NOVEMBER 10, 2011 • VOL. 29, NO. 20
INSIDEBEAT THE WEEKLY ENTERTAINMENT MAGAZINE OF THE DAILY TARGUM
Commander-in-Chic The New Power Dressing
T• WALE IS E H R E W TED 3 • TO R A H C N U ROITFELD • E IN R A C YMOUS • N O N A • E AT OASIS UPD
Page 2 • Inside Beat
November 10, 2011
ART M ASON G ROSS S TUDENTS T AKE A C HANCE BY SASKIA KUSNECOV STAFF WRITER
What does it really mean to take a chance? Bachelor of Fine Arts candidates had to ask themselves this very question as they prepared artwork for this fall’s Undergraduate Annual gallery. The show is for BFA candidates getting ready for their senior thesis, although submissions were open to the entire school. “The theme came from an exhibition that is on at the [Jane Voorhees] Zimmerli [Art] Museum,” said Gary Beegan, the senior thesis director at Mason Gross School of the Arts. Last year the students were given the theme of water for this show based on an exhibit that was running at the Zimmerli focused on the same concept. This year, the gallery played off of the recent Fluxus exhibition,
pulling from its themes of chance and circumstance to give the artists a framework to work within. A total of 70 BFA candidates installed artworks in five rooms as a practice run for their spring thesis show, which they will curate on their own. The students had four hours to choose the art that would go into their respective rooms, based around different microthemes for each room. According to Beegan, it was supposed to give the artists insight in the curatorial aspects of a gallery show, such as making sure each piece did not distract from the other and organizing it in such a manner to maintain the overall theme. “I think the most important aspect of a piece in this show is to combine multiple media,” said Will Comer, a senior double majoring in Visual Art and Political Science. The featured artists
used a variety of traditional and unconventional media, presenting combinations like wood and helium balloons. The way each ar tist portrayed chance varied between literal to and conceptual, as some investigated the “chance” of their artistic process, chance circumstances in ever yday lives, as well as individual experiences with chance. Comer took the idea of chance and applied it to the actual process of his work, as he experimented with many different digital programs to produce a fortuitous image. Diana Maye Whitener, a fifth year painting major at Mason Gross and former galler y awardwinner, also approached chance through her process. “This piece is a synesthetic response, so it was taking a chance for me in that I just closed my eyes and
painted while listening to a piece of music.” The gallery-winning piece of the night was by Francesca Fiore, a senior double majoring in visual arts and English. The piece featured an oil painting of a girl’s naked back done on plexi-glass. Fiore surrounded her with ripped mattresses so that no matter the angle, the viewer would always be peering in on the girl. “Two years ago, I did a piece very similar to this,” she said, “I wanted to make it a very fleshy, intrusive experience for the viewer. I want the viewer to feel like there’s something violating about the experience.” Professors, faculty, students and artists all turned out to see what these students had to offer. To see what all the hype of chance is about, visit the gallery in Civic Square before the exhibit closes on Nov. 12.
EDITORIAL BOARD Z OË S ZATHMARY .................................................... EDITOR RYAN SURUJNATH.....................................................ASSOCIATE ASHLEY PARK...................................................ASSISTANT
EDITOR EDITOR
FREDDIE MORGAN............................................................................TV EDITOR EMILY GABRIELE.......................................................................MUSIC EDITOR HEATHER TEDESCO................................................................THEATER EDITOR ZOË SZATHMARY....................................................................FASHION EDITOR JILLIAN PASON..........................................................................COPY EDITOR KEITH FREEMAN.........................................................................PHOTO EDITOR ALEX NATANZON............................................................................FILM EDITOR JASON PEARL..............................................................................ONLINE EDITOR RYAN SURUJNATH...........................................................VIDEO GAMES EDITOR
THIS WEEK’S CONTRIBUTORS TO INSIDE BEAT : Spencer Blazak Joseph Brown Diana Cholankeril Christine Chunn Randi Gonnelli Saskia Kusnecov Divya Patibandla Cover Photo Courtesy of entertainmentrundown.com
COURTESY OF SASKIA KUSNECOV
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Inside Beat • Page 3
November 10, 2011
FASHION
OXFORD COMA BY DIVYA PATIBANDLA STAFF WRITER
Before you bid adieu to the fall season, be sure to get yourself a stylish pair of oxfords to ease your wardrobe’s transition into winter. The oxford, often worn formally by men, is quickly making its way into the closets of women as the menswear trend reaches new heights. Inside Beat takes a look at affordable alternatives to some celebrity favorites.
A classic brown leather oxford, worn by such personalities as Taylor Swift, is the way to go for a mainframe piece that will last through the different seasons. Pair with textured tights, a sweater dress and a side-pony for a coffee run between classes.
