reader, to make us unsure of whether the socially engineered Brave New World is a distopia or a utopia. Maybe the idea of having everyone exactly suited to their roles in society isn't such a bad one. Luke Turner
beware), he is also suffering from a maddeningly itchy and scrofulous scrotu m. Despite industrial strength body odour, Bruce successfully beds a series of women. But he is eagerly counting the days until his next trip to the red light district of Amsterdam where he 'shags for Scotland'. lt is hard to imagine a more offensive book coming out this or any other year, but for those who read and loved Trainspotting, the jet-black humour of Filth is a welcome return to form. Dark, disturbing, and riotously funny, but NOT suitable reading material should you sit next to a little old lady on the train.
Ben Farrlngton
THE EVENT, WEDNESDAY, SEPTEMBER 30, 1998
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or learn to cook
For those living by themselves for the first time eating can be a tricky business. We gave Paul Stokes a recipe to try for Tile Event
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7.30 Trip to the shop. This is probably the easiest part of the whole cooking experience, although not everything comes in consumer-friendly packages, and the vegetables are a particular challenge to the 'vacuum sealed for extra freshness' generation: care must be taken in choosing unblemished specimens. As for quantities - just guess!
8.30-9.30 Cooking! This is the messy bit - make sure the pan is hot enough and that you don't over do the oil as otherwise you'll turn the diners into lard-arses. Onions go in first, then carrots, courgettes, other assorted vegetables, and finally mushrooms which must always go in last or else you're liable to make a serious faux pas [n the vegetable department. Tlote ingredients have )o be moved periodically, but be careful not to make a total mess of the kitchen particularly if you 're hoping your guests will clean up in repayment for the meal - if it's too messy they won't.
7.45· 8.30 Chopping. This can be particularly laborious when cooking for a large number, and in this case it mear.t the guests, who'd already arrived, had to sit around and make small talk amongst themselves. Not only can this ntially lead to disagreements amongst the guests as their hunger forces them into slightly irritable moods, but it also makes the chef's ears burn as they are stuck out in the kitchen on their own. lt is therefore advisable to do all the preparation before the guests arrive, leaving you free to impress them with your ability to chat and cook at the same time.
9.30-9.45 Extra cooking. Forgot to !{oil the egg noodles, therefore had to leave the stir fry simmering while the noodles boiled. The already impatient guests are forced to wait e.ven longer, so it is probably a good idea to remember major ingredients and plan their inclusion well in advance. Mixing the noodles and stir fry proves to be challenging - more spillage experienced.
fl GUINNESS f' CARLING BLACK LABELfl (1 ~ >
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THE EVENT, WEDNESDAY, SEPTEMBER 30, 1998
9.45-10.00 Serving. Finally the dinner guests actually get to see the meal, although dishing it up proves to be slightly difficult as some get too many noodles, while others -don't get enough the two forks used for the task are blatantly not up to the job: a big spoon would be much more appropriate.
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10.00 onwards. Bon Appetite. The guests finally get to tuck in and despite the wait agree that it tastes OK. With wine and beer washing the meal down everyone manages to have a good time despite the meal finishing after 11. An early start wou ld probably have been wiser.
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The most comprehensive guide to what's on around Norwich this fortnight LAND GIRLS Anna Friel leaves Brookie behind in this Second World War drama centred around the love lives of three town girls sent to the country for a bit of muck spreading. 3/5 SAVING PRIVATE RYAN Feast your eyes on this Spielberg screen sensation and they're bound to come out weeping. The 'war is bad cinema' hasn't been this good for years. 5/5
A C MERCURY RISING Bruce Willis turns to childminding in this conspiracy flick where the government kill people who know their phone number. Nice people. THE TRUMAN SHOW Jim Carey learns to act seriously in this dark satire on American life and television.
