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Show .'Arts and Entertainmen 4., the forum World premiere piece by Utah composer Mary Shelleys Frankenstein, a horror movie with a brain receives standing ovation at the Utah Symphony The evening was conducted Hall became Local Henry composer Tromhis debuted Wolking bone Tales at the Utah Symphony Friday, Nov. 4 and Saturday, Nov. 5. The piece was featured in one of the Utah Symphonys Classical Series performances at Abravanel Hall. The performance included work from three composers: Joseph Haydn, Sergei Rachmaninoff and Henry Wolking. The evening started with Divertimento for Haydns Two Horns and Strings in major, Eine Abendmusik. Wolkings work was next, the symphony was accompanied by Larry Zalkinid, principal trombonist. Concluding was Rachmaninoffs Symphonic Dances, Op.45. could Trombone Tales as a characterized easily be symphony of all styles. Beginning with a din of music, all of which tried to achieve dominance over the other, resulted in somewhat of a jumble. The second movement seemed to show classical symphony, a strong and obvious demonstration of the symphonys capabilities to work in unison to create a sound greater than the sum of its parts. It then moved into a d and neutral very third movement, a daring fourth movement followed. Titled, Circus Scherzo: A Three Ring Circus, one could almost hear the elephants walking by and smell the freshly roasted peanuts as suddenly again. Literary fans will find Mary Shelleys Frankenstein to be only about 40 percent Mary Shelley. However, the changes are positive. Script writers Steph Lady and Frank Darabont have crafted a version that retains the basic character make-usettings and philosophical questions, but speeds up the timeline, improves the character of Victor, and makes the Monsters intellectual development more believable. Victor Frankenstein is a more decisive, more redeemable character in this version. He experiences no nervous breakdowns (which color his character in the book), and he behaves with the conviction of his actions. Unfortunately, it seems too much to ask that he lighten-u- p a bit. As director, Branagh brings an intensity to the movie not found in the book. At times the pace is frantic, and everyone will agree there is an overabundance of p, Rating: Just as Mary Shelleys novel, Frankenstein, is a horror story that is more philosophical than frightening, Kenneth Branaghs Mary Shelleys Frankenstein is the thinking persons horror movie. Director and actor Kenneth Branagh adds abundant gore and much needed suspense to Shelleys 'cerebral tale of Victor Frankenstein and comes away with an intellectually engaging, but not terribly frightening, horror movie. Kenneth Branagh plays an obsessive Victor amazingly Frankenstein, who endeavors to create a living being from dead tissue. He wants to make a human being that is stronger, quicker, more durable and smarter than a real human; in version of short, an the Six Million Dollar Man. Of course, he is successful. Unfortunately, Victor is not successful in dealing toward his creation after the fact. He fails to realize the enormity of his actions until it is too late (What have I done?!). Therein lies the crux of the tale: can humans be responsible enough to alter the course of life and death? Believing the Monster to be dead, Victor attempts to put his own life in order again. Mean 18th-centu- spinning, phy. While the film remains engaging from beginning to end, it does seem to be in too much of a hurry. Shelleys Frankenstein is a leisurely-pace- d gothic romance. In Branaghs version, everyone is constantly hurrying for some reason. The speed of movies in the 1990s may be too ry fast for an 18th well-playe- century gothic romance. As a historical Film, . E-fl- at cinematogra- non-sto- p Mary Shelleys Frankenstein truly shines. Branagh obviously enjoyed making a film that is set in the late 1700s. He makes wonderful use of music, dress and medieval architecture, while commenting on the intellectual curiosity of the time. The cast is generally quite convincing, the stand-out- s being Carter Helena Bonham Branagh, as Elizabeth, and a brooding John Cleese as Professor Waldman. The most riveting frightening perfor- v WEEKLY SECURITY REPORT The following is a listing of incidents that occurred on campus and were reported to the Security . to Department for the period of No incidents were reported. 11-09-9- 94 Janay a Hawkins Forum Staff Writer by I Security tips: When parking Always lock your car and remove the keysl Lock all your valuables in the trunk, or leave them at home. ; ; Park near a light if youll return to your car in the dark. . Check the back seat before getting into your car to be sure no ones inside. Once inside,, lock the : doors. 