COURTESY OF MAGAZINE.MOTILO.COM
Eye On…Carine Roitfeld BY SASKIA KUSNECOV STAFF WRITER
With the release of her new book Irreverent and her resignation as editor of VOGUE Paris last Januar y, Carine Roitfeld and her legacy have been hot topics for those in the fashion world. The first major move Roitfeld made in fashion was in the ’90s. She styled an over tly sexual Gucci campaign with Tom Ford and Mario Testino. She was working in freelance styling for French ELLE magazine when Testino approached her to style some iconic nude photos for him — with the same eroticism that characterizes much of Roitfeld’s persona and influence. These photos caught the eye of Tom Ford, and by 2001 Carine was r unning ship at VOGUE Paris. She changed the VOGUE aesthetic from safe fashion to a bold and audacious ar t form. Along with the connections that Roitfeld made as a model and during her work as a freelance stylist, she brought a vision that redefined the way VOGUE Paris looked at ele-
gance and beauty. One aspect that bleeds into her work is mixing the chic with the mundane, like wearing kitchen gear with chic couture. Roitfeld’s provocative, controversial style encourages risk-taking and advocates for the idea that there can be beauty in the bizarre. After she resigned as editor from VOGUE Paris, she returned to the assiduous life of a freelance stylist and writer. She recently styled a campaign for Barney’s New York called “Carine’s World,” which celebrates the stimulating nature of her design through salient images. The campaign, shot by legendar y photographer Mario Sorrenti, features many famous fashion personalities, like Naomi Campbell. Roitfeld also had a hand in the latest October issue of W Magazine, as she helped pick and style r unway looks. The issue included a tenpage editorial of Roitfeld, where she posed seductively in haute couture by labels such as Valentino, Dior and Givenchy. This past October, the everbusy Roitfeld also published a book, Irreverent, which acts as
THESE SHOES BY CHRISTINE CHUNN STAFF WRITER
Over the past few years, leggings have hogged the spotlight while tights have faded into the backdrop. However, tights are currently making a comeback in a variety of colors, patterns and textures. Although leggings also come in similar designs, they tend to be flashy depending on the wearer's outfit. While a pair of floral leggings may make you appear childish, a pair of the same patterned tights will give you a classy feel. Tights are especially preferred if you want to avoid that “choppedoff” at the ankle look with your heels and flats. You may also want to consider shopping for tights if you're interested in fall's latest shoe trends. Menswear inspired shoes and suede flats are just two examples of what's in style right now. Below are some suggestions of tights paired with what's popular this season. If you’re going for the workplace look, Aqua’s “Boss” Loafer Pumps ($129) will give you a mature and feminine appearance with its classy design and four-and-a-
WOMEN’S XHILARATION SHARON OXFORDS, $19.99, TARGET.COM
a scrapbook through both the histor y of her tenure at VOGUE Paris and her friendships and professional relationships with major players in the fashion world. Its contents include 360 pages of photographs and torn pages from Roitfeld’s work since the 1990s. Irreverent also includes details of scandals during her time as editor of the magazine, such as the controversy sparked when she featured a spread of model Lara Stone in blackface in the 2009 October issue and the time when plus-sized Cr ystal Renn wore only a red trench coat. The self-ser ving nature of the book’s narratives and content illuminates the ver y essence of Roitfeld’s influence in VOGUE Paris in her decade of leadership: She did what she saw fit for the communication of fashion from industr y to ar t form. Irreverent sold out on Amazon within days of its release, but for anyone interested in how Carine Roitfeld’s daring risks in the tight-lipped world of Parisian fashion put VOGUE Paris on the map, keep an eye out for its return!
For downtown chic a la Sienna Miller, white oxfords are a perfect go to for those skinny jean days. The white will pop against a dark wash jean or even a cuffed boyfriend jean.
JEFFREY CAMPBELL ‘MILLER’ OXFORD $109.95, NORDSTROM.COM While keeping the rest of your outfit simple, stroll down the sidewalks in metallic oxfords and channel your inner Olivia Palermo. If you’re feeling daring, carry a large statement bag but stick to a soft neutral.
LEFT: METALLIC LAMÉ OXFORDS $24.80, FOREVER21.COM RIGHT: WANTED GRAHAM OXFORD $39.95, DSW.COM
ARE
TIGHT!
half inch heel. To add some color, pair these pumps with Urban Outfitter’s pine green opaque tights ($12). They will liven up your outfit without looking obnoxious – keep in mind that if you do choose to pair shoes with solid colored tights, keep the rest of your ensemble simple. For a formal or an everyday ensemble, team Corso Como’s suede “Fanned” Ballet Flats ($128.95) with Urban Outfitter’s black polka dot tights ($14). If polka dots aren’t your thing, a pair of sheer black tights will work just as well. The flats have gel-cushioned insoles to provide all-day comfort and are also available in black, grey and ginger. For a more daring duo, couple Seychelles’ Under Suspicion Oxfords ($120) in taupe with Look From London’s peacock feather tights ($29.99) in Persian indigo. The three-inch stacked heels will provide a nice lift without being overly strenuous on the calves. The taupe and indigo will contrast beautifully and people won’t be able to take their eyes off your legs. It’s all about balance; if you want to wear bold-colored shoes, wear subtle-colored tights.