LOCK STOCK AND TWO SMOKING BARRELS Vinnie Jones hangs up his boots and picks up a shotgun as he goes in for a bit of thuggery that won't get him a red card . Press Gang's Dexter Fletcher also stars having finally found an English accent. 4/5 DOCTOR DOOLITTLE The dogs find that sniffing each others' rear end is more interesting than talking to Eddie Murphy in this Beverley Hills Flop. 215
THE X-FILES: FIGHT THE FUTURE "it's another case for Mulder and Scully .. ." as the the TV series hits the big screen. The Truth is in a cinema near you. 4/5 THE LITTLE MERMAID Typical Disney makeover for this aquatic fairy tale about love between a man and a fishy lady. LOST IN SPACE Listen very carefully. Some people , right, a~e zooming around the cosmos, ok, and are a bit disorientated. Got it? 3/5 THE HORSE WHISPERER Robert Redford murmurs sweet nothings to some nervous nags. Not we don't mean Kristin Scott Thomas you cruel , cruel , people 215 ARMAGEDDON Doomed! We're all doomed! That is , we would be if it weren 't for good ol ' Brucie. What a star, he's really come on leaps and bounds since the generation game. 4/5
LIFE IS ALL YOU GET Monday, October 5 at 5.45pm, Tuesday October 6 and Wednesday October 7 at 8.15pm, Matinee on Tuesday October 6 at 2.30pm Bittersweet German comedy about forming a relationship in a modern city. A TASTE OF CHERRY Monday October 12 and Thursday, October 15, at 5.45pm and 8.15pm. Wednesday October 14 at 5.45pm Matinee Tuesday October 13 at 2.30pm. Iranian film which follows a Taxi driver on his quest to commit suicide. Won the Palme d'Or at Cannes in 1997
ODEON
THE LADY VANISHES Tuesday, October 13 at 8.15pm, Matinee on Thursday, October 15 at 2.30pm, 1Oth anniversary of this classic Hitchcock suspense.
THERE 'S SOMETHING ABOUT MARY Cameron Diaz is pursued by Matt Dillon and Ben Stiller in this politically incorrect comedy. 4/5
THE MAGIC FLUTE Wednesday October 14 at 8.15pm lngmar Bergmans take on the famous opera.
LETHAL WEAPON 4 The budget, stunts, and explosions increase as Mel Gibson's hairline recedes in the latest from this action/buddy movie series. 4/5 SAVING PRIVATE RYAN Spielberg does D-Day, but thankfully avoids the nauseating patriotism that plagues this genre. Really rather good . 5/5 THE HORSE WHISPERER Robert Redford murmurs sweet nothings to some nervous nags. Not we don't mean Kristin Scott Thomas you cruel, cruel, people 215 ANASTASIA The Russian revolution never seemed so fluffy in this cartoon re-telling of the Romanov who got away. FLUBBER A family film about green goo that lets Robin Williams bounce around like a Space Hopper.
GOOD WILL HUNTING School caretaker is really a genius, but will he get the girl? Shrink Robin Williams gives him a few tips. THE LITTLE MERMAID Typical Disney makeover for this aquatic fairy tale about love between a man and a fishy lady.
Wes Craven's re-creation of the horror genre is seen by many as a breath of fresh air, and a world apart form the traditionallackluster slasher flicks of the 80s. More importantly. it's a great laugh, that suceeds rn satinsing both teen-culutre and the horror industry itself, thanks to some great throwaway gags. With the sequel showing soon, this is a superb chance to catch up on film you've probably seen but will never forget. Great performances from Drew Barrymore, Courtney Cox and Neve Campbell.
THE GENERAL Friday ,October the 2, Saturday, October 3 at 5.45pm and 8.15pm. Monday, October the 5, 8.15pm. Tuesday, October 6-Thursday 8 at 5.45pm. Thursday, October the 8, at 2.30pm John Boorman won best director at Cannes 1998 for this in depth portrait of an Irish Master criminal. Starring Brendan Gleeson and Jon Voight.
THE APOSTLE Matinee Thursday, October 1 at 2.30 pm , 5.45pm Robert Duvall as a smarmy preacher who fails to turn the other cheek when he loses his job and his wife to another man . After calling down the power of the mighty baseball bat in vengeance, he attempts to redeem himself.
