Dallas Voice (Dallas, Tex.), Vol. 14, No. 46, Ed. 1 Friday, March 13, 1998 Page: 36 of 72
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A fabulous Show & Sale of works by Artists
helping in the fight against AIDS.
Proceeds benefit Legacy Counseling Center.
Sunday, March 15th
3:00 to 6:00 p.m.
Edith Baker Gallery
2404 Cedar Springs (Opp. Crescent Court Hotel)
For more information on Art Positive call Legacy Counseling Center 214.520.6308.
Continued from Previous Page.
Oldman shoots most of the film in
tight closeup to give us little relief from
the misery we're watching. It's not as if
the backgrounds of their lives are
worth looking at, although Oldman
and cinematographer Ron Fortunato
manage one long shot in shades of gray
that's visual poetry.
Eric Clapton gets major billing for
musical contributions. They're aug-
mented by an interesting mix of pop
songs, some of which go on too long
and drag the scenes along with them.
Think of the most intense cinematic
experience you've had in the last cou-
ple of years, and Nil by Mouth will make
it seem like a farce. ▼
Opens today exclusively at the Imvood
Dumb and Dumas —
Magnificent cast can’t save The Man in the Iron Mask
By Steve Warren
Leonardo DiCaprio sets sail on
another sinking ship — metaphorically
speaking — in The Man in the Iron Mask.
Although he's a far better actor than
Keanu Reeves, neither of them should
play characters from other countries or
Randall Wallace, who wrote the
screenplay for Braveheart, adapted and
directed this fourth screen version, of
Alexandre Dumas' sequel to The Three
Musketeers. That the story takes place a
generation later suggests diminished
energy in certain characters, but it does-
n't explain what happened to the spirit
of fun that's been integral to all the pre-
vious films about the musketeers.
DiCaprio plays King Louis XIV of
France, a warmonger who's a brilliant
strategist but whose personal need for
action centers on the sword between his
legs. Meeting a beautiful woman, he
immediately offers her a position as
lady-in-waiting, the 17th-century
French term for intern. Unfortunately
the woman in question, Christine
(Judith Godreche) is engaged to be
engaged to Raoul (Peter Sarsgaard), the
son of our old buddy Athos (John
Malkovich). Louis pulls a David-and-
Bathsheba and sends Raoul to the front
to be killed.
Athos is still in touch with the other
musketeers, but they don't hang togeth-
er much. Aramis (Jeremy Irons) is a
priest and Porthos (Gerard Depardieu)
is a full-time hedonist. Only their pro-
tege D'Artagnan (Gabriel Byrne) is still
in uniform, as captain of the king's
guard. And every time D'Artagnan
exchanges glances with Anne (Anne
Parillaud), the Queen Mother, we know
he's got an ulterior motive — he's not
just part of Queen Anne's furniture.
The title character — you knew we'd
get around to him — is locked away in
Leonardo DiCaprio stars in the dual roles of King Louis
XIV, who has been raised to be King, and Philippe, who
has been locked up in a dehumanizing mask.
MARCH 13, 1998
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Vercher, Dennis. Dallas Voice (Dallas, Tex.), Vol. 14, No. 46, Ed. 1 Friday, March 13, 1998, newspaper, March 13, 1998; Dallas, Texas. (https://digital.library.unt.edu/ark:/67531/metapth616063/m1/36/: accessed April 22, 2019), University of North Texas Libraries, Digital Library, https://digital.library.unt.edu; crediting UNT Libraries Special Collections.