Don't Take Me Seriously - Book - Page 86
ESCAPE Weekly
Continued from page 7
an immediate impression. Try to
image M. Emmet Walsh and Mary
Kay Place as your parents. OK. Nick
is desperate to be reunited with
Sheeni, tries to float reasons he needs
to take a trip right way, and really
inadvertently (honest) sets in motion
an explosive, fiery chain of events.
Cera’s style lends itself to one
note, and the movie wisely gives
him another character to play, an
imaginary alter ego named Francois
Dillinger, inspired by Jean-Paul
Belmondo. Of course Nick would
know who Belmondo is. I’d believe
him if he were inspired by Jean
Gabin. In this role, he has a mustache
and smokes, but true to character,
Walker
Continued from page 4
Polyuria: When you aren’t running
to the kitchen to avoid the commercial
volume, you are running to the
bathroom. (And, no, it’s not the beer.)
Thus you form habits that become
needs, and so on and so forth. You see
boys, you’re not getting old, it’s an evil
plot. (FYI, the drop in water pressure
during Super Bowl commercials is also
caused by the volume — which drives
people to the water closet even though
they might actually want to watch some
of these commercials.)
Marriage: I submit that unhappy
marriages, which should have ended
long ago, have been kept alive
because there is never a chance in
waking hours to “discuss” anything.
Heaven forbid you should talk
during your TV shows, and, when
the commercials come, the increased
volume drowns out conversation.
With the husband staying up late,
watching TV, until the wife finally
falls asleep — well, years go by
without communication. Show me
a couple married for 50 years and
his mustache is wispy and he always
smokes like it’s his first cigarette.
It’s often observed that comedy
never works if an actor signals that
he’s just said something funny. I
don’t know if Michael Cera CAN do
that. It requires such bold assertion.
You’d get suicidal trying to get him
to laugh at a joke. This passiveness
is why he’s funnier than Jack Black,
for example, in their movie “Year
One.” One of the secrets of “Youth
in Revolt” is that Nick Twisp seems
bewildered by his own desires and
strategies. He knows how he feels, he
knows what he wants, but he’d need
a map to get from A to B. It’s Nick’s
self-abashing modesty that makes
the movie work. Here, you feel, is
a movie character who would find
more peace on the radio.
© 2009 THE EBERT CO.
I’ll show you two deaf people who
haven’t talked since Nixon resigned.
Home values: As above,
the inability to converse during
commercials also limits the discussion
of “honey-dos.” Consequently, the
dos don’t get done. This is both a
blessing and a curse. In the short term
it makes a guy much happier. But in
the long run, the home value slips.
Thusly, television commercial volume
is responsible for the current, tragic,
real estate market — and, therefore, the
recession in general.
The twitch, the itch and the …
ah … complaint: Finally, I submit
that commercial volume is responsible
for the general tension and paranoia
running through society. (Do I sound
paranoid?) This tension causes us
to stumble around twitching and
scratching the hives it creates. It makes
us allergic, asthmatic and atheistic,
with increases in goiter, gout and
gambling. And it flat-out makes us
cranky, crabby and critical — with a
tendency to blame others.
In fact, I believe I would be a
perfect person, were it not for television
commercial volume.
I’m just sayin’ — turn it down.
SCV
the
to be
Jim Walker
Youth
Jan. 8 - Jan. 14, 2010 – 14
‘Twelfth Night’ comes to the
Canyon Theatre Guild for a
two weekend run
T
he 12th night after Christmas, Jan. 6, was a time when
servants and masters would exchange clothes and take on
each others’ personas. Shakespeare’s play, the “Twelfth
Night,” is certainly in
this tradition. And, due
to an unexpected opening
in the CTG’s calendar,
it will be able to present,
in association with The
Upstart Crows, “Twelfth
Night,” for a limited two
weekend run, beginning
just two days after 12th
night (Jan. 8).
Courtesy CTG
A shipwreck leaves Left to right, Joshua DiPaola, Kamber
Viola
thinking
her Moen, Jason Endicott and Kelly Bader
twin brother is dead. in a scene from “Twelfth Night.”
Disguising herself as her
dead brother, she becomes an attendant to Duke Orsino, who
sends Viola (now known as Caesario in her disguise as a boy),
to the Lady Olivia, with whom he is in love. Things become
complicated when Olivia falls in love with Viola, who she thinks
is a man, and Viola falls in love with Duke Orsino, who also
thinks she is a man. When her twin brother, who is not dead
after all, turns up, things become even more confusing. “Twelfth
Night” is fraught with folly, fun and farce,
Performed by the “Upstart Crows,” a group of actors dedicated
to classic theater, the program is under the direction of Mike
Davies and Tamarah Ashton-Coombs.
Performances of Shakespeare’s “Twelfth Night” will be at 8
p.m. on Friday and Saturday evenings, Jan. 8, 9, 15 and 16; and at
2 p.m. on Sundays, Jan. 10 and 17. Tickets are $7 for Juniors and
Seniors and $10 for adults. This show is not part of the Canyon
Theatre Guild’s regular season. To make a reservation, call the
CTG box office at 661-799-2702.