Page 4• Inside Beat
November 10, 2011
THEATER
Sleep No More BY RANDI GONNELLI STAFF WRITER
Punchdrunk Theater Company| A COURTESY OF THE NEW YORK TIMES
Describing Sleep No More NYC to someone is similar to actually experiencing it; there’s a lot of fumbling around in the dark. Based loosely around Shakespeare’s Macbeth, Sleep No More is performed by Punchdrunk Theater Company at the lavish McKittrick Hotel in Chelsea. According to legend, the McKittrick Hotel was set to open in sometime in 1939. Unfortunately, the hotel on 27th Street never had the opportunity to flourish — it was sealed up and condemned within days due to the onset of World War II. From the beginning, hotel guests are completely disoriented. Everyone is led down a pitch-black hallway, through a swanky jazz lounge and into a small curtained-off room where hotel attendants hand out white Venetian-style masks to don. Guests are then ushered into an elevator and ordered not to speak once let out onto the floor until the performance has concluded. Upon leaving the elevator doors, guests are thrust into a surreal world of meticulously organized chaos and eerie mystery. Talented actors (only recognizable by their lack of masks) run amok through the halls, pausing in certain rooms to act out scenes. Unlike most Shakespeare productions, lines are largely muted forcing viewers to interpret the story line (which seems anything but linear) through movement and dance. The beauty of this interactive atmosphere is that there truly is no such thing as being “too close.” Guests
can perch themselves on couches as actors stage an encounter merely inches away. Actors go about their business as if the audience does not exist, but in rare instances, a connection is made between the two parties, and a moment is shared. A constant sexual air hangs over the entire experience: sultry glances and longing looks are cast every which way, sometimes in the direction of fortunate bystanders. Guests travel back through time, wandering around the floors in a Hitchcockian dream. Rooms are decorated exquisitely and in such overwhelming detail that guests have no choice but to lose themselves. From handwritten letters signed by Macbeth to business cards dating back to 1927 and half-eaten meals in the dining room, excruciating attention is clearly put into creating the most sensory experience possible. Drawers are meant to be rummaged through, sweets in the candy store are meant to be eaten and music which fills the halls is meant to be danced to. It becomes all too easy to let oneself be swept up in the magic that is Sleep No More. The great thing about Sleep No More is that there is no right or wrong way to do it. Best of all, Sleep No More is something that you can see several times and have a uniquely mind-blowing experience with each visit. No prior knowledge of “The Scottish Play” is necessary to appreciate its haunting beauty — the only requirement is an open mind. Take a step out of your comfort zone in and into the McKittrick Hotel until Jan. 21. Just be sure to wear good walking shoes.
Inside Beat • Page 5
November 10, 2011
TV & VIDEOGAMES
Seriously...WEB EDITION BY FREDDIE MORGAN TV EDITOR
Has a friend ever recommended something to you that is so bizarre that it actually frightens you a little? That’s The Annoying Orange. The unbelievable: An anthropomorphic orange with a super-imposed cooked-toothed mouth and eyes badgers his fruit and vegetable friends in a popular YouTube series, The Annoying Orange. The culprit: Creator Dane Boedigheimer of YouTube comedy channel Daneboe. The low-down: Boedigheimer did not know that his new series would gain so much traction after releasing the first episode of The Annoying Orange in October of 2009. But when the first episode reached 11 million views on his channel, he knew he was going to have to make another channel dedicated solely to his orange (now called “realannoyingorange”). Orange resides atop a kitchen counter, where he is joined by his friends Pear, a Bartlett pear; Passion Fruit, voiced by YouTube vlogger iJustine; Midget Apple, an undersized Red Delicious; and Marshmallow. Orange aggravates his friends with rude jokes and childish noises, which are often so
COURTESY OF ANNOYINGORANGE.COM
infuriating that they order him to shut up. Many times, these friends meet a sudden and gruesome end, usually by evisceration with a chef’s knife; comically, Orange tries to warn them before it happens, but he is so annoying that no one ever listens. Boedigheimer has managed to keep this simple formula fresh for almost four full seasons. Guest appearances from popular YouTubers pique interest for Orange fans. Notable guests include three of Weezer’s members as objects on a party platter, with lead singer Rivers Cuomo appearing as a bonsai tree. Actor James Caan has also appeared as a jalapeno pepper. The unnecessar y fun facts: Boedigheimer has confirmed that he and production companies Gagfilms and The Collective have star ted producing six episodes for an Annoying Orange television series spinof f. According to the creator, the show contains the main characters as in the Internet series, but it takes place on a fruitvending car t rather than in the kitchen. It has not been confirmed on what channel it will air. A video game for IOS and Android devices has already been released, called Annoying Orange: Kitchen Carnage.
