2 Arts & Entertainment Section
A weekly guide to music, theater, art, movies and more, edited by Rebecca Wallace
BY EMMA TROTTER
Right: Musician Steve Cowan in his Mountain View home studio.
Below: This 1971 photo of musicians from The Ship shows, from left, Todd Bradshaw, Billy Panda, Steve Cowan, Mark Hamby and Albert Melshenker.
n the 1970s, a group of young men at the University of Illinois formed a folk-rock band. They played a series of campus gigs, toured the Midwest and cut a few albums before going their separate ways. Itâ€™s the same old story â€” except that after being apart for more than 30 years, they got the chance to do it again.
Local musician makes a reunion album â€” remotely â€” with former bandmates 35 years later
â€œPeople feel itâ€™s difficult to go back and attain anywhere near the quality you had before,â€? said Steve Cowan, who sang and played guitar with the band and is now a Mountain View software engineer. But thatâ€™s what The Ship got to do. Cowan and six other men, now all in their (continued on next page)
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ARE YOU A VICTIM?
HOUSING DISCRIMINATION Steve Cowan holds an original copy of his bandâ€™s 1972 album â€œThe Ship,â€? released by Elektra Records.
(continued from previous page)
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50s and 60s and living in various parts of the U.S., found their way back to the university in April 2008 for two heady days of rehearsal and a 20-song reunion show that made them wonder â€” could they get back together and do it all over again? Well, yes and no. The Ship released its fifth album, â€œAll Come Home,â€? last December, but none of the musicians â€” Cowan, James Barton, Todd Bradshaw, Rick Frank, Mark Hamby and Billy Panda â€” ever sat down in a studio together to record. Taking advantage of free recording software, e-mail and other technology only dreamed of during the bandâ€™s heyday, the musicians laid down 12 original tracks in just over a year, working together remotely. â€œWe probably sent 20 to 30 emails a day,â€? Cowan said. â€œI just didnâ€™t have that work ethic when I was 22.â€? Typically, the lead singer for a given song would record one vocal track and one instrumental track and send it to the group. Then, everyone would try to add something. The result is an album with a wide range of styles and personalities represented, something thatâ€™s been true since the beginning. â€œOne of the things that really distinguishes us is that we have so many different sounds,â€? Cowan said. Back in the â€˜70s, that meant â€œpeople couldnâ€™t take our songs and just immediately do them.â€? The first four songs on the album have four different lead singers. For the last song and title track, â€œAll Come Home,â€? all six album contributors sing in harmony. The percussion is synthesized, but all other instruments heard on the album, including flute, saxophone, electric bass and mandocello, were recorded by the band. Most songs have 15 to 20 tracks each, Cowan said. With so much variety, some conflict was inevitable. â€œWe would have disagreements, and we would just back away for a day or two,â€?
Cowan said. For Cowan, the hardest part was timing his recording so the neighbors opening their garage door couldnâ€™t be heard in the background, he said. â€œThat was my biggest fear.â€? Hamby, who now runs a brokerage firm in Seattle, pointed out another complication. â€œItâ€™s weird to put out songs weâ€™ve never really performed,â€? he said. As for reconnecting with the old music, Hamby said, â€œI got it out and thought, hey, some of this stuff is halfway decent.â€? Today, Hamby performs with a vintage party band, but he had lost touch with songwriting until the reunion. â€œWithout a group waiting for you, songwriting is a silly exercise,â€? he said. Back in the day, the bandâ€™s name came from its founding effort, a 1970 folk opera called â€œThe Shipâ€? that was the reason a handful of independent campus singers/songwriters got together. After working on those first songs for five straight months, the band started performing together in 1971. The shows â€œsold out like that,â€? Cowan said with a snap of his fingers. The band was able to charge $3 a ticket, which he said was â€œon the high end for concerts back then.â€? The band stood out for a few reasons, Cowan said. â€œWe had the really lush harmonies, we rehearsed a lot, we were all songwriters and we could all sing lead,â€? he said. Before long, The Ship had a recording contract with Elektra Records, which Cowan called â€œthe recording label for folk music.â€? From the Illinois cornfields, the group traveled to a studio on La Cienega Boulevard in Los Angeles, recording alongside some of their musical idols such as Bread. Cowan left the group in 1973, but a few, including original members Hamby and Panda, kept at it until 1977. In that period, the group released another album, recorded a handful of advertising jingles and played gigs around the Midwest. Times were lean.
