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<Ifie <Pofemic/_Jlpri{ 30, .1997 <1:.:ntertain1nent 5 Fine Arts are brought to life at ACC Kilmer divine in "The Saint" By' KENT ANDERSON NEWS EDITOR The only thing divine about "The Saint" is Val Kilmer. Adapted from the 60s TV se- ries starring Roger Moore, the movie is cinematic monotone, broken only by the charismatic presence of Kihp.er, who gets a chance to flex his acting muscles in the role of interna- tional thief Simon Templar. ing at times when we are ready to give up on the movie and fix our attention on finding the best way to exploit the awkward comfort of the theater seat. The CoJiegiate Singers (above) prepare for their May S, performance at a recent rehearsal in the Robert and Jacquelyn Granum Theater. The Jazz Ensemble (below) bring swing to the community on Wednesday, April 16, in a variety of musical styles. Templar is a man with no true identity, having been raised in an orphanage by a highly orthodox sect of catho- lic missionaries and given the name of a catholic saint, like every other child at the mis- sion, which he refuses to ac- knowledge. He escapes from the mission with a group of boys after a girl the young Templar_ is in love with falls to Kilmer, however, deserves healthy praise for his perfor- mance, which is the film's only saving grace. The identities Templar assumes require a va- riety of accents, from an Aus- tralian to a Russian, and an assortment of make-up changes, and Kilmer delivers the voices and presents the faces with flawless precision, making us won9-er why his ob- vious talent was wasted on this mediocrity. "The Saint" wants to be James Bond, but the movie fails in all the ways that James Bond succeeds. When there is action or suspense, it is usually low- key and short-lived: few of the her death. Just as she was about to kiss him, she is frightened by a couple of dogs and plummets from a rail- ing. Movie masterpieces off er classic entertainment Brought to light in this opening segment is Templar's skill in opening locks and his. penchant for roguery. While in the mission, Templar is fascinated by the stories in the "Knights Templars" magazine, from which he takes his name and his roman tic percep- tion of life and crime. BY KENT ANDERSON NEWS EDITOR Dressed in a white tuxedo, · Humphrey Bogart sits at a bar, a cigarette, gently burning, dangles from his fingers, as he stares off into a despondent void thinking about the beau- tiful woman that just walked out of his nomadic life. To many, that i; the image of a classic movie, but what is a dassic, really? A classic is the preeminent creation of its type, however, there are many types: action, comedy, drama ... etc. And each of these contain both good productions and flat out trash. But,_ surpassing all class dis- tinction, rising to a paramount level of artistic magnificence, ~ believe, is the "true" classic, the best of the best from· all genres. There are five films that stand as masterpieces, true clas- sics, absolutely unforgettable entertainment. 1 "Citizen Kane," Orson Welles' greatest acp.ievement, is 5. The gloomy splendor of the light-shadow world of the wealthy and powerful busi- nessman who falls into melan- choly is a poignant vision of ·humanreality,successandfail- ure, and what makes life im- portant. '.'The Maltese Falcon," one of Humphrey Bogart's most. famous films, is 4. The quick- witted, detective-world dia- logue keeps the twisting plot mm New Home Auto Program Multi-Policy Credit Discounts SINCE 1867 127 W River St•Alpena. Ml 49707 517) 356-9058 Fax: (517) 356-1694 1-800-33-SKIBA THOMAS L SKIBA unfurling with · gripping ex- citement, and Bogart's perfor- mance, as well as the acting of everyone in the film, set the tone for film nor for de- cades to come. "Henry V," Kenneth Branagh's lavish adaptation of the Shakespeare classic, is 3. The language of the movie is without a flaw, the direc- tion and acting surpass virtu- ally every movie made before it or.after. Emma Thompson is simply the embodiment of art- ful beauty, just as the movie is the embodiment of artful cin- ema. "'Lawrence of Arabia," the epic · story of British Colonel T.E. Lawrence's efforts to unify the Arab world during WWI,is 2. The most visually impres- sive film of its magnitude. With a cast that includes Omar Sharif, Peter O'Toole, and Alec Guiness, "Lawrence" is a spec- tacular monument to epic pro- duction. "Mr. Showbiz," a .movie critic on the internet who has a list of what he considers to be the 100 greatest films of all time, lists his number one, his choice for the greatest movie ever made, as-"Casablanca."' And I agree. MON., TUES., WED. 7:15, 9:20 IP<il THURS. 