Uncharted 3: Drake’s Deception COURTESY OF GAMESPOT.COM
BY RYAN SURUJNATH ASSOCIATE EDITOR
This November will be a busy (and expensive) month for the gaming community with numerous noteworthy titles due out over a small span of time. Developer Naughty Dog has kicked off the month in style with Uncharted 3: Drake's Deception, a magnificent work of art that could arguably be considered the best title of the series, of the year and even of this console generation. Once again, Naughty Dog has created an intricately woven tale that is worthy of the finest Hollywood films. Uncharted 2 set the storytelling bar almost impossibly
Naughty Dog| A+
high, yet somehow, Uncharted 3 is just as, or perhaps even more invigorating, an experience as its predecessor. Uncharted 3 follows the wisecracking treasure hunter Nathan Drake as he searches for the legendary lost Arabian city called Iram of the Pillars, which T.E. Lawrence nicknamed "The Atlantis of the Sands." Despite being the third game of the franchise, Uncharted 3 manages to further develop Drake, as the game explores his relationship with his mentor, Victor "Sully" Sullivan. Spectacular voice acting performances only contribute to the game's many tense moments and help make the player feel emotionally vested in Drake as he is
faced with the tribulations of his latest adventure. “Cinematic” is perhaps the single most appropriate word to describe Uncharted 3. The trademarked cinematography is simply unmatched in any other game; it creates the feel of a blockbuster movie, yet the camera is hardly ever frustrating or finicky. The graphics are some of the prettiest on any system. Some of the smaller, subtler graphical details are the best: water ripples realistically, fire looks fantastic as it creeps up walls and sand blows through Nate's hair. Coupled with exotic, artistically rendered locales, Uncharted 3 is a visual feast to behold. Animation is also superior. Things
like Drake touching a wall as he passes or stumbling across the desert make the game feel real — not to mention the game’s very cool combat animations. Also notable is the game's powerful score, which is just as beautiful as the graphics and perfectly complements the story. Uncharted 3 plays very much like its predecessors. The one major change has been to melee combat, which has been expanded and improved upon. Whereas it once felt somewhat clumsy and stealth sequences felt forced in Uncharted 2, Drake's Deception turns hand-to-hand combat into a strength. Nate can now counterattack and throw enemies and stealth has become a much more viable op-
tion. The gunplay and platforming remain relatively unchanged, however there are a few relatively minor problems. As was the case in Uncharted 2, platforming is too linear: while scaling an obstacle, the game only allows players to follow a single defined path rather than afford them a little room for creativity. The AI suffers from occasional lapses, with enemies displaying a tendency to inexplicably leave cover in the middle of firefights. Despite these small criticisms, Uncharted 3 is a very polished experience. It is difficult to definitively say whether Drake's Deception is better than Uncharted 2. It is certainly every bit as good, and that ought to be enough reason to get it.
The Sartorial Candidates The Tuesday after the first Monday of November always means Election Day. While candidates may have already found out if they won or lost , the issue of style versus substance remains. Inside Beat investigates the new way of power dressing and the mania surrounding it. By Zoë Szathmary, Editor Like it or not, the clothes we wear every day send distinct messages to strangers. No one understands this better than politicians, who spend millions of dollars on image-enhancing campaigns meant to gain voters. While clothing choices may not be the first topic discussed on The Billy O’Reilly Show or Anderson Cooper 360, fashion undoubtedly marks politicians and diplomats. Think back to the 2008 election, in which Democrat Barack Obama won the presidency. According to The New York Times, the highest-paid person on Republican rival John McCain’s staff for the first half of October was Amy Strozzi, Sarah Palin’s makeup artist. A former employee of Dancing With the Stars, Strozzi made $22,800 in two weeks alone. Palin’s hair stylist also earned $10,000. While many poked fun at Palin and her political experience, including Saturday Night Live’s Tina Fey, she always looked good on high definition television. Being a stylish member of Washington, D.C., though, also has its drawbacks for men. Rep. Aaron Schock, a Republican from Illinois, has been featured in photo shoots for multiple magazines. With his toned body and boyish looks, it’s been difficult for many to take him seriously. In response to his shirtless photos for Men’s Health this past June, the Democratic Congressional Campaign Committee (DCCC) announced, “As Americans continue to sour on the Republicans’ extreme, partisan plan to end Medicare, Representative Aaron Schock (IL-18) employed an unusual tactic to distract from his vote. Schock took to the cover of Men’s Health where he exposed everything but his drastic plans to end Medicare.” Ouch. Of course, First Lady Michelle Obama is often mentioned in fashion magazines and talk shows as being an example of tasteful, 21stcentury American fashion. A fan