â€œNext week we could be plumbers,â€? one band member was quoted as saying in a 1972 Chicago Tribune article. The story was headlined â€œThe Ship: Still no breeze, but still afloat.â€? Hamby remembers getting up early on Saturdays to hear the groupâ€™s Kelloggâ€™s jingle. â€œThen weâ€™d get royalty checks the next month and put food on the table,â€? he said. Then, in 1977, one member got a permanent job offer he couldnâ€™t pass up. â€œWe looked at each other and said, well, maybe the jig is up,â€? Hamby said. â€œMaybe it was time to think about what to do with at least part of the rest of our lives.â€? â€œIt was friendly,â€? he added. â€œWe said itâ€™s been great, see you whenever.â€? More than 30 years later, â€œApril On The Prairie,â€? the first song on the new album â€œAll Come Home,â€? reflects the groupâ€™s appreciation of its second chance. â€œThis is the story of our getting back together,â€? Cowan said. Later, â€œTake A Numberâ€? reminds listeners that everyoneâ€™s got problems. â€œItâ€™s the ultimate party tune,â€? Panda said. â€œIt sounds like we got drunk and went to a club and played.â€? Panda, who majored in music, now works as a studio musician in Nashville. â€œThe soft tissue eroded, but it was astonishing how easy it was to fall back into our old rhythms,â€? he said. â€œI hadnâ€™t talked to some of these guys since 1975, and it just didnâ€™t matter.â€? No touring or concerts are in the works, and the band hasnâ€™t discussed the possibility of another album, Cowan said. For now, â€œAll Come Homeâ€? is available for $12.97 through CD Baby. Thereâ€™s a link on the bandâ€™s website at theshipmusic. com, which also lists earlier members of the band who didnâ€™t take part in the reunion recording. â€œWeâ€™re not going to make our money back,â€? Cowan said, â€œbut thatâ€™s never been the purpose of it.â€? N
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From left, actors from the cast of â€œThe 39 Stepsâ€? are: Rebecca Dines, Mark Anderson Phillips, Dan Hiatt and Cassidy Brown.
A finely tuned blizzard TheatreWorksâ€™ whirlwind Hitchcock parody features crack comic timing and theatrical invention by Kevin Kirby
n 1935, a young Alfred Hitchcock gave the moviegoing public a taste of things to come with his adaptation of John Buchanâ€™s novel â€œThe 39 Steps.â€? With its reluctant though exceptionally dashing hero, its enigmatic women, its harrowing chase sequences and its razor-close escapes, â€œThe 39 Stepsâ€? embodied many of the elements that came to define the great directorâ€™s style. Seventy years later, English actor and playwright Patrick Barlow adapted the story yet again, this time for the stage, using the Hitchcock film as a springboard for an evening of comic mayhem. While sticking amazingly close to the filmâ€™s plot, Barlow has utterly subverted the spirit of the piece, creating a blazingly funny parody of the noir thriller genre. It is that version of â€œThe 39 Stepsâ€? that opened last weekend at TheatreWorks, in a production that is as close to perfect as anyone could wish. Directed by company founder Robert Kelley, the play is a finely tuned blizzard of crack comic timing and theatrical invention. Hitchcockâ€™s works have long been a favorite target of parodists. (Readers of a certain age may recall a â€œMonsterpiece Theaterâ€? segment on â€œSesame Streetâ€? in which Grover counts his way to the top of 39 stairs.) Perhaps this is because Hitchcockâ€™s films have burrowed so deeply into the popular consciousness. Cinematic tropes that he pioneered have since become so clichĂŠd that his films â€” seen for the first time by a modern audience â€” seem almost to parody themselves. With Patrick Barlowâ€™s adaptation, thereâ€™s no â€œalmostâ€? about it. Barlowâ€™s â€œ39 Stepsâ€? is a flat-out, noholds-barred spoof. But the genius of the piece lies in its unabashed theatricality. Most of the gags â€”
