I'm P uru and O bserver • F ebruary 28, 1996
P age B3
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ENTERTAINMENT
2 PAC
c ETI tc Ja rlia n i*
(iObseruer
T h e D u k e R e p o r t - . Parental Love Is A Film’s Waste
in L anita D i ke ______
"Before and After", is being pro
moted as a movie about how a single
event can rock a family from its foun
dation. However, the family in Bar-
bet Schroeder’s “Before and After”
act as if they are not related.
Meryl Streep and Liam Neeson
stars as the Ryans whose teenaged
son, Jacob (Edward Furlong), sud
denly disappear after his girlfriend is
brutally murdered. The Ryans try to
protect their son in different ways,
and for different reasons. As told by
little sister Judith (Julia Weldon),
“Before and After” fails to connect
with the audience.
Streep and Neeson are exciting,
competent actors. However, in this
movie they do not mix well. For this
lame screenplay the director could
have cast new talent Instead, “Be
fore and After" is overcast.
t asting Streep and Neeson is akin
to wearing a formal gown to Plaid
Pantry.
Streep and Neeson engage in a
IO
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“Giselle”
Continued from Metro
substance that characterizes Giselle
as a Romantic ballet, particularly the
female hierarchy as it is portrayed in
the second act of Giselle.
Giselle, a weak, sickly girl in the
Coralli/Perrot version, is portrayed
by Byrd as a strong-willed woman
I he work features an original elec
tronic score by Mio Morales, incor
porating themes from Adolphe
Adam’s score for Giselle. Life Situ
ations: Daydreams on Giselle pre
miered in 1995 at the Joyce Theater
in New York.
But f urlong plays Jacob so laid
back that you really do not care if he
is guilty or not. "Before and After”
does not live up to its promotion.
Read the a book by Rosellen Brown
to fully understand what a big let
down this movie is.
“YOU DON’T KNOW WHAT YOU’RE MISSING
IF YOU MAYWT SEEN JACKIE CHAN.”
4
634 N. Killingsworth (Across from P.C.C.)
It’s been said that what does not
kill you only makes you stronger.
There are few figures in the history
of popular culture for whom that is
as true as it is for 2Pac. Despite
controversy and conflict, this fiery
young man whose every act is
watched by those who want to de
stroy as well as those who seek to I
elevate, wields more power and
influence than ever. Still, after
nearly a year o f incarceration, 2Pac
has emerged not only with the rage
and pride he was born with intact
but with a new understanding as |
well.
On All Eyez On Me, his fourth I
solo album, the first on Death Row
Records, 2Pac is more than simply
revealing the hard reality of the
world. His recent travails have
also reawakened him to the hopes
of a world yet to be achieved, yet
to be created for and by those who
have no voice. Today, 2Pac is a
free man not just in body but in
spirit. “I just said what I wanted to
say,” says 2Pac o f Al I Eyez On Me,
and it liberated me. I let go of the |
anger.”
I he first double CD in the histo
ry of rap, All Eyez On Me exploded I
out of 2Pac almost immediately |
after he was released from prison.
According to him, none of it was I
even conceived until that moment.
Out on a Thursday, he was in the
studio that Saturday. By the end of
the weekend, he already had four j
songs completed.
From the reconciliation of “I I
Ain’t Mad At Cha” to “Life Goes |
On,” areminiscence offriends lost,
All Eyez On Me once again proves I
2Pac to be the master o f the rap |
ballad.
Disability to connect with audi-1
ences goes beyond his deeply funky
grooves. 2Pac’s fans see part of
themselves in him; they understand
him without judging him. As 2Pac
says in the title of another song on
All Eyez On Me, “Only God Can |
Judge Me.”
I he album which first introduced I
2Pac as a significant, explosive,
new voice on the scene was
2Pacalypse Now (1991). A gold-
seller. it reached ft 13 on the R&B |
chart while the singles “Trapped"
and “Brenda’s Got A Baby" were I
both Top 40 R&B hits and the latter |
a #3 rap hit.
Yes. all eyes are on 2Pac-and I
what they see is a man who has
done more than survive, though
that’s been difficult enough. They |
see a man who. when challenged,
just gets stronger every time.
pitiful sex scene that should have
remained on the cutting room floor.
I he only original acting is from
defense attorney Panos Demeris
(Alfred Molina) who makes the au
dience believe that he really wants to
protect Jacob.
ARLENE
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