of Jason Wu, Prabal Gurung and J. Mendel, her appearance on the cover of VOGUE Magazine cemented her status as the “First Lady of American fashion.” Many,
Givhan, a Pulitzer Prize-winning Washington fashion reporter for Newsweek, has attacked the First Lady’s ensembles. Wearing shorts on a First Family vacation
COURTESY OF GQ.COM
including VOGUE editor-in-chief Anna Wintour, count themselves among her admirers. Obama, though, faces constant pressure from the media…including over her attire. Robin
was deemed “common.” Just last week Givhan critiqued Republican presidential candidate Herman Cain’s attire during a press conference, where he shot down claims of sexual harassment:
“There are those who believe a double-breasted suit conveys a certain elegance of a bygone era, calling to mind Humphrey Bogart in a white dinner jacket or Gianni
rapid decline of their 401(k)— Cain’s garb carries with it a sort of haughty swagger.” Haughty swagger, though, is something found in most Hollywood films that depict American politics. While most of these feature corruption and a cynical view of American society as major plot points, it’s hard to forget characters’ smart ensembles. Classics like The Manchurian Candidate and The Man Who Knew Too Much all featured luxe menswear. Even more recent political thrillers show people gathering behind national monuments to exchange secrets while sporting trench coats and bespoke suits. The Ides of March is one such example. Regardless, Givhan’s sharp criticism of the styles on parade in Washington reveals the enormous weight that image carries for public figures. Major news publications feature more fashion articles than ever before. For example, Newsweek recently covered upand-coming Muslim models who balance their faith with their professional lives. Like it or not, Rep. Aaron Schock politicians will always like to shop - they’re just like the rest of Agnelli with his dashing and us. At the end of the day, though, eclectic style…But in this more your decision in the voting booth casual age—when the ‘suits’ are should really come down to one feeling the rage of Occupy Wall thing: not the label on a politiStreet, the Tea Party and anyone cian’s power suit, but his or her who has helplessly watched the actual viewpoints and expertise.
Nancy Pelosi, Minority Leader of the House of Representatives, in vintage Thierry Mugler
COURTESY OF HUFFPOST.COM COURTESY OF OREGONLIVE.COM
Sarah Palin, former Alaska governor
COURTESY OF NEWSFLAVOR.COM
First Lady Michelle Obama with Carla Bruni, wife of French president Nicolas Sarkozy
Page 8• Inside Beat
November 10, 2011
FILM COURTESY OF ALLMOVIEPHOTO.COM
Tower Heist Brett Ratner | BBY DIANA M. CHOLANKERIL STAFF WRITER
Tower Heist is Hollywood’s newest release that hits close to home in these financially troubling times. Directed by Brett Ratner, also the producer of the Rush Hour series, this film should come as no surprise with its comedic punches and somewhat more serious undertones. The story opens up with the staff of a high-class apartment complex hard at work in New York City and the inside dealings of their richest resident and the owner of the complex, Arthur Shaw (Alan Alda, The Aviator) who has just been indicted on securities fraud. That’s not all: he was also handling the staff’s pension fund, which has now dwindled to a whopping zero dollars. So to return the charming favor, the head of staff and Shaw’s supposed confidante, Josh Kovacs, (Ben Stiller, Zoolander) heads an operation in which he plans to steal the suspected 20 million dollars in cash Shaw stowed away in case of escape. Of course, he cannot pull off this death-defying feat alone and recruits the rest of the Tower employees whose rap sheets combined have less street credit than that of Roger Rabbit. However, he tries to convince his ex-con childhood friend Slide (Eddie Murphy, Trading Places) to lend a crooked hand. So maybe this Robin Hood theme isn’t all that new, but the
characters that the screenwriters Ted Griffin (Ocean’s Eleven) and Jeff Nathanson (Catch Me If You Can) have created are extremely entertaining and highly individual, so much so that they make audiences want to stay tuned, despite the age-old plot. What’s funny is that this movie was originally created for an allblack cast in mind; Mar tin Lawrence was originally meant to play Stiller’s role. Naturally, there are some screenplay bumps along the way, in which Stiller delivers some uncomfortable lines which may have been better suited to the comedic timings of Mr. Lawrence. But let’s step away from Stiller for a moment and take a look at Eddie Murphy, who is surprisingly fresh-faced in this film. After spending years racking up unoriginal film roles in movies such as The Nutty Professor and Meet Dave, the man comes back into a role which we haven’t seen him fill since his action packed days of the ’80s. Let’s hope this new Murphy is here to stay. The pacing of Tower Heist isn’t at all perfect, but it definitely has a charm that makes it impossible to dislike. It’s a refreshingly fun movie that delivers comedic action scenes. Then again, at times the film drags and gets stale, but since the film spent five years in movie purgator y (Murphy originally pitched the idea in 2005) you have to applaud the fact that the movie came out fighting.
