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<TITLE>Being Julia and Shark Tale at the Kenworthy</TITLE>
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<FONT FACE="Verdana"><B>Two shows this week at the Kenworthy Performing Arts Centre!<BR>
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<FONT COLOR="#800000"><H2>Being Julia (R)<BR>
</H2></FONT><B>Friday, February 4<BR>
7:00PM<BR>
Saturday & Sunday, February 5 & 6<BR>
4:30 and 7:00PM<BR>
</B>$5 adults <BR>
KFS passes accepted for the Sunday showings<BR>
<B>(See Review below)<BR>
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<BR>
Last chance to see Shark Tale on the big screen!<BR>
</B><BR>
<FONT COLOR="#800000"><H2>Shark Tale (PG)<BR>
</H2></FONT><B>Saturday & Sunday, February 5 & 6<BR>
1:00 PM<BR>
</B>Tickets: $5 Adults / $2 Children under 12<BR>
Playing time: 90 minutes<BR>
(No KFS passes accepted for this movie)<BR>
<B>* * *<BR>
</B><BR>
<B>February 2005 at the Kenworthy Performing Arts Centre . . .<BR>
</B><BR>
<B>Yes Men (NR)<BR>
</B>Feb 11 at 7PM<BR>
Feb 12 – 13 at 5:00 and 7:00 PM<BR>
<BR>
<B>House of Flying Daggers (R)<BR>
</B>Feb 18 at 7PM<BR>
Feb 19 – 20 at 4:15 and 7:00 PM<BR>
<BR>
UI Architecture Dept presents<BR>
<B>Will Bruder lecture<BR>
</B>February 25 at 5:00 PM<BR>
FREE<BR>
<BR>
<B>Dig (NR)<BR>
</B>Feb 26 at 7:00 PM<BR>
Feb 27 at 4:15 and 7:00 PM<BR>
<BR>
<B>Regular Movie prices</B>: $5 adults, $2 children 12 and younger. <BR>
KFS passes accepted for Sunday movies<BR>
<BR>
508 S. Main Street, Moscow, Idaho<BR>
For more information, call 208-882-4127 or visit www.kenworthy.org<BR>
<B>* * *<BR>
This week’s review-<BR>
<BR>
<FONT COLOR="#800000"><FONT SIZE="5">Being Julia</FONT></FONT> <BR>
</B><BR>
<B><I><U>As reviewed by Michael Wilmington writing for the Chicago Tribune<BR>
<BR>
</U></I></B>Annette Bening plays Julia Lambert, an aging grand diva of the '30s London stage, in Istvan Szabo's "Being Julia." And though you may be surprised at the casting, the American actress has a lot of elegant, witchy fun with the part. So do the moviemakers, who often make "Julia" seem a bit of a holiday.<BR>
<BR>
Holidays, though, can be welcome, especially if they have a story, cast and star as glamorously amusing as this one. There's an eternal carnal sparkle in Bening's eyes that ideally suits a character such as 1938 "stage legend" Julia, queen of an empire of applause and bravura, who finds herself briefly outflanked by youthful suitors and rivals but then bests them on the stage.<BR>
<BR>
At its best, "Julia" dispenses high-level sexiness and wit, plus a mordant amusement and moralism that recall the tale's original author, W. Somerset Maugham. Cursed with a faithless, deceitful young American suitor, Tom Fennel (Shaun Evans), and by his other, younger lover, actress/climber Avice Crichton (Lucy Punch)--as well as the temporary inattentions of her own urbane manager-husband, Michael Gosselyn (Jeremy Irons)--Julia has to battle it out on the stage, to defend her theatrical turf from her sluttish young rival Avice and erase the smug smile from ex-lover Tom's face.<BR>
<BR>
Maugham wrote the novel "Theatre" on which "Julia" is based--and since he took almost all his stories straight from life, the original is probably a deadly accurate portrait of the backstage world behind his own plays. On screen, it unreels with mingled realism and artifice, its tone a change from the usual serious work of Szabo ("Lovefilm," "Mephisto" ) and screenwriter Ronald Harwood ("The Pianist," "The Dresser"). Szabo said his model for the direction was that master of Hollywood-European romantic comedy, Ernst Lubitsch ("Trouble in Paradise," "Heaven Can Wait"), and the one-time experimental, leftist Hungarian filmmaker lays on the stylishness here, with luscious designs by Luciana Arrighi of the Merchant-Ivory films and glowing cinematography by his constant "eye," Lajos Koltai.<BR>
<BR>
<B><I><U>As reviewed by Tom Long writing for the Detroit News<BR>
<BR>
</U></I></B>Fragile, weary, vulnerable and ultimately unsure where she begins and her act ends, Julia is an actress of a certain age looking for something new, something to hold onto, some reassurance, some reason to keep walking onstage.<BR>
<BR>
And in “Being Julia” Annette Bening brings her to marvelous, scattered life. It’s an Oscar-worthy turn by Bening, so much so that it’s hard to imagine anyone else in the role; and she helps a film that’s otherwise a bit too mannered and theatrical to connect with texture, tenderness and, most importantly, humor.<BR>
<BR>
Bening is so natural in the way she moves from confidence to collapse, radiance to wreckage, that she make the somewhat unreal Julia very real indeed. She’s surrounded by good performers — Juliet Stevenson plays your standard cynical dresser, but she’s so funny you don’t care; and Irons truly oozes sophistication. But the film breathes with Bening, so much so that even an ongoing dialogue with a ghost (Michael Gambon) isn’t bothersome. <BR>