THEATER REVIEW with the exception of some clever references to other Hitchcock classics such as â€œNorth by Northwestâ€? and â€œStrangers on a Trainâ€? â€” are less about Hitchcockâ€™s film than they are about the sheer lunacy of presenting a fast-paced espionage thriller on a nearly bare stage with only four actors. Kelley has assembled an exceptional cast, led by Mark Anderson Phillips as Richard Hannay, a man capable of foiling an international spy ring with a combination of wits, pluck and a tobacco pipe concealed in his jacket pocket. Phillips is appropriately square-jawed and steelyeyed, and he maintains the believability of Hannayâ€™s perilous journey no matter how much zaniness may surround it. Playing multiple female roles is Rebecca Dines, an actress with great comic chops and a flair for the â€˜30s noir style. She appears first as the sultry Annabella Schmidt, a spy of eastern European descent who follows Hannay home from the theater and ends up dead in his living room, a knife in her back and a map of Scotland clutched in her hand. Later, she is Pamela, the classic headstrong Hitchcock blonde. Handcuffed to Hannay as he tries to elude trained killers and outsmart enemy agents, she is the perfect romantic foil. The cast is rounded out by Cassidy Brown and Dan Hiatt, who play all of the storyâ€™s remaining characters. These include a milkman, a taciturn crofter, a pair of ancient political boosters, a Scottish hotelier and his wife, any number of policemen (both genuine and counterfeit), and the mysterious Professor Jordan. Much of the showâ€™s humor derives
from the duoâ€™s breakneck character changes, as each dons a succession of hats, wigs, beards, coats, frocks and accents with dizzying speed. The playâ€™s most memorable bravura moment comes in Act I, when Brown and Hiatt play two constables, two newsboys and a pair of underwear salesmen â€” simultaneously, mind you â€” in a whirlwind of costume swaps, tricky stage choreography and nonstop jabber. But as brilliant as the performances are, the actors could neither sustain the humor nor create the necessary illusions (of speed, height, inclement weather, etc.) without some equally brilliant work from the showâ€™s designers and technical crew. Joe Rageyâ€™s set is a defunct vaudeville-era theater, in which steamer trunks become a train, a rolling costume rack becomes a full regimental bagpipe band, and a bit of stage fog stands in for a trackless moor. Costumer B. Modern has pared down the essence of each character to a bare minimum, allowing the actors to switch roles at (literally) the drop of a hat. Lighting designer Steven B. Mannshardt and sound designer Christopher Graham also make invaluable contributions, as sound effects, shifting lights and even shadow puppets do their part to bring this story to the stage. You donâ€™t need to be a Hitchcock fan to appreciate TheatreWorksâ€™ production of â€œThe 39 Steps.â€? Anyone with a love of theater and an appreciation for the absurd cannot help but enjoy the crackerjack performances and unfettered theatricality of this ingenious spoof. N What: â€œThe 39 Steps,â€? a play presented by TheatreWorks Where: Mountain View Center for the Performing Arts, 500 Castro St. When: Through Feb. 13, with shows Tuesdays and Wednesdays at 7:30 p.m., Thursdays and Fridays at 8 p.m., Saturdays at 2 and 8 p.m., and Sundays at 2 and 7 p.m. Cost: Tickets are $24-$79, with discounts for students and seniors. Info: Go to theatreworks.org or call 650-463-1960.
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Two Childrenâ€™s Concerts with Nancy Cassidy
The Palo Alto Womanâ€™s Club presents Nancy Cassidy in Concert 10:30 a.m. and 1:00 p.m. Saturday, February 5th Womanâ€™s Club of Palo Alto 475 Homer Avenue Downtown Palo Alto
Trish Tillman as Joy Gresham and Fred Sharkey as C.S. Lewis in â€œShadowlands.â€?