Classic Film: Brief Encounter (1945) BY SPENCER BLAZAK STAFF WRITER
English director David Lean is among the best of his kind. His work is reminiscent of a British mixture of the styles of Steven Spielberg and Francis Ford Coppola. His ability to craft grand, sweeping epics like Doctor Zhivago, The Bridge over the River Kwai and Lawrence of Arabia, that still manage to have riveting characters and driving performances, is unparalleled. The British Film Institute’s Top 100 Films list has five of Lean’s pictures in the top 11. What is the highest-ranked Lean movie on the list? Not his masterpiece Lawrence of Arabia, but instead a little film called Brief Encounter — the No. 2 British film of all time. But what is so special about it? Despite his affinity for epics, Lean made a few character dramas at the beginning of his career, with this one being the best. Since this was so low-budget, not requiring an expansive desert or a train to explode, Lean could put all his focus into directing the actors.
The story is simple — set in post-WWII in a never-been-sadder England, it starts off in a train station coffee shop. An obnoxious station conductor flirts with the owner, people come and go, and there is a morose-looking couple in the corner. The man gets up, puts a hand on the woman’s shoulder, and departs. The woman heads home. So far, she has said two words. Something is on her mind. As she sits on the train listening to her blowhard friend, Lean’s camera zooms in on her, and her inner monologue is narrated. She loves the COURTESY OF DVDBEAVER.COM man who has just left her. She is clearly distraught the whole way home, back to her family. As she sits by the fire with her husband, her inner monologue returns and she tells the story of the doctor she loves in an imaginary confession to her husband. Their love starts as a chance encounter, then another unplanned meeting and pretty soon, they have become good friends. The innocent infatuation provides the woman with a fantasy to escape from her monotonous life, but 45 minutes in, the doctor confesses his love, and manages to charm the same confession out of her. All continues, and they keep seeing each other, but they soon realize that their relationship can’t have any real future. Brief Encounter is heartbreakingly poetic from start to finish. It is enchanting yet as bleak as its landscape. In an age when the majority of romances are outlandish, star Ryan Reynolds or are just stupid, going onto the Instant Netflix library and watching this gem will be the best 66-year-old breath of fresh air you can find.
Inside Beat • Page 9
November 10, 2011
FILM COURTESY OF MOVIECOLLIDER.COM
Anonymous Roland Emmerich | B+
BY LISA-ANNA MIGLIORE STAFF WRITER
Roland Emmerich’s controversial film, Anonymous, has been received with skepticism from Shakespeare aficionados since its mainstream release on Oct. 28. Screenwriter John Orloff presents a political thriller, claiming that it was Edward de Vere, Earl of Oxford, who penned William Shakespeare’s plays. Though a lot of criticism has been directed toward various historical inaccuracies, few have paid attention to the overall presentation of the film. The film is magnificently engaging and aesthetically pleasing. Besides being a political COURTESY OF FILMOPHILIA.COM
thriller, Anonymous is a dramatic love story between Edward and Queen Elizabeth, an ardent and painful relationship that echoes something from a Greek tragedy. Anonymous serves as an enjoyable drama full of deception, love and murder, rather than a historically accurate exposé on the Bard. The film follows the plight of Edward de Vere (Rhys Ifans, Enduring Love), a man with a profound passion for playwright and poetry. Elizabeth (Vanessa Redgrave, Letters to Juliet), is genuinely enamored with these plays … as well as the “anonymous” writer. While two lovers’ affair was halted by William Cecil (David
Thewlis, Kingdom of Heaven) during their youth, far later de Vere discovers a way in which he can resurrect another one of his taboo loves. While attending a lowbrow theater in town, he finds a stand-in to sign and present his politically treasonous works to the public: William Shakespeare (Rafe Spall, One Day). To de Vere’s chagrin, his plan backfires when Shakespeare’s unabashed popularity proves that public applause will blindly overlook him as the true poet. Throughout the film de Vere strives to salvage the things closest to him, oust political infidels in the court and scour through harrowing baggage from his past
against the backdrop of the succession of Queen Elizabeth I and the Essex Rebellion against her. The exceptional performance of Rhys Ifans as de Vere is a highlight of the film; he depicts the character as a great intellectual whose main longing is to fulfill his private, radical desires. Ifans shifts between playing a proud and suave gentleman of the court and portraying a powerless victim. Juxtaposed with the witless and ungainly presentation of Shakespeare, de Vere appears a lovelorn genius who spends hours of ecstasy penning masterpieces. Ifans does a fantastic job winning audience members’ hearts to de Vere’s plight.
