Entertainment Reviews

'Parallel Lives' takes lighthearted look at variety of womens' issues

By Jane Mohlsen

Scene Staff Writer

If you are intimidated by the concept of a feminist comedy, "Parallel Lives: The Kathy and Mo Show," opening this weekend, directed by Barbara M. Fraser, will change your mind.

Written by comediennes Kathy Najimy and Mo Gaffney, "Parallel Lives" is composed of a series of vignettes about women faced with various obstacles at different stages in their lives. It is filled with constant wit and never takes itself too seriously.

"Parallel Lives," an Off-Broadway hit in the late '80s and early '90s, is about seeing the world through the eyes of women. But its humor is not to be lost on men. Men in the audience will almost certainly find the play's comedy as appealing as women do.

The jokes in "Parallel Lives" poke fun at women and the women's movement itself almost as much as they do sex, religion and men.

Fraser hopes that people will not be put off by a play that promotes female empowerment.

"The great thing about this play is that it makes fun of anything and everything," she said.

The play's portrayals of women cover a broad spectrum. In one scene, a college student suppresses her beliefs, independence and appetite to impress her macho date. In another, two shocked middle-aged women watch a radical piece of feminist performance art for their women's studies class.

"Parallel Lives" addresses serious issues, such as eating disorders and abortion, as well as everyday dilemmas with the same humor and charm. It challenges the traditional roles of women, but does not offer any easy answers.

Although it was originally a two-woman show starring Najimy and Gaffney, this production features six Santa Clara actresses. Each woman takes on several characters, both female and male.

"Each time you see a woman playing a man, you are also seeing how a woman views a man," Fraser said.

She was looking to direct a piece that was experimental and progressive when she chose "Parallel Lives."

"It's a lot different than anything I've seen here before," said senior Sonja Trytko, the play's costume designer.

Fraser hopes that the audience will walk away from "Parallel Lives" having enjoyed a fun, comedic performance as well as gaining insight into the perspectives of women.

"Parallel Lives: The Kathy and Mo Show" opens Friday May 11 at 8 p.m. in the Fess Parker Theatre and runs through May 18. There will be talk-back sessions after the Tuesday, Wednesday, and Thursday performances. Tickets are $5 for students.

Unfaithful does not stray from original version

By Christopher DaCosta

Staff Writer

The obvious one-word title leaves Unfaithful vulnerable to preconceptions, yet nothing can prepare an audience for the grit and reality this film offers.

The plot revolves around a wife who cheats on her husband. Based on French director Claude Chabrol's 1960s movie La Femme Infid�le, Unfaithful combines a relatively simple plot with the complications of emotion while exploring the ponderous issues of virtue and morality.

Unfaithful is not another rehash of a movie-classic; instead actors Diane Lane, Richard Gere and Olivier Martinez bring this tale into the modern world with guidance from cinema-stylish director, Adrian Lyne.

Edward Sumner (Gere), the head of a successful freight-trucking company, and his socialite wife, Constance (Lane), live in the New York City suburbs with their son. Their idyllic New England-style home is complemented by a seemingly wholesome family life. The Sumner family's overwhelming sense of normalcy is sometimes interrupted by their quirks and unexpected humor. However, Lyne's uneventful introduction extends far too long, seriously endangering the audience's attention span. Fortunately, Lyne's artistic cinematography counters this, propelling the plot forward once the bustling New York City replaces the Sumner home setting.

While running errands in the city, Lane's character, Connie, is caught in a severe windstorm. Although this plot development provides visually pleasing sequences, the situation is laughable and pathetic. Instead of instilling pathos, harsh gale winds throwing a middle-aged housewife to the ground seem excessive and awkwardly melodramatic. Constance collides with an attractive French bookseller, Paul Martel (Martinez), beginning an innocent infatuation that explodes into sexually charged voracity that can only be fulfilled in his Soho apartment.

A former child star, Diane Lane proves that her acting is not ephemeral, as she claims the leading role in this thought-provoking suspense-drama. Lane brims with expression that runs the gamut of emotions. She accurately contrasts the industrious, fund-raising, cookie-baking mother, and the sensual, ravenous, adulterer � without making these personalities seem sharply disjointed. Constance slowly and realistically becomes consumed by her love affair with Martel, requiring a daily dose to feed her growing addiction. Her constant insecurity regarding their relationship and failure to resist temptations are convincing. Lane's acting technique allows her to effectively transition from an attentive mother into an absent-minded daydreamer, craving her next fix. Diane Lane's portrayal of Constance Sumner is three-dimensional � Constance's uncertainties, inadequacies, and dual lifestyle come alive, creating an intricate and troubled persona.