Proceeds will benefit local charities through the Philanthropy Committee of the Womanâ€™s Club
A story of the head and heart
Tickets are $10 per person and sold in advance To order tickets please send a check to Diana Wahler P.O. Box 1059, Palo Alto, CA 94302 by Feb. 2 Tickets will be held at Will Call the day of the concert
Palo Alto Players actors bring spirit to the â€˜Shadowlandsâ€™ tale of intellect and faith
Call 659-855-9700 for more information
by Chad Jones
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hen it comes right down to it, William Nicholsonâ€™s play â€œShadowlandsâ€? concerns the evolution of a lecture. We hear the acclaimed writer C.S. Lewis â€” yes, the Narnia guy â€” give the same lecture three times in the play, with each version varying slightly based on whatâ€™s going on in his personal life. The first time we hear him expound on why God, who is supposed to be loving and benevolent, allows mankind to suffer, Lewis is a complacent bachelor. He and his older brother, Warnie, live happily on their own in Oxford, and Lewis rules the intellectual roost among his Oxonian cronies. Lines like â€œPain is Godâ€™s megaphone to rouse a deaf worldâ€? and â€œSuffering is Godâ€™s love in actionâ€? ring like the words of a man who is offering hollow comfort and trying to sell a few books. The second time we hear the â€œpain is goodâ€? lecture, Lewis is, perhaps for the first time in his life, experiencing bone-deep pain. He realizes how incomplete and possibly false his words are. And the final time â€” at the end of the play, naturally â€” heâ€™s a different man. He has realized something altogether different about pain. So we learn something interesting in â€œShadowlands,â€? and that is never to believe a lecture until you know whatâ€™s going on in the speakerâ€™s love life. OK, that might not be entirely true, but thatâ€™s how Nicholsonâ€™s drama is shaped. He uses the lectures to show us Lewisâ€™ emotional growth, and itâ€™s effective to a degree, but itâ€™s a creaky structure on top of an already rather conventional play that trades heavily on Lewisâ€™ celebrity. Born as a British made-for-TV
THEATER REVIEW movie in 1985, the teleplay was turned by Nicholson into a stage play four years later. After runs in Londonâ€™s West End and on Broadway, the script hit the big screen with Anthony Hopkins as Lewis and Debra Winger as Joy Gresham, the Jewish-Communist-ChristianAmerican woman who changes his life. The most interesting thing about the play, which is back on stage courtesy of the Palo Alto Players, is the way it wrestles with the central idea of faith. From his cozy den, Lewis, played here with grounded believability by Fred Sharkey, seems to have it all figured out. He cranks out popular childrenâ€™s books and religious-themed treatises while sipping a â€œdecent claretâ€? and dressing in a silk writerâ€™s robe that would please Noel Coward. Lewis is an intellectual, and many of his views were just that: intellectual. Then he meets Gresham, played with admirable spark by Trish Tillman. Sheâ€™s essentially a fan who struck up an epistolary relationship with the famous writer before she showed up in Oxford for tea. With a sharp wit, a self-deprecating manner and her young son at her side, Joy ingratiates herself into
Lewisâ€™ life. The writerâ€™s musty Oxford comrades donâ€™t understand the hold she has on him, but almost to a man, these characters are superfluous to the play, so who cares what they think? The friendship between Joy and the man known to his friends as Jack deepens, but Act 1 ends with Joy having a pang of hip pain. Thatâ€™s like seeing a gun in the first act of an Ibsen play. You know that thing will be going off by the final curtain. Sure enough, just like Greta Garbo coughing in â€œCamille,â€? Joyâ€™s hip pain takes the story into an entirely different direction. The intellectual becomes real. Emotion replaces brainy discussion. And the play, in effect, actually begins. Under the direction of Marilyn Langbehn, who helmed last seasonâ€™s extraordinary â€œRabbit Hole,â€? lead actors Sharkey and Tillman carry the play and nearly succeed in besting its conventions. Their scenes together crackle and make you wish they were in a play that offered a few more surprises and a little more depth. Lewisâ€™ and Greshamâ€™s is an unconventional love story that cries out for a more unconventional telling. Nicholson never lets us forget that Lewis wrote â€œThe Lion, the Witch and the Wardrobe.â€? In fact, Patrick Kleinâ€™s set is dominated by a giant wardrobe. Greshamâ€™s son Douglas (the sympathetic Nathan Kaplan at last Sundayâ€™s matinee â€” Ryan Kain alternates in the role), who is working his way through Lewisâ€™ books, has several supposedly magical experiences in that wardrobe. But these flights of fancy never seem anything but inconsistent with the rather mundane tone of the rest of the play. â€œShadowlandsâ€? could use a dose of fancy, anything to liven up the scenes in a gentlemanâ€™s club (or maybe itâ€™s the Oxford faculty lounge) and Lewisâ€™ drab living room. In the end, though, we get an intermittently interesting script that asks some compelling questions about faith and how we wrestle with it and, sometimes, how we find ways to bend it and shape it into everyday life. Pain, Lewis learns with Greshamâ€™s help, is simply part of happiness. If youâ€™re happy now, expect the pain later. Itâ€™s a fascinating notion and one everyone can relate to â€” even if youâ€™re not a famous writer delivering a lecture. N What: â€œShadowlandsâ€? by William Nicholson, presented by Palo Alto Players Where: Lucie Stern Theatre, 1305 Middlefield Road, Palo Alto When: Through Feb. 6, with 8 p.m. shows Thursday through Saturday and 2:30 p.m. matinees on Sundays Cost: Tickets are $30 general, and $26 for seniors and students on Thursdays and Sundays. Info: Go to paplayers.org or call 650329-0891.