Anonymous richly evokes the London of Shakespeare’s time in both costume and mise en scene. However, if one is expecting a historical account of the real “Shakespeare,” he or she should look elsewhere. Incongruities such as Queen Elizabeth watching Hamlet (penned after her death) and Shakespeare’s supposed illiterateness (though he worked as an actor and needed to read scripts to perform) make one suspicious as to how accurate the rest of the screenplay is. That said, Anonymous presents a fantastically entertaining story and creates an intimate portrayal of 16th century London in all its muddiness and lustiness, both literal and allegorical.
Page 10 • Inside Beat
November 10, 2011
MUSIC
Florence + the Machine
PHOTOS COURTESY OF FLORENCEANDTHEMACHINE.NET
Ceremonials | ABY TAMMIE CHIOU STAFF WRITER
It’s gratifying to know that Florence + the Machine have been progressive with their own music. Injecting even more forceful, pounding drums, lead singer Florence Welch’s brand of grandiose chamber-pop carries over into the sophomore compilation, Ceremo-
nials. Haunting harps, whispering woodwinds and the signature birdlike whoops and cries give off equal measures of poise and wildness. In comparison with her debut album, Lungs, Welch wanders deeper into an abyss, navigating through revelations with more forwardness. While “Shake It Off,” the album’s first single, is filled with the same regal orchestral backdrop and ethereal vocals that launched the group into popular-
ity, the quality of the album doesn’t stop there. Ceremonials contains bright, warbling songs, yet deeper within the album lurks a more sinister side. A good example of this is “Seven Devils.” The track features wir y strings precariously floating on gloomy piano runs. Without having to raise her voice, Welch leaves the listener straining to hear ever y hazy, echoing whisper. An unexpected yet pleasant surprise can be found on the
second bonus disc in the song “Bedroom Hymns” — the track is explosive and electric. Containing a bass that pulsates with clicks and snaps, “Bedroom Hymns” builds up into a dizzying crescendo, leaving a fer vent mark on listeners’ ears. At the same time, one can’t forget that Welch owns an impressive set of pipes, showcased in her acoustic sets. Stripped of her regular bombastic backdrops, her voice carries through
and aptly demonstrates her songwriting talents. Songs like “Breaking Down” and “Never Let Me Go” are more moody than explorative, inducing a tepid feel compared to the rest of the album. Rather than being heart-pumping or soothing tracks, both songs lack the charm and quirkiness that defines Florence + the Machine — they’re forgettable. Still, Ceremonials turns out to be a fantastic progression from Lungs.
>>>>>WALE<<<<< Ambition | C BY JOSEPH BROWN STAFF WRITER
Wale puts together a rather lackluster follow up to his extremely solid debut album Attention Deficit with his Maybach Music release, Ambition. The appeal of Wale has always resided in the fact that he can bring the Washington, D.C., nightclub flavor to fans with his quick rhymes and upbeat songs. However, for some reason the tempo on this album is turned way down. Longtime fans should be aware that the high-energy rapper that captured their ears for years seems to only have met the criteria for a studio album. Fans beware; listen to Wale’s mixtape a little while longer. With the exception of songs such as “Slight Work,” featuring Big Sean and “Legendary,” most of the track list consists of slow rap and R&B mixtures that could hardly be representative of the rapping ability that Wale has shown since 2005. It’s obvious that he into the studio to make popular music, not “Wale-music”. Putting it simply: Wale should have gone harder! For listeners just scanning the record, there are a few catchy, typical, R&B songs that will passably capture attention. Tracks such as “White Linen” featuring Ne-Yo, “Sabotage” featuring Lloyd and, probably the best of this mediocre list, “Lotus Flower Bomb” featuring Miguel, are all slightly enjoyable. Other ar tist features include Kid Cudi, Rick Ross, Meek Mill, Sam Dew and Jeremih. Though this may seem like a nice line-up, most of the songs are unmemorable and hopefully do not foreshadow Wale’s future style for upcoming projects. The potential for Wale to be great is almost palpable in the album, but it falls short in almost every aspect. For fans that expect high-quality music from Wale, Ambition will not fulfill those expectations.
PHOTOS COURTESY OF SMALLZANDRASKIND.COM
Inside Beat • Page 11
November 10, 2011
MUSIC COURTESY OF ANYMORE.TV
FIRE AND GASOLINE
T HE G ALLAGHER B ROTHERS P OST-O ASIS BY SPENCER BLAZAK STAFF WRITER
When Oasis began many moons ago, Noel Gallagher was a roadie who went to go see his brother Liam’s band. He recognized that the band was kind of “terrible,” but wanted to get involved to showcase some of the songs that he had written. Twenty years later, the two brothers are back in the exact same place. This year, both Liam and Noel separately released albums with an interesting dynamic. It seems that both brothers tried to embarrass the other with their own work … this is sibling rivalr y on a multi-million dollar level. One question remains: is either album actually worth a second listen?