Adrian Lyne builds the framework for this multifaceted character depiction by visually layering scenes exposing the vast differences between her suburban and urban disposition. As the film progresses, Lyne uses camera positioning to represent the tension or frustration in a situation. The use of blurry, indistinguishable close-ups seem to be his favorite.

A muted palette of gray scenery, drab skies, and somewhat colorless clothing exemplify the mood Lyne is trying to convey. The grainy, sometimes dark and light surroundings are often devoid of bright colors, complimenting the difficulty Constance has choosing whether or not to continue her clandestine affair with Martel.

The serious and silver-haired Richard Gere blends naturally into the landscape the movie creates. As a secondary character, Gere's Edward Sumner is a character of substance and complexity. He is the wronged husband, the hardworking family man, the victim. Gere also presents a carefully created character and meticulous performance. Gere depicts inner-torment while he wrestles with his wife's infidelity.

Unfaithful is primarily concerned with the struggle of accepting and defining wrongdoing. The ethical and moralistic currents are prominent throughout the movie, affecting all characters. The burden of virtue is not only restricted to cheating spouses, the Sumners' eight year-old son, Charlie (Erik Per Sullivan), is constantly reminded of the rules he must follow be faithful towards. These include such trivial actions such as brushing his teeth, playing limited violent video-games, and watching a limited amount of television. Mirroring this triviality, young Charlie ingenuousness is often used as comic relief in the movie.

Much of Paul Martel's brashness and straight-forwardness also provides comic value. Martel is not represented as a typical home-wrecker and his function almost seems to be to tempt Constance. Olivier Martinez proves that as a newcomer to American movies, he is still able to keep up with heavyweights like Richard Gere. The French heartthrob is credible as a spontaneous seducer. Although his character does not seem to have too much depth, his confident and somewhat nonchalant portrayal proves this to be his breakthrough role. Martinez will follow other foreigners such as Penelope Cruz and Hugh Jackman on the road to acting success here.

Unfaithful's initially monotonous plot is overshadowed by Adrian Lyne's attention to specific filming techniques and its talented cast. Unfaithful presents a very different style in comparison to other recent blockbuster releases. The supremely realistic drama culminates in a climactic and unexpected conclusion that causes the audience to question their own actions. B+

The web-slinger crawls, jumps and wise-cracks his way into your heart

By Justin Manager

Staff Writer

In the annals of comic book history, few superheroes, if any, loom as largely as the Amazing Spider-Man does. Ever since his first appearance in Amazing Fantasy No. 15 in 1962, Spidey's exploits have earned Marvel Enterprises a substantial amount of revenue. Upon experiencing the new Spider-Man movie, it's easy to see why the web -slinging, wisecracking crime fighter crawls his way into the moviegoer's mind, heart and pocketbook.

The movie begins with high schooler Peter Parker (Tobey Maguire), the consummate nerd, chasing his school bus. He simultaneously informs the audience of his life-long, unrequited crush on "girl next door" Mary Jane Watson (Kirsten Dunst), who is currently involved with Flash Thompson, a knuckle-dragging troglodyte-jock. Parker represents the "science whiz:" dejected among his peers as a "loser," "geek" and all-around social outcast. Then one day our pitiful protagonist receives a bite from a genetically altered super spider, which grants him abilities no other human being has.

Soon after Parker is bitten, scientist Norman Osborne (Willem Dafoe) inhales a super-formula of his own design. This formula greatly increases his strength, speed, agility, healing ability and intelligence, while awakening within the scientist a maniacal psychotic alter ego dubbed "The Green Goblin." The movie then plays itself out, switching between Spider-Man's heroic exploits and Parker's struggle to win Mary Jane's heart.

Even for the most avid comic-book enthusiasts, there is always a danger when attempting to translate hand-drawn heroes onto the Silver Screen. With many previous comic book flicks, the effects have been so bad, the story so irredeemably altered and the acting so pathetic that not only did the movie tank at the box office, but die-hard fans of the series would temporarily boycott the movie-translated comic. I am happy to say, however, that this motion-picture incarnation of Spider-Man managed to avoid these pitfalls.

