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<FONT FACE="Verdana"><B>This week at the Kenworthy Performing Arts Centre-<BR>
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</B><I>Moscow Civic Association</I> presents<BR>
<FONT COLOR="#000080"><FONT SIZE="5"><B>The End of Suburbia</B> </FONT></FONT><FONT SIZE="5">(not rated)<BR>
Monday, November 7<BR>
</FONT><B>7:00 PM<BR>
</B>$5 donation<BR>
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The Moscow Civic Association is sponsoring a public showing of the documentary film <B>“End of Suburbia: Oil Depletion and the Collapse of the American Dream”</B> at <B>7pm on Monday, November 7</B>. Donations will be accepted at the door to cover the costs.<BR>
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The film explores the growing global demand for fossil fuels, the inevitable decline of that fuel supply, and the impact on the American way of life. The 78-minute film has been honored at numerous film festivals, and has sparked discussion groups and citizen activism nationwide.<BR>
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The MCA sponsored a showing of the film in September, and due to the enthusiastic response of the audience, agreed to show it again at the Kenworthy. <B>In an effort to encourage voter participation in tomorrow’s Moscow city election, the film is being shown the evening before election day.<BR>
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For more information about the film, see the websites: <FONT COLOR="#0000FF"><U>http://www.endofsuburbia.com/index.htm</U></FONT> <<FONT COLOR="#0000FF"><U>http://www.endofsuburbia.com/index.htm</U></FONT>> and <FONT COLOR="#0000FF"><U>http://eos.postcarbon.org/index.php</U></FONT> <<FONT COLOR="#0000FF"><U>http://eos.postcarbon.org/index.php</U></FONT>> .<BR>
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The Moscow Civic Association is a non-profit citizen’s organization that strives to improve the quality of life for Moscow residents. The mission of Moscow Civic Association is to inform community members about important local issues and encourage civic participation. More information is available on the MCA website, www.moscowcivic.org <<FONT COLOR="#0000FF"><U>http://www.moscowcivic.org/</U></FONT>> <BR>
<B>* * *<BR>
</B><FONT COLOR="#0000FF"><U><BR>
</U></FONT><B><I>Moscow Community Theatre</I></B> presents<BR>
<FONT COLOR="#800000"><H2>Noodlehead!<BR>
</H2></FONT>Original musical by Lisa Kliger<BR>
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<B>Thursday, Friday & Saturday, November 10, 11 & 12<BR>
7:30 PM<BR>
Saturday, November 12<BR>
2:00 PM<BR>
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</B>$11/adult, $9/senior, $6 student or child<BR>
All seating is general admission.<BR>
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Advance tickets available at TicketsWest outlet (UI Visitor Center) and online at www.ticketswest.com, and at <I>BookPeople of Moscow</I>. <BR>
Tickets also available at the KPAC box office which opens 30 minutes prior to each performance.<BR>
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<FONT SIZE="5"><I>Noodlehead!</I> is an original stage production adapted from a Russian folktale by Lisa Kliger of Moscow.<BR>
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<B>Noodlehead, a young Russian peasant, has a grand adventure full of magic flying ponies, the Moon Maid, the Princess of the Sea, the Czar, courtiers, peasants and a giant talking trout.</B> <BR>
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Original lyrics and music were written by Lisa Kliger and orchestrated by Carla Chandler and Lisa Kliger. <I>Noodlehead!</I> is directed by Valerie McIlroy and produced by Cathy Brinkerhoff.<BR>
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<I>Noodlehead!</I> is funded in part by The Idaho Commission on the Arts supported by the National Endowment on the Arts and generous donations from the patrons of the Moscow Community Theater in addition to performance sponsorships by area businesses.<BR>
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For further information contact Valerie McIlroy, director, 208-882-4119 / <FONT COLOR="#0000FF"><U>jungbrit@aol.com</U></FONT>; Cathy Brinkerhoff, producer, 208-882-5230 / <FONT COLOR="#0000FF"><U>cbrink@moscow.com</U></FONT>; or Ann McElroy, media coordinator, 208-835-5675 / <FONT COLOR="#0000FF"><U>nahepler@yahoo.com</U></FONT>.<BR>
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Also this week at the Kenworthy Performing Arts Centre-<BR>
<BR>
</B><I>Kenworthy Film Society</I> presents<BR>
<FONT COLOR="#800000"><H2>The Constant Gardener (R)<BR>
</H2></FONT><B>Sunday, November 13<BR>
4:00 & 7:00 PM<BR>
</B>$5/Adults<BR>
KFS passes accepted<BR>
<B>(see Review below)<BR>
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Next week at the Kenworthy Performing Arts Centre . . .<BR>
</B><BR>
University of Idaho Department of Physics presents<BR>
<B>Einstein’s Miracle Year<BR>
</B>Thursday, November 17<BR>
7:00 PM<BR>
Free<BR>
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<B>Everything is Illuminated (PG-13)<BR>
</B>Friday, November 18<BR>
7:00 PM<BR>
Saturday & Sunday, November 19 & 20<BR>
4:30 & 7:00 PM<BR>
$5/Adults, $2/Children under 13<BR>
<B>* * *<BR>
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Also in November at the Kenworthy Performing Arts Centre-<BR>
</B><BR>
<B>Wallace & Gromit<BR>
The Curse of the Were-Rabbit (G)<BR>
</B>November 25-27<BR>
4:45 & 7:00 PM<BR>
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Coming in December: 2046, Junebug<BR>
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Check KPAC’s web site for dates & times. <FONT COLOR="#0000FF"><U>http://www.kenworthy.org<BR>
<BR>
</U></FONT><B>Regular Movie prices</B>: $5 adult, $2 child under 13 <BR>
KFS passes accepted year-round for Sunday movies!<BR>