More theater online Dragon Productions also recently opened Steven Dietzâ€™s play â€œPrivate Eyesâ€? in Palo Alto. To read Jeanie K. Smithâ€™s review, which is expected to run in print in the Weekly next week, go to PaloAltoOnline. com and click on â€œPalo Alto Weeklyâ€? and then the Jan. 28 issue.
Palo Alto Historical Association presents a public program
â€œPaly High Football Over Timeâ€? Speaker: Earl Hansen !THLETIC $IRECTOR AND (EAD #OACH 0ALO !LTO (IGH 3CHOOL
Javier Bardem as a Barcelona bottom-feeder in â€œBiutiful.â€?
(Palo Alto Square) You know the old joke. Someone has hit what feels like rock bottom and asks, â€œHow could things possibly be any worse?â€? Cue the driving rain. Thatâ€™s about how it goes in â€œBiutiful,â€? the new film by Mexican director Alejandro GonzĂĄlez IĂąĂĄrritu, but donâ€™t expect to laugh. IĂąĂĄrrituâ€™s latest film ostensibly sets aside the â€œweâ€™re all connectedâ€? narratives of â€œAmores Perros,â€? â€œ21 Gramsâ€? and â€œBabelâ€? in favor of a focused character study, but itâ€™s still got that IĂąĂĄrritutiful stamp: His bleak films compose a sort of treasure hunt for hope, grace notes amid gravity. And they donâ€™t get much more grave than â€œBiutiful,â€? the story of a man who learns that terminal prostate cancer is only the beginning (and end) of his troubles. Barcelona bottom-feeder Uxbal (Javier Bardem) feeds his family with odd jobs. Heâ€™s a broker between drug dealers and corrupt cops, a trafficker of illegal immigrants to sweatshops, and a psychic ministering to the bereaved. (As in Clint Eastwoodâ€™s â€œHereafter,â€? weâ€™re to accept that Uxbalâ€™s power is real.) For Uxbal, itâ€™s all about his young children, Ana (Hanaa Bouchaib) and Mateo (Guillermo Estrella), or at least it becomes all about them as he comes to understand that his time is severely limited. Devastated that he will become only a distant memory to Ana and Mateo, Uxbal puts enormous pressure on himself to protect their future and preserve his legacy. He can take no comfort from the childrenâ€™s mother, Marambra (Maricel Ă lvarez), whose struggles with bipolar disorder and drug addiction have long since destroyed her marriage. Naturally, the screwturning pressures on Uxbal do
not create an environment conducive to success, and matters go from bad to worse on the way to the presumable worst of Uxbal succumbing to his disease. Ironically, there are fates worse than death for our tragic hero, who at least will find some peace in the end of misery. Audiences may feel the same way after the first 10 minutes of this 148-minute drama. Screenwriters IĂąĂĄrritu, Armando Bo and NicolĂĄs Giacobone offer no whiff of comic relief, and thereâ€™s not much fresh air in Rodrigo Prietoâ€™s perfectly sickly photography or the music of two-time Oscarwinning composer Gustavo Santaolalla. Though technically impeccable, â€œBiutifulâ€? improbably turns Barcelona into a previously unknown circle of hell. Most damagingly, â€œBiutifulâ€? doesnâ€™t seem to have much to say about all this sadness, except that death, like love, makes us want to be better people. Certainly this is a meal weâ€™ve swallowed before, and IĂąĂĄrrituâ€™s observations donâ€™t bring much to the table. So why (oh why) would anyone want to take this two-and-a-half-hour tour of torment? The sole compelling reason for non-masochists is to revel in the fine acting of Javier Bardem, who gives an unimpeachably searing performance as a man whoâ€™s as unhappy as this film will make audiences. (But they may prefer to rent Bardemâ€™s superior â€œThe Sea Inside.â€?) Beyond that, I can only say that biuty is in the eye of the beholder. Rated R for disturbing images, language, some sexual content, nudity and drug use. Two hours, 28 minutes. â€” Peter Canavese