5:15, Lll.J 7:15, 9:20 Mc Hal ' (EQ] MON., TUES., 8 5 · WED. 7:00, NAVY THU:=:54:50, · 7:00, 9:05 r- - - - - - - c~j;"o-;"- - - - - - ..... - -, I ~ Free 32 oz. fou!1tain pop I :~ ~U'Z,~ I 4, with p$urc 2 hase 4 o1 9 3 item ~ i Ip _,__ ,. Pl :~ Personal Lunch Pizza ~: I 612 Ripley Blvd 6 GREAT STORES IN 1 1141 US 1.3 N I I 354-2198 Video Rental, Conve1uence Store, 354~2565 I \.. Self Serve Gas,'Deli, Pizzaria, Bakery I ------------..----------""' I Ingrid Bergman shines, Claude Raines is entertaining beyond belief, and Humphrey Bogart is at his stoic best. There has never been a film more cel- ebrated, and never a story more romantic. "Casablanca" is a colorful mosaic of tragedy, wit, emo- tion, and suspense illuminated by a plot that always preven you from seeing around 'the Casa6[anc.a Lawrenc.e ofYLra6ia Jfenry '1/ 'Ifie :Jvf aftese :Fa[con Citizen 'l(ane comer--you are always amazed by the unfolding events. The · actors do their jobs with quick- paced precision, which keeps the dialogue flowing while highlighting the intelligence of the script. The aforementioned films are true classics. They Gl.on't just seek to entertain us, they enlighten us as well. A movie can be techni- cally perfect, contain super performances, and be di- rected with the eye of a master artist, but that is not enough to make it a true clas- sic ._ The true classic is capable of appealing to every genera- tion that sets eyes on it. Also, there must be an ineffable qual- ity to the movie that takes us on a voyage through ourselves. Yes, a true classic must be pro- found. If you haven't seen the top five films, you should. Then, judge for yourself whether or not they are classics. And if you fin yourself lost in emo- tion as B gart tells a teary-eyed Bergma , "Here's looking at you kid " and then sends her away,d spitehisimmenselove for her, well, it's ok. You're suppos d to feel something at that mo ent. After all, you'll be watching a classk. This flashback is alluring and con- structed with a roman- tic hue justified by the content. Although Simon Templar is a rule-break- ing defiant at the orphanage, the treatment he and the others receive at the hands of the priests controlling it ~upports his actions, and his break for freedom. So we see Simon is a rogue, but he has a sense of honor, a romantic sense that embodies his motivations as a Don Juan anti-hero. Templar grows up into a shrewd, high-tech, and high- priced criminal who eludes en- emies on both sides of the law, and uses the names of Catholic saints for all of his aliases. His· unique talents for penetrating any existing security system and assuming anyone's iden- tity proviGles for all of "The Saint's" entertaining moments. Unfortunately, these brief flashes of slick movie-making are few and far between, com- tense moments are exploited for their true worth. Templar's initial burglary in the story, along with the fight that en- sues, is one of the notable ex- ceptions, but items worth not- ing are as rare as sushi in this film. None of the acting is bad, in fact, it's all. good, especially the supporting characters and Elizabeth Shue. Phillip Royce is a fine director, and the script, though containing a clumsy plot, is good. But the produc- ers of "The Saint" should have watched more James Bond movies, for they sorely lacked the inspiration to compose a cinematic action-thriller in the image, or even the shadow, of Bond. Imitation with flair would have been more forgivable than boredom with quality. 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