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SLIDING DOORS Thursday, October 1, at ?pm Gwyneth Paltrow's love life played out in two different directions. A surprisingly interesting film about missing a train . £2.50 CITY OF ANGELS Friday, October 2, at9pm Nicolas Cage and Meg Ryan in a film about Angels and mortality. Oh and some romance . £2.50 TWENTY FOUR/ SEVEN Tuesday October 6, at 9pm Bob Hoskins tries to run boxing club on a Nottingham council estate. No sign of Robin Hood. £2.50 THE CASTLE Thursday October 8, at ?pm Aussie comedy about a family of under-achievers. Not like Neighbours then. £2.50 POINT BLANK Friday October 9, at 9pm Stylish and thought-provoking thriller from John Boorman, with Lee Marvin as a violent killer. £2.50 TOY STORY and BABE Sunday October 11 at 7pm/8.30pm A harrowing evening's viewing with nightmarish living toys and a talking pig . £2.50 SCREAM Tuesday October 13, at 9pm Modem classic horror from Wes Craven. £2.50
THE EVENT, WEDNESDAY, SEPTEMBER 30, 1998
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TH E THATCHE R YEARS WATERFR ONT, CLUB 80s Nostalgia. In the Studio:Funky Groove Shack. £4/£3 .50/£3 WRAITH ZOOM , CLUB The best in goth . Grrr! 10pm-2am
September 30 NEW BREED ZOOM , CLUB Goth , indie, metal , and alternative. 10pm-2am £1.50 stud. before 11 / £ 2.50 after PURE SWING MANHATTANS, CLUB Uplifting swing for the people of Norwich. 9pm-2am FREE
CLUB FLINT RI CK'S PLACE , CLUB £2 before 11 pm GORGEOUS MANHATTANS , CLUB Happy House club night. 9pm-4am £5
SUPERFLY MOJO'S CLUB Feisty funk & ballistic beats. 10pm-2am £3
CLUB RETRO with THE BANDIT BEATLES UEA LCR , CLUB Groove on down to the sounds of the false lab four, plus hits of the 60's 70's and 80's. £5 MELTDOWN Saturday October 3 Regular indie, Britpop, and alternative dance club. In the Studio : General Zod's Disco from Uranus 9pm-2am £3 uea £4/ £3.50 cone. CWFS @ZOOM ZOOM , CLUB Uplifting house & garage . 10pm-3am £5
October 1 THE LCR DISCO UEA LCR , CLUB Th e usual cheesy, drunken night you always seem to end up at. £2 .50
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October 4 THE JESUS LIZARD+PULKAS WATERFRONT, GIG Full on Punk and Blues from Austin, Texas. £7
October 3
THE CONCEPT COMEDY CLUB London circuit comics, and all drinks £1 .50 . Tables can be reserved in advance with the club £4 , Doors 8.30pm
A NIGHT FOR DISCERN ING ADU LTS RI CK'S PLAC E, CLUB £ 3 with flyers before 11 pm .
CLUB CLASS ICS FROM TH E 70s, 80s & 90s RI CK'S PLACE , CLUB FREE all night with Stud.