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This week’s review-<BR>
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<FONT COLOR="#800000"><FONT SIZE="5">THE CONSTANT GARDENER</FONT></FONT> <BR>
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</B>Directed by Fernando Meirelles. Written by Jeffrey Caine, based on the novel by John Le Carre. <BR>
Running time: 129 minutes. <BR>
Rated R (for language, some violent images and sexual content/nudity).<BR>
<BR>
<B><I><U>As reviewed by Roger Ebert writing for the Chicago Sun-Times<BR>
</U></I></B></FONT><FONT FACE="Arial"><BR>
</FONT><FONT FACE="Verdana">They meet as strangers who plunge at once into sudden sex. They catch their breath, marry, and begin to learn about each other. Justin is an official in the British government. Tessa is an activist. She goes to Africa with Justin, her motives unclear in his mind, and witnesses what she thinks is murder in an African hospital. Then she is murdered at a crossroads, along with her African driver. And a doctor named Arnold, who she works with, is found dead, too.<BR>
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But why, Justin needs to know, did Tessa receive an e-mail asking her, "What were you and Arnold doing in the Nairobi Hilton Friday night? Does Justin know?"<BR>
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The murder of Tessa takes place right at the start of "The Constant Gardener," so it is not revealing too much to mention it. The movie is a progress back into her life, and a journey of discovery for Justin, who discovers a woman he never really knew. The flashback structure, told in remembered moments, passages of dialogue, scenes that are interrupted and completed later, is typical of John Le Carre, whose novels resemble chess problems in which one solution is elegant and all of the others take too many moves. It is a style suited to the gifts of the Brazilian director Fernando Meirelles, whose great "City of God" (2002) told a story that was composed of countless tributaries that all flowed together into a mighty narrative stream.<BR>
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The fragmented style is the best way to tell this story, both for the novel and the movie. "The Constant Gardener" is not a logical exercise beginning with mystery and ending at truth, but a circling around an elusive conspiracy. Understand who the players are and how they are willing to compromise themselves, and you can glimpse cruel outlines beneath the public relations facade. As the drug companies pour AIDS drugs into Africa, are they using their programs to mask the testing of other drugs? "No drug company does something for nothing," Le Carre has a character observe.<BR>
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"The Constant Gardener" may be the angriest story Le Carre has ever told. Certainly his elegant prose and the oblique shorthand of the dialogue shows the writer forcing himself to turn fury into style. His novel involves drug companies who test their products on the poor of the Third World and are willing to accept the deaths that may occur because, after all, those people don't count. Why not? Because no one is there to count them.<BR>
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Do drug companies really do this? The recent verdict against the makers of Vioxx indicates that a jury thought Merck sold a drug it knew was dangerous. Facts are the bones beneath the skin of a Le Carre novel. Either he knows what he's talking about, or he is uncommonly persuasive in seeming to. "The Constant Gardener" plays at times like a movie that will result in indictments. What makes the film extraordinary is that it also plays as a love story, and as an examination of the mysteries of the heart.<BR>
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The performances need to be very good to carry us through sequences in which nobody, good or evil, seems very sure of the total picture. Ralph Fiennes plays Justin as a bureaucrat who seems detached from issues; he's the opposite of Tessa. As he tries to get to the bottom of her death, he sifts through his discoveries like an accountant unwilling to go home for the day until the books are balanced.<BR>
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One way of looking at Tessa's death is that she was a hothead who had an affair with a handsome African man, went where she shouldn't have and got caught in one of those African border killings where toll-collecting soldiers with AK-47s enforce whatever they think is the law. Another way to look at it is to give her the benefit of the doubt. To wonder what was behind the embarrassing questions she asked at a press conference. To ask why statistics seem to be missing, if a drug study is designed to generate them.<BR>
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As he probes through the wreckage of his wife's life, Justin encounters an array of characters who could have been airlifted in from Graham Greene -- or from other Le Carre novels, of course. Hubert Kounde plays Arnold Bluhm, the African who is not, in fact, Tessa's driver, but a doctor who is her colleague. Danny Huston, tall and courtly like his father, John, and like John often smiling at a private joke, plays Sandy Woodrow, the British high commissioner on the scene. Bill Nighy, that actor who often seems to be frowning through a migraine, is Sir Bernard Pellegrin, head of the Foreign Office, and thus Justin and Sandy's boss. And Pete Postlethwaite, looking as if he has been left out too long in the weather, is Lorbeer, a drug company man who works in the field -- at what, it is dangerous to say.<BR>