(Century 16, Century 20) Fans of Jason Stathamâ€™s bone-crunching â€œTransporterâ€? franchise will get a kick out of this visceral and violent actioner. But a weak script, Stathamâ€™s wooden performance and a fumbled climax seriously deflate what could have been an explosive thriller. â€œThe Mechanicâ€? feels like it was built with spare parts â€” it has the body of a hot rod but the engine of a jalopy. Statham is â€œmechanicâ€? (i.e., assassin) Arthur Bishop, a stoic tough guy whose emotions range from serious to ... well, thatâ€™s about it. Arthurâ€™s well-planned executions have placed him at the top of the hit-man totem pole, above even his mentor, Harry McKenna (Donald Sutherland). When a hit is put out on Harry following a botched job, Arthur finds himself smack-dab in the middle of a sticky situation. And Harryâ€™s murder leaves Arthur wondering whom to trust. Arthur hooks up with Harryâ€™s son, Steve (Ben Foster), a misguided young man who drinks and smokes with wanton disregard for his liver and lungs. Arthur agrees to teach Steve his assassin ways so the wild-eyed youth can channel his pent-up anger â€” and dish out some vengeance on those responsible for his fatherâ€™s slaying. Together the two take on a handful of contract killings before setting their sights on Harryâ€™s former partner, Dean (Tony Goldwyn). Let the bullets fly. The spotty screenplay sways between intermittently clever dialogue and unbelievable plot points. The action scenes are edgy and intense, though the frenetic camerawork is often disorienting. Foster â€” still one of Hollywoodâ€™s best-kept secrets â€” easily steals the show with his magnetic performance, while Statham simply channels his Frank Martin character from the â€œTransporterâ€? films. Statham can throw a wheelkick better than anybody, but Iâ€™m starting to wonder if thatâ€™s about the extent of his thespian skills. Itâ€™s difficult to sympathize with a character who shows little to no emotion. Statham and Foster make a charismatic tandem that could have had crowds cheering. But the film really starts to devolve after the second act, and Stathamâ€™s Arthur is not a particularly likable or admirable protagonist. Although the action is fastpaced and well choreographed, (continued on next page)
Coach Hansen, State Champion vikings
Sunday, January 30, 2011, 2:00 p.m. Lucie Stern Community Center, 1305 MiddleďŹ eld Road, Palo Alto 2EFRESHMENTS s .O ADMISSION CHARGE
ACADEMY AWARD ÂŽ NOMINATIONS INCLUDING
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Movies (continued from previous page)
Fri & Sat 1/28-1.29 The Kings Speech 1:30, 4:20, 7:15, 10:00 Biutiful 1:15, 4:30, 8:00 Sun thru Thurs 1/30-2/3 The Kings Speech 1:30, 4:20, 7:15 Biutiful 1:15, 4:30, 8:00
the script and its under-developed characters leave much to be desired. Statham fans will enjoy
MODERN MASTERPIECE .â€? -Matt Holzman, NPR
lence throughout, language, some sexual content and nudity. 1 hour, 40 minutes.
Rated R for strong brutal vio-
â€” Tyler Hanley
Century 20: 11:35 a.m.; 1, 2:20, 3:40, 4:50, 6:15, 7:30, 8:55 & 10:15 p.m.
The Prisoner of Zenda (1937)
Stanford Theatre: Sat.-Mon. at 5:35 & 9:15 p.m.
Century 16: 11:35 a.m.; 2:25, 5:15, 8 & 10:25 p.m.
Barneyâ€™s Version (R) (((
Guild Theatre: 1, 4, 7 & 9:50 p.m.
Biutiful (R) ((1/2
Palo Alto Square: 1:15, 4:30 & 8 p.m.
Black Swan (R) (((
Century 16: 11:40 a.m.; 2:20, 5, 7:40 & 10:15 p.m. Century 20: 12:05, 2:45, 5:20, 8 & 10:35 p.m.