The stor y of Oasis is the prototypical stor y of a rags-toriches rock band. The two brothers clawed their way out of Manchester’s suburbs by playing at dive bars. Their first hit, “Supersonic,” was written in five minutes, and they have spent their entire careers trying to top an album written 16 years ago. The relationship between the two brothers is dramatic, and they couldn’t be better foils for one another. Noel was the heart of Oasis, writing the majority of the band’s songs and sometimes taking the mic on personal cuts, like the track “Don’t Look Back in Anger.” On the other hand, Q Magazine named Liam the 11th-best singer of all time, even though his voice couldn’t go high enough for the parts that Noel
COURTESY OF DEAN CHALKLEY
wrote. Liam is also notorious for referring to George Harrison as a “nipple” months before he died, exemplifying his quintessential dirt-bag-rockstar persona. They are polar opposites — like Diet Pepsi and Mentos — but when put together, they have the potential to create something astounding. The problem has been that the band hasn’t had any definitive direction in many years: they rose to instant fame with Definitely Maybe, a flawless rock album, and followed it up with (What’s the Story) Morning Glory — which might even better, depending on who you ask. Oasis basically forged the Britpop genre, and created another era of rock and roll. The Gallagher brothers faced a downfall when they
tried to follow-up their early successes. The albums sold decently well and some singles got airtime, but they were considered critical disappointments. Many lost respect for them. Tensions rose as the brothers recognized the general dismay; it all culminated backstage at a 2009 gig when the band broke up on the spot, ending with Liam suing his brother. Two years later, Oasis reformed as the band Beady Eye, fronted by Liam. The lineup is exactly the same minus Noel, inspiring the zinger album name Different Gears, Still Speeding. As a whole, the album is not terrible. It has some solid rock songs and it’s great to hear Liam actually putting in the effort again. However, Beady Eye lacks one thing that Oasis had — lyrical drive.
Inversely, Noel Gallagher’s High Flying Birds, a scaleddown rock album, has some interesting depth to the lyrics. The problem is that listeners may zone out quickly due to the absence of hooks. Overall, it doesn’t have enough soul. The moral of the story: both brothers need each other. Even though they are separated now, they still have managed to accomplish what they always wanted — a work to top or at least stand beside the album, Morning Glory. Music fans can only hope that they put their lawsuit aside, join back up and attempt to make another incredible album together. However, based on Liam’s personality, it is not far-fetched to predict that he will probably just declare his brother a “nipple” and call it a day.
COURTESY OF DEAN CHALKLEY
Page 12 • Inside Beat
November 10, 2011
MUSIC
ARTIST
OF THE
W E E K : O U TA S I G H T BY EMILY GABRIELE MUSIC EDITOR
COURTESY OF RAY LEGO
Breaking the barriers of multiple music genres, Richard Andrew is Outasight. The Yonkers-bred artist has been in the music scene for nearly five years, and the masses are finally recognizing his work. When asked to describe his sound, Outasight responded, “Eclectic. It’s a little bit genre-bending; it goes from pop to hip-hop and then, you know, there’s definitely soul and rock influences in there as well. It goes all over the place.” With creative and fresh lyrics, Outasight’s music quickly lures listeners. He engages in a hiphop cadence complemented by electronic-feeling beats. Some may recognize his track, “Tonight Is The Night,” from the Pepsi commercial that consistently airs during FOX’s talentseeking show, The X-Factor. This past Thursday, Outasight took his musical campaign to another level by performing his notable single, live, on the show.
Outasight has seemingly risen up out of nowhere. However, his esteem has not come simply. The ambitious musician dropped out of college and told his parents of his choice — no easy task. “My family was pissed, man … They looked at me like I was crazy. I guess I kind of used it as a chip on my shoulder for inspiration. Now they’re like these huge supporters. It’s been an amazing transformation. It wasn’t easy.” Despite various obstacles, it’s clear that Outasight’s dedication and poise is paying off. Outasight plans to debut his full-length album by next March, and is currently touring with musical vets Gym Class Heroes. The 27year-old is the Next Big Thing for a wide range of music lovers. When describing his songwriting process Outasight said, “Be creative, have fun and continuously create. You have to love it first and foremost. You have to love the creative process and be honest with it. Study the people that inspire you and find what inspires you in this world and just create.” Will his recipe for music ultimately lead to success?
CHECK HIS MUSIC OUT FOR YOURSELF AT:
TWEET HIM!
WWW.IAMOUTASIGHT.COM/
WWW.TWITTER.COM/#!/OUTASIGHT/