<BR>
<B><I><U>As reviewed by Carla Meyer writing for the San Francisco Chronicle<BR>
<BR>
</U></I></B>"Being Julia'' is a one-woman show. There are several notable actors in it, most of them quite good, but it's the glorious Annette Bening who hoists this flawed production on her mink-wrapped shoulders and makes it work.<BR>
<BR>
Playing a famous 1930s London stage actress in this adaptation of the Somerset Maugham novel "Theatre,'' Bening is funny, proud, neurotic and sexually invigorated. Her stage background at American Conservatory Theater shows in her multilayered tour de force: She is an actress playing an actress who keeps acting in her personal life. Her Julia triumphs and falters onstage and is, by turns, convincing and transparent in her offstage manipulations. Her motivation is another matter, one the picture never resolves. Director Istvan Szabo ("Sunshine'') and screenwriter Ronald Harwood ("The Pianist'') portray a gilded, glamorous and witty backstage world but muddle their main character.<BR>
<BR>
When the film starts, Julia, claiming exhaustion, has asked her producer husband (Jeremy Irons) to stop the play in which she currently stars. She seems reasonable enough, but the reactions of those around her hint at a more capricious temperament. Irons' husband character, indulgent but also business- minded, agrees to end the show but not just yet, because he believes she will change her mind. Julia's faithful maid and dresser, played with eye-rolling good humor by Juliet Stevenson, mouths along as Julia complains about middle age, "The curtain has come down on Act 1, and I have no idea what happens in Act 2.'' It's a refrain as familiar as the waterworks Julia turns on to get what she wants.<BR>
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A refreshing aspect of the character, or at least in the way Bening plays her, is that she's not a stereotypical diva. She can be warm and witty, joking with intimates from the theater and expressing concern for her teenage son. She's just far less developed as a person than as a performer, relying on the advice of her first acting teacher (Michael Gambon) in conducting her life. That he happens to be dead doesn't stop either of them. Gambon makes a naughty angel-devil on Julia's shoulder, encouraging offstage antics if they help her as a performer.<BR>
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But he's not particularly receptive to the young American named Tom with whom Julia, freed by an open marriage, cavorts. You can see his point. Played by the blond, boyish Shaun Evans, Tom worships Julia to a degree that is either creepy or false. He tells her she could be in pictures, to which Julia responds, "Real actresses don't make pictures,'' an in-joke Bening sells with her eyes.<BR>
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This callow fellow seems an unlikely choice for a woman of the world, and when he says, "I want you,'' it is with the fervor of a wet sock. But trysts in Tom's dingy walkup allow Bening to exhibit a well-seasoned lustiness. She sparkles when those around Julia comment on her newfound glow. That glow took some effort.<BR>
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Bening's performance hints that Tom might be an accessory, like the 1930s hats she wears so beautifully (assisted by love-struck lighting and camera angles). Startled rather than aroused by Tom's initial kiss, Julia seems to have willed herself to be attracted to him, as if he's an escape hatch from ennui. Yet the movie never commits to this idea. Her subsequent moony behavior might be part of a larger performance, or it may just be a case of an older, desperate woman clinging to a younger man.<BR>
<BR>
Bening has more sparks with Irons, who shows just enough reserve to indicate that the husband started the open-marriage thing. This might be a marriage spent of romance, but it still produces delightful exchanges. "I'm a bitch, awful through and through!'' Julia wails to her husband. "Nevertheless . ..'' he begins in response. He's also the only one who can tell her when she's bad onstage. Now that's love. <BR>
<I><BR>
</I>* * *<BR>
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</U></FONT><FONT COLOR="#800000"><B><BR>
</B></FONT>~~~~~~~~~~~~~~~~~~~~~~~~~~~<BR>
PAMELA PALMER, <B>Volunteer<BR>
</B><FONT COLOR="#0000FF"><U>Mailto:ppalmer@moscow.com<BR>
</U></FONT>Film and Events Committee <BR>
Kenworthy Performing Arts Centre<BR>
<BR>
<FONT COLOR="#0000FF"><U>http://www.kenworthy.org<BR>
</U></FONT>To speak with a KPAC staff member, <BR>
call (208) 882-4127<BR>
<FONT COLOR="#0000FF"><U>Mailto:kpac@moscow.com<BR>
</U></FONT>~~~~~~~~~~~~~~~~~~~~~~~~~~~ <BR>
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