The Rite (PG-13) Century 16: 11:20 a.m.; 2:05, 4:50, 7:55 & 10:35 p.m. Century 20: Noon, 1:15, 2:40, 4:05, 5:25, 6:55, 8:05, 9:35 & 10:45 p.m. (Not Reviewed)
Blue Valentine (R) ((((
Aquarius Theatre: 2, 4:30, 7 & 9:30 p.m. Century 20: 11:20 a.m.; 2, 4:45, 7:35 & 10:20 p.m.
Season of the Witch (PG-13) (Not Reviewed)
Century 16: 11:45 a.m.; 4:45 & 9:55 p.m.
The Company Men (R) ((1/2 Century 16: 12:50, 4:10, 7:10 & 9:45 p.m. Century 20: 11:55 a.m.; 2:35, 5:05, 7:40 & 10:10 p.m.
The Social Network (PG-13) (((1/2
Aquarius Theatre: 2:30, 5:30 & 8:30 p.m.
Country Strong (PG-13) (Not Reviewed)
Century 20: 11:40 a.m.; 2:25, 5:10, 7:55 & 10:40 p.m.
Special Agent (1935)
Stanford Theatre: Fri. at 6 & 9 p.m.
Stanford Theatre: Fri. at 7:30 p.m.
Tangled (PG) (((
The Dilemma (PG-13) (Not Reviewed)
Century 16: 11:50 a.m.; 2:30, 5:10, 7:50 & 10:30 p.m. Century 20: 11:15 a.m.; 1:50, 4:25, 7:05 & 9:45 p.m.
Century 16: In 3D at 12:30, 3:30, 6:20 & 8:45 p.m. Century 20: 11:25 a.m.; 4:15 & 9:30 p.m.; In 3D at 1:50 & 7 p.m.
Tron: Legacy (PG) ((1/2
The Fighter (R) ((1/2
Century 16: 12:10, 3:20, 6:40 & 9:40 p.m. Century 20: 11:50 a.m.; 2:55, 5:35 & 8:25 p.m.
Century 16: In 3D at 12:15, 3:10, 6:30 & 9:20 p.m. Century 20: In 3D at 11:45 a.m.; 2:40, 5:30 & 8:30 p.m.
True Grit (PG-13) (((
From Prada to Nada (PG-13) (Not Reviewed)
Century 16: 11:20 a.m.; 1:55, 4:30, 7:30 & 10:10 p.m. Century 20: 11:45 a.m.; 1:10, 2:25, 3:45, 5:05, 6:20, 7:40, 8:50 & 10:20 p.m.
Century 16: 11:25 a.m.; 2, 4:40, 7:15 & 9:50 p.m. Century 20: 11:15 a.m.; 1:55, 4:35, 7:20 & 10 p.m.
The Way Back (PG-13) (Not Reviewed)
Century 16: 12:20, 3:40, 7 & 10 p.m.
The Ghost Ship (1943)
Stanford Theatre: Thu. at 6:10 & 8:50 p.m.
The Green Hornet (PG-13) (1/2
Century 16: Noon, 3, 6:10 & 9:10 p.m.; In 3D at 1, 4, 7:20 & 10:05 p.m. Century 20: 1:15, 4:05, 7 & 9:50 p.m.; In 3D at 11:30 a.m.; 2:15, 5, 7:50 & 10:45 p.m.
The Kingâ€™s Speech (R) (((1/2
Century 20: 11:20 a.m.; 2:10, 4:55, 7:45 & 10:25 p.m. Palo Alto Square: 1:30, 4:20, 7:15 & 10 p.m.
Century Cinema 16: 1500 N. Shoreline Blvd., Mountain View (800-326-3264) Century 20 Downtown: 825 Middlefield Road, Redwood City (800-326-3264)
BEST FOREIGN LANGUAGE FILM
This â€œMechanicâ€? could have been fixed with a few minor tweaks. Instead, it stalls.
MOVIE TIMES 127 Hours (R) (((
ACADEMY AWARD NOMINATIONS
seeing the chiseled actor knock people senseless (and many will appreciate seeing his several shirtless scenes), but Foster is the one really worth watching.
The Leopard Man (1943)
Stanford Theatre: Thu. at 7:30 p.m.
Little Fockers (PG-13) (Not Reviewed)
Century 16: 2:15 & 7:25 p.m.