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"The Constant Gardener" begins with a strong, angry story, and peoples it with actors who let it happen to them, instead of rushing ahead to check off the surprises. It seems solidly grounded in its Kenyan locations; like "City of God," it feels organically rooted. Like many Le Carre stories, it begins with grief and proceeds with sadness toward horror. Its closing scenes are as cynical about international politics and commerce as I can imagine. I would like to believe they are an exaggeration, but I fear they are not. <B>This is one of the year's best films.<BR>
</B><BR>
<B><I><U>As reviewed by James Berardinelli writing for REELVIEWS <BR>
</U></I></B><BR>
For his follow-up to <I>City of God</I>, Brazilian director Fernando Meirelles has elected to adapt John Le Carré's <I>The Constant Gardener</I> into movie form. A slow-burn thriller simmering with international intrigue, the book would at first seem too long and complex to be crammed into a two-hour motion picture. But Jeffrey Caine's screenplay does a solid job of distilling the essence of the novel into something manageable, and Meirelles' kinetic, in-your-face style lends energy and immediacy to the proceedings.<BR>
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This is not a thriller designed for the crowd that prefers shoot-outs, chases, and other action-packed incidents. <I>The Constant Gardener</I> is talky and intelligent, and never takes the cheap way out. It's also something of a downer, both it terms of how the main characters are handled and in its cynical attitude toward the pharmaceutical industry. There's no mistaking <I>The Constant Gardener</I> for anything other than a "message movie." Yes, there's also a love story here, but the most powerful aspect of the movie is what it has to say about the way medicines are tested in third world nations without the consideration of negative side effects, and how bad things that happen during these trials are covered up. <I>The Constant Gardener</I> is fiction, but the incidents it portrays are based on real-world events from Africa and Asia.<BR>
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The first character we meet is Justin Quayle (Ralph Fiennes), a soft-spoken British diplomat in Kenya. Within a few minutes, we learn that his young wife, Tessa (Rachel Weisz), has been killed while traveling in a jeep along a lonely stretch of highway. The official cause of death is a bandit raid, but Tessa was a known activist, and Justin suspects a cover-up. There are other loose ends. Was Tessa having an affair with Arnold Bluhm (Hubert Koundé), the black doctor who accompanied her on many of her trips? And why was she obsessed with a new drug being used to cure TB? His superiors (Danny Huston, Bill Nighy) are tight-lipped and urge him to drop the matter, as well as to return a letter that Tessa allegedly stole - if he should happen to find it, that is. At the root of his investigation lies Justin's need to determine whether Tessa loved and was faithful to him. The more he probes into her life and the nature of her activism, the more galvanized he is to act. Through Justin's mission, we learn as much about Tessa after her death as we do during the 30 minutes of flashbacks that occur early in the film.<BR>
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Meirelles makes the movie as much about Justin and Tessa's relationship as about the political situation, although his docu-drama style (with lots of hand-held camera shots) works against strong character identification. Justin never comes vividly to life, and his romance with Tessa engages us on an intellectual, but not emotional, level. Perhaps this is because Justin is a reticent man, and the story is told from his point-of-view. Regardless, we understand how each revelation changes Justin's comprehension of his relationship with his late wife, but <I>feeling</I> for him is another matter.<BR>
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Meirelles has chosen his cast for acting ability rather than name recognition. Ralph Fiennes and Rachel Weisz are perfect for the roles. He brings a cool reserve to his part. Justin is a gentle individual, a tender of flowers who would rather talk than act. Fiennes captures the essence of such a man, and how he reacts when pushed. Weisz, despite being in less than half the movie, is a firecracker, and Tessa's shadow looms large even when she's not around. She brings passion and energy to the part; <I>The Constant Gardener</I> crackles when she's on-screen. In secondary roles, Pete Postlethwaite (as a field doctor in the Sudan) and Bill Nighy are exceptional. Gerard McSorley is memorable as a knighted thug. The only one to strike a slightly "off" note is Danny Huston, who is miscast as Justin's slimy boss.<BR>
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Like <I>Hotel Rwanda</I>, another film about atrocities in modern-day Africa, <I>The Constant Gardener</I>'s biggest challenge may be finding an audience. Despite being based on a Le Carré book, the final product is more reminiscent of <I>City of God</I> than it is something from the pen of the world's foremost spy novelist. Yet, despite the lack of surprises and cheap theatrics, there is plenty of tension and drama, and the acting by Fiennes and Weisz is top notch. <I>The Constant Gardener</I> is a movie with something to say, and it speaks its message loudly and with eloquence. The only question is: how many people will hear it? <BR>
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<B><I>Kenworthy Performing Arts Centre<BR>
</I>508 S. Main Street, Moscow, Idaho<BR>
</B>208-882-4127<BR>
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PAMELA PALMER, <B>Volunteer<BR>
</B>Mailto:ppalmer@moscow.com<BR>
Film and Events Committee <BR>
Kenworthy Performing Arts Centre<BR>
<BR>
http://www.kenworthy.org<BR>
To speak with a KPAC staff member, <BR>
call (208) 882-4127<BR>
Mailto:kpac@moscow.com<BR>
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