MR SYDNEY FAT PAULY'S , GIG Jazz funk. £4
"?'tUuJe Ladies' & Gentlemen's Hairdressers ?I~ e4e
Student Discount Monday-Saturday
The students ' choice Best prices in town
Lads' wet cut - £5.00 Girls' wash , cut & blow dry - £8.95 Girls' wet cut - (from £7 .00) with UEAJNUS card
31 Oiford Place, Norwich ~ 01603 614985
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Appointment not necessary
THE EVENT, WEDNESDAY, SEPTEMBER 30, 1998
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CARWASH LIQUID, CLUB Fun ky 70s disco night. Wear yo ur flares and get in for free . Otherwise £3. UNDERGROUND MOJO'S, CLUB Lo- Fi and lndie night. 10pm -2am £3
SUNDAY SERVICE MANHATTANS, CLUB House night. 8pm-2am FREE
LIVE JAZZ YORK TAVERN , GIG FREE
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DANC E CLUB MANHATTANS, CLUB 9pm-4am £5
October 6 JANE SM ILEY LECTU RE THEATRE 1 , VISITING WRITER , ?pm Author of A Thousand Acres, Moo: a Novel , The All Time Travels and The adventures of Lilly Newton . £3.50/£4 STUDE NT NIG HT LIQUID, CLUB New cheap student night from Norwi ch's latest club Free before 11pm with UEA card
October 5 WILDE CLUB feat. FLAMING STARS FAT PAULY'S, GIG £3.50/£4
JAS PER CA RR OT Wednesday October 7th-Th ursday October 8th 7.30pm One of TV's most popular comics does his stuff in Norwich . £16.50/£14.50/£12.50/££.50
PRINC IPAL SKINNER 'S NIGHT CLASS WATERFRONT, CLUB The freshest student night in town . Cheap drinks. £1 Stud./ others £1 before 11 pm/ £2.50 after SANCTUARY IKON , CLUB Old favourite Student night. Chart downstairs, lndie/ Britpop upstairs . 9pm -2am £1 stud . before 11 / £2 stud . after
October 7 JASPER CARROT THEATRE ROYAL, COMED Y, 7.30pm
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~evenij See October 6
IKON , Club Old favourite Student night. Chart downstairs, lndie/ Britpop upstairs. 9pm-2am £1 stud. before 11 / £2 stud . after
SPARKLEHORSE +NEUTRAL MILK HOTEL WATERFRONT, GIG Country ramblings from Mark Linkous and friends . Radiohead like them though. £7 NEW BREED ZOOM , CLUB Goth , indie, metal , and alternative. 10pm-2am £1 .50 stud. before 11 / £ 2.50 after PURE SWING MANHATTANS, CLUB Uplifting swing for the people of Norwich . 9pm-2am FREE THE CONCEPT COMEDY CLUB London circu it comics, and all drinks £1 .50. Tables can be reserved in advance with the club. £4, Doors 8.30pm SUPERFLY MOJO'S CLUB Feisty funk & ballistic beats. 10pm-2am £3
October 8 BEGGARS BELIEF NORWICH PLAYHOUSE, DRAMA 7.30pm A collaboration between two highly regarded European companies, centres around two beggars and a puppet show £8/£6/£4
CARWASH LIQUID, CLUB Funky 70s disco night. Wear your flares and get in for free . Otherwise £3
October 10 JASPER CARROT THEATRE ROYAL, COMEDY See October 6.
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UNDERGROUND MOJO'S, CLUB Lo-Fi and lndie night. 10pm-2am £3
AMDRAM '98 MADDERMARKET, DRAMA A day long feast of short plays form amateur companies around Norfolk. A highlight from the festival Session ticket £3.50 Day ticket £5.00 NORMAL FOR NORFOLK Ill NORWICH PLAYHOUSE, COMEDY, 8.30pm The Nimo Twin's regional show. Cone. £2-£3
October 13
BJORN AGAIN UEA, LCR, GIG Another chance to see the ABBA tribute band. Saturday, October 10th £9.50
KENICKIE WATERFRONT, GIG lndie Pop ,glitter and handclaps from the Sunderland Lasses. £7.50
THE THATCHER YEARS 80s Nostalgia. In the Studio: Grooveadelia. £4/£3.50/£3
STUDENT NIGHT LIQUID, CLUB New cheap student night from Norwich's latest club Free before 11 pm with UEA card
TWISTED ZOOM, CLUB Hard house and techno A NIGHT FOR DISCERNING ADULTS RICK'S PLACE, CLUB £ 3 with flyers before 11 pm.
JASPER CARROT THEATRE ROYAL, COMEDY, 7.30pm See October 6.