573-048- 6, i ? off-camp- us , SecuritySafety Department Dedicated to protecting our campus community 'it v vK',ta S Vnl v Mti f, i saA . f. s v A f'v v , and frightened at by associate conductor Robert Henderson. Three perfor- mances were available to the public, two on Friday and one Saturday evening. Wolking was present to hear the product of his work at the Friday evening performance and was singled out of the audience by conductor and trombonist to receive a standing ovation. Wolking is chairman of jazz studies and professor of music at the University of Utah. He has had 37 jazz and chamber music compositions which have been recorded and played by symphonies in Utah, Baltimore, New Zealand, Nashville and Cincinnati, to name some. Wolking composed and dedicated the piece Trombone Tales to Zalkind. Zalkind came to the Utah Symphony in 1981 from the Long Beach Symphony. Previously he taught trombone at Michigans Albion College. While studying at USC, Zalkind was honored with the Robert Marsteller Outstanding Brass Player Award and the Coleman Chamber Music Sanderson Competitions Award. Zalkind also serves as a faculty member at the University of Utah. This performance is only one of many upcoming Utah Symphony Classical Series performances. There also are several Family Series and Chamber Series concerts scheduled for the upcoming months. gore, and a fair amount of graphic violence. It also remains quite suspenseful because of some plot twists that even Shelley fans may not see coming. However, despite the gore and suspense, this is not a scary movie. It is an 18th century romance at a frantic pace. Mary Shelleys Frankenstein is playing throughout Salt Lake City. Classical Vocal Music of India Comes to Westminster 5 4. An escort service is provided 24 hours-a-da- y for the safety of anyone walking on campus. By calling 500 (from an on campus phone) or an escort can be summoned to your location and will accompany you to any campus parking lot, residence hall or any convenient, close parking area. diversity, the fifth movement, Jazz: Child of SaturnDans Tune converted the big top to Bourbon Street as the orchestra became a modern jazz band. The conclusion moved from New Orleans to Mexico as the Salsa and Finale movement gave a very south of the border feel. After the last note was played, one felt as though returning from a musical trip around the world. Each movement in the piece took the best of several types of music and successfully blended them together for a musical treat. Rachmaninoffs three movement piece concluded the evening. With a thunderous first and final movement, the middle part seemed rather ordinary when lined up against the outstanding talent shown throughout the evening. The first movement grabbed attention with a booming beginning, then relaxed into a peaceful melody that captured the senses until startled by the powerful conclusion to the movement. Although the second movement was well played, it seemed average and almost boring. The music was entertaining, but failed to invoke any passion. In the third movement, the style of the first was resumed. The main difference between the two was that the last movement didnt give the long alluring grace period that the first did. After a strong assault on the senses, a quick few measures of more sedate music were played, allowing one to just catch up before the next powerful rumble of music. once; it is also due to the special effects. DeNiros Monster is the most horrific version yet, and the most true to the original. He is a patchwork of parts from dead humans, and that is exactly what he looks like. Mary Shelleys Frankenstein features a great deal of mance, of course, DeNiros as the Monster. This is due in large part to DeNiros por- y Showing great trayai of a being that is both is Robert Xi 11-03-- a sym- - Abravanel phonic big top. while, the Monster struggles with learning his place in the world, and he becomes increasingly embittered with his creator. Of course, the action ensues when Victor and the Monster meet Shawn Kuennen Forum Movie Critic by November 15, 1994 j j Hiro Chhatpar, sitar player and director of the Hiro Chhatpar Ensemble, will perform at Westminster College on Friday, Nov. 18 at 7:30 p.m. in the Jewett Center for Performing Arts. Chapter has performed internationally and has also studied classical vocal music of Indiahe has performed several vocal classical concerts in Bombay. Over the past 30 years, he has played the sitar in concert, studying first with Usted Abdul Haleem Jaffer - Khan in Bombay after becoming a disciple of the highly accom- plished Indian sitartist Pundit Kartik Kumar. Dana Tumpowsky, director of Westminster College Public Relations said, This concert expresses the diversity in a concert series which Westmister is proud to present to the public. Performing with Chhatpar are Kumar Shiralagi, Mark Watts, Vaishali Susheela Ogale, Narasimhan, and Mona Chhatpar. The concert is open to the public at no charge. . |