The Computer Graphic Imaging effects used to create the moving Spiderman and Green Goblin are slickly done � the feel of how both hero and villain move around is virtually the same as it is when one reads the inked-and-penciled version of their battles.

Spider-Man's costume was meticulously reproduced and is a spot-on match to his actual comic-life garb. Although the Goblin's armor was a deviation from his typical green rubber and purple cloth suit, it was a change for the better. The camera work is astounding, granting viewers the ultimate front-row seat (and occasional first-person perspective) of the action. The explosions in the movie are extremely gratifying, with the slow-motion explosion of one of the Green Goblin's pumpkin bombs in Spider-Man's face bordering on CGI poetry.

In regards to the story, I was thrilled to discover that Executive Producer Stan Lee (known as "Dad" to a vast majority of Marvel Characters, Spider-Man included) kept a tight creative reign on the story line. As a devoted fan of the series, I noticed only a few departures. Quite obviously, however, minor changes such as these do nothing to detract from the story.

Most refreshing about this particular comic book adaptation, however, was the admirable acting that made it come alive on screen. Although I've always inexplicably disliked Tobey Maguire as an actor, (The Cider House Rules, Pleasantville) he did a fantastic job portraying the nerdy, quiet Peter Parker. His dialogues with himself when trying to work up the nerve to talk to Mary Jane, his perpetual awkwardness when he actually manages to do so and his overall meekness make him easy to believe as an innocent good guy. Kirsten Dunst (Crazy/Beautiful, Bring It On) does an equally effective job portraying the pretty, lovable Mary Jane Watson.

The chemistry between the two is something the audience can feel, and one can't help but smile when the shy but genuinely good Parker finally gets much-deserved romantic reciprocation from his life-long crush. Willem Dafoe (The Boondock Saints, The English Patient) portrays both the Green Goblin and Norman Osborne with finesse, seamlessly shifting between a suave, brilliant scientist one moment and a cackling, utterly evil super-villain the next. His characterization provides just the right counter presence to Maguire's "shy but strong" performance.

The CGI effects, stunt choreography, explosions and fighting will easily satiate the action enthusiast's appetites, while the surprisingly believable and realistic journey Peter endures to ultimately win Mary Jane's heart will make the inner sap in all of us smile from ear to ear. Add to these the coming of age lessons Peter must learn and the heartache the characters endure, and clearly that Spider-Man is something special. Comic book expert or novice, there is something in Spider-Man for everyone. A

Allen's humor delights audiences

By Yashmine Eugenio

Staff Writer

A movie cranked up with hilarious one-liners, Hollywood Ending is a story about a two-time Oscar winning director whose neurotic disposition has made it impossible for anyone to work with him.

Brilliantly played by Woody Allen (who also wrote and directed the film), Val Waxman is on his way downhill, making deodorant commercials in Canada for nickels and dimes. His ex-wife, Ellie (Tea Leoni) throws him a lifeline, getting him a job directing a $60 million movie for her fianc�, slick Hollywood exec Hal Yeager (Treat Williams).

Unfortunately, before the movie begins production, Val goes psychosomatically blind. But since this is his last chance to make a comeback, he allows his agent Al (Mark Rydell) to persuade him to fake directing a movie he can't see.

There are complications though because he needed someone to lead him around but the production won't let Al into the set. One of the cameramen was also let in on the secret in order to be Val's "eyes." When that plan falls through they have no choice but to tell Ellie, who, as ex-wife, is obligated to help out.

Though the movie has an amusing premise, plausibility in the middle of the movie wears thin. Val talks to people without looking at them, not knowing where the speaker's voice is coming from.

Also, Allen's stuttering delivery of lines gets tiring after a while, though thankfully not enough to do serious damage.

Allen still manages a delightful performance, especially in the scene where sultry Tiffany Thiessen tries to seduce him. He mistakes her bosom for throw pillows and when asked why he walks like a blind man, holding on to the side of the room, he replies that when working he gets overanxious and "fondles the walls."

Also featured in the movie is Debra Messing (best known as Grace in TV show "Will and Grace") who plays Val's dim-witted live-in girlfriend who graciously accepts Val's rejection of her, asking only, "Am I still in the movie?"

Hollywood Ending is a satire of the movie business peppered with relationship jokes � "Where do marriages go? After a while, they just lay there �" � and sex jokes � "To me the best part of masturbation is afterward: the cuddling time."

And just when everything seems to be going wrong, remember the movie title. B+