ESTEEM MANHATTANS, CLUB Gay night. 9pm-2am £2 RICHARD Ill THEATRE ROYAL, DRAMA Robert Lindsey stars in this new RSC production . £3.30-£3.50
621155 The Loft 623559 629060 Manhattans 621541 Ikon Liquid 611113 632717 The Waterfront 622533 Mojos 630760 Zoom 767671 Concept 660288 Rick's Place 627478 Canary Cue Club 624677 llBC Cinema Cinema City 622047 621903 Odeon 620917 Maddermarket Norwich Arts Centre 660352 Norwich Playhouse 766466 Theatre Ro 630000 592272 UEA Studio t Theatre 629921 766129 505401 Norwich CasOe Museum 223624 0800 192192
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ROCKET FROM THE CRYPT WATERFRONT, GIG American Rock -with trumpets. £8 THE LCR DISCO UEA LCR, CLUB The usual cheesy drunken night you always end up at £2.50
October 11 /AN DURY AND THE BLOCKHEADS UEA, LCR, GIG The original Sex ,Drugs and Rock'n'Roll man returns to promote his new album, "Mr Love Pants". £10
Hilarious stand-up comedy
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ARAB STRAP WATERFRONT, GIG The Glaswegian Band , signed to the Chemikal Underground label , promote their recent album Philophobia. £6
October 9 ARDAL O'HANLON THEATRE ROYAL, COMEDY, 8.30pm Star of Father Ted presents Spinning Plates a fusion of off-beat stories and other· side splitling material. £13/£11 /£3
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PAUL MERTON THEATRE ROYAL, XOMEDY , 7.30pm The Have I Got News for You funny man with a new stand up show straight from Edinburgh. £3-£14.50 SUNDAY SERVICE MANHATTANS, CLUB House night. 8pm-2am FREE W/LDE CLUB feat. PENTHOUSE FAT PAULY'S, GIG £3.50/£4
COURTNEY PINE ST ANDREWS HALL, GIG , Bpm Cool jazz from one of England's leading jazzmen. Cone. tickets £2-£12
Theatre Street
Norwich NR2 1RL NORFOLK 41- NORW I (.t-f
NINJA TUNES WATERFRONT, CLUB Two rooms of Trip Hop, Jazz, Funk and Drum n' Bass 9pm-2am, £5adv more on the door CAMOUFLAGE MANHATTANS, CLUB Drum n' Bass club. 9pm-4am £5
October 12 PRINCIPAL SKINNER'S NIGHT CLASS WATERFRONT, CLUB The freshest student night in town . Cheap drinks. £1 Stud./ others £1 before 11 pm/ £2 .50 after SANCTUARY
THE EVENT, WEDNESDAY, SEPTEMBER 30, 1998 ,.
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. OCTOBER BARS NOW OPEN UNTI L 2am ON CLUB NIGHTS
Sat 3 club Retro with Bandit Beatles £5 Sat 1 0 Bjorn Again £9.50 Sun 11 lan Dury & The
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Blockheads £10 . Sat 17 Bernnard Butler
Sun 18 Motorhead £11 Wed 21 Mansun £9
Tue 27 Cowboy Junkies CANCELLED
NOVEMBER Fri s ·Del Amitri £13.50 Sat 7 club Drum & Bass with djs Fabio, Grooverider +Ray Keith w
Sun 14 Australian Pink Floyd Sat 14 Jools Holland £12.50 Wed 18 Dr John £9.50
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£7 ad v
PRINCIPAL SKINNER' NIGHT CLASS
1Opm-2am £1 (UE
CHAINS ON VELVET
Sat 31 Shed Seven
Fri 20 The Stranglers
MELTDOWN TH~ ~~U~ liZARD
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Sun 25 Terrorvision £9
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9.30pm-2am £3 (UE A) £4/3.50 cone
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THE THATCHER YEAR~
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Sat 21 lan Brown £11 Sun 29 Henry Rollins spoke n w o rd £8 SOLD OUT: Ash (Oct 8), Strereophonics (Oct 30), Reef (Nov 23)
£2 before 11pm/£2.50 after
~PARKlfHOR~f ROCKET FROM THE CRYPT
£8 adv
NINJA TUN~~dv
MELTDOWN
9.30pm-2am £3 (UEA) £4/ £3.50 cone
ARAB STRAP £6
PRINCIPAL SKINNER'S NIGHT CLASS
1Opm-2am £1 UEA)
CHECK OUT OUR NEW CLUB NIGHTS
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TICKETS FROM UNION FINANCE OFFICE