The Mark of Zorro (1940)
Stanford Theatre: Sat.-Mon. at 7:30 p.m.; Sat. & Sun. also at 3:50 p.m.
The Mechanic (R) ((
Century 16: 12:05, 2:40, 5:05, 7:45 & 10:20 p.m. Century 20: 11:40 a.m.; 1:05, 2:15, 3:30, 4:40, 5:50, 7:15, 8:20, 9:40 & 10:40 p.m.
No Strings Attached (R)
Century 16: 11:30 a.m.; 2:10, 4:55, 7:35 & 10:25 p.m.
-Peter Travers, ROLLING STONE
( Skip it (( Some redeeming qualities ((( A good bet (((( Outstanding Aquarius: 430 Emerson St., Palo Alto (266-9260)
CinĂŠArts at Palo Alto Square: 3000 El Camino Real, Palo Alto (493-3456) Guild: 949 El Camino Real, Menlo Park (266-9260) Stanford: 221 University Ave., Palo Alto (324-3700) Internet address: For show times, plot synopses, trailers and more information about films playing, go to www.PaloAltoOnline.com.
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-90+(@-,)9<(9@!74 ;9(+0;065(3465.630(54<:0* Ethno-jazz band Boerte and masters of throat singing and the horse-head ďŹ ddle +PURLSZWPLS(\KP[VYP\T :@476:0(! ;PJRL[Z!Z[\KLU[Z >,+5,:+(@Âś:(;<9+(@-,)9<(9@Âś (9;:(5+*<3;<9,05 :(;<9+(@-,)9<(9@!74 *65;,4769(email@example.com( :;(5-69+:@47/65@69*/,:;9( Interdisciplinary symposia at Stanford Jindong Cai conducts works by Borodin, Rachmaninoff, and Mongolian University and U.C. Berkeley with guests and scholars from Mongolia and the composer Byambasuren Sharav United States, exploring art, music, +PURLSZWPLS(\KP[VYP\T poetry, and religion in todayâ€™s Mongolia. ;PJRL[Z!Z[\KLU[Z panasianmusicfestival.stanford.edu/ :[HUMVYKZ[\KLU[ZMYLL^P[O:<0+ Pre-concert discussion with Jindong Cai symposium.html
WINNER BEST ACTOR JAVIER BARDEM CANNES FILM FESTIVAL
and Byambasuren Sharav at 7:00 p.m. -90+(@-,)9<(9@!74 *96::*<99,5;: New music from Central and East Asia with soloists from Japan and Mongolia +PURLSZWPLS(\KP[VYP\T ;PJRL[Z!Z[\KLU[Z biutiful-themovie.com &$#$68$06=:14.9%.>:&%& '1:0)6;8*! %6 (
EXCLUSIVE ENGAGEMENT STARTS FRIDAY, JANUARY 28
Cinemark #%$! % $" 3000 El Camino 800/FANDANGO 914# %%##% #) $!% # #$ & !$$$ #$ &% #% $ '%$ &! $!%
CHECK LOCAL LISTINGS FOR THEATERS AND SHOWTIMES IN THEATERS, IN
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:(;<9+(@-,)9<(9@!74 (*,5;9(3(:0(5*,3,)9(;065 Dances from Uzbekistan, Tajikistan, Afghanistan, and Mongolia, and musicians from Mongolia and Shangri-la +PURLSZWPLS(\KP[VYP\T ;PJRL[Z!Z[\KLU[Z
;0*2,;:! Stanford Ticket OfďŹ ce: 650-725-2787 For more information: panasianmusicfestival.stanford.edu :765:69: *633()69(;69:!Stanford University Department of Music; OfďŹ ce of the Dean, Stanford University School of Humanities and Science; Stanford Institute for Creativity and the Arts (SiCa); the Center for East Asian Studies at Stanford (CEAS); the Division of International, Comparative, and Area Studies (ICA) at Stanford; the Stanford Center for Russian, East European, and Eurasian Studies (CREEES); the Department of Art and Art History at Stanford; the Albert Yu and Mary Bechmann Foundation; U.C. Berkeley International House, U.C. Berkeley Institute of East Asian Studies, U.C. Berkeley Center for Buddhist Studies, and U.C. Berkeley Department of Music
Buy 1 entree and get the 2nd one
with coupon (Dinner Only)
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