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MONDAY, FEBRUARY 17, 2014
THE UNIVERSITY DAILY KANSAN
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MOVIE REVIEW
'Jayhawkers' depicts mix of sport, suffering, jazz
The opening scenes of any indie film, especially one produced in the Midwest, are typically a time of uncertainty for an audience. Questions arise: Are these scenes telling of rest of the film's ambiance? I've never heard of any of these actors, so is this movie credible at all? Is this thing even worth finishing? As "Jayhawkers" opens with some obviously artificial dialogue and a low-budget feel, these fears begin to twist in your stomach. It's tempting to write off the film at this point — about 10 minutes in
but as the film's aura takes shape, it slowly turns from a good film into a great film, then into a mesmerizing piece of Kansan art.
It all opens with a young Phog Allen (Nathan Peterson) speaking to Coach James Naismith (Mike Rapport) after playing in the 1907 Kansas vs. Missouri game. Naismith tells Allen that "basketball cannot be coached." It's a claim that proves to be indirectly prophetic, but never proven, later in the film. We then see Allen (now played by Kip Niven) in 1954, pining in several ways after an unnamed freak-athlete, high-school recruit with more than 100 collegiate offers. Our first glimpse of Wilt Chamberlain isn't really a glimpse at all; it's instead a shot of Allen's shocked face as he watches the kid play for the first time. At last, enter Chamberlain (Justin Wesley), towering above an adoring Kansas crowd as he steps off the plane in Lawrence for the first time
As he settles in, however, he begins to realize Allen's promise of a racism-free environment are simply not true. He's heckled in several Lawrence restaurants and venues, but eventually begins to fight back against the segregation little by little. Despite his efforts, he still hurt and teeters on
the brink of leaving Lawrence in search of a more accepting collegiate environment.
At the beginning of the 1956 season, Allen is forced into retirement by the Univirity's chancellor and Chamberlain is then thrust into the strict "X's and O's" world of new-coach Dick Harp. Despite ultimately achieving All-American status under his leadership, Chamberlain's relationship with Harp never evolves past near-tumultuous. The film concludes with a unique depiction of the 1956 NCAA Championship game against North Carolina and Chamberlain's retirement from collegiate ball after just two seasons.
Throughout the film's journey, from a brow-pincher with a low-budget feel to a film with audacious, subtly brilliant film technique, stands one vital constant: jazz. It's played throughout the entire film, serving as a control group that cuts through Chamberlain's ups and downs.
Jazz is the blood that courses through the veins of the film. It embodies Chamberlain's intrinsic, nonchalant poise, which carries him through all the hardships Lawrence's segregation throws at him. Jazz illustrates the spontaneity and breezy elegance of the game on the court. Most importantly, however, jazz serves as a release. It's a coping mechanism for America's oppressed black population to pour its distress into, and basketball is Chamberlain's jazz.
From its jazzily nuanced lungs, Kevin Willmott's film breathes style. It dances
with a dashing, noir-esque sophistication scarcely seen in Hollywood. Also, the depiction of the actual gameplay is completely different from that of any other sports movie. Instead of trying to force a pragmatic basketball game down our throats, Willmott captures an essence. It's an undefinable gray area in the game, a smooth, yet manic, improvisation of sorts. Wesley shines in this gray area.
If Wesley and Niven are the film's two most important characters, the third is light. Dazzling modern '50s-style cinematography is the film's technical benchmark and is professionally rivaled only, in this reviewer's humble opinion, by the Coen brothers" "The Man Who Wasn't There." Oh, and the film is also hysterically funny.
Also, can we talk in-depth about Justin Wesley? The dude can act. His reserved self-assuredness pokes through all the pores of his performance, but mostly he's just really good at being cool. He's the absolute perfect choice for the role: a current Kansas basketball player who understands Allen Fieldhouse's limelight, but also has zero notable previous acting experience, so is totally pliable — from a director's standpoint at least. Niven's performance as the wiry, hotheaded, yet devoted, Allen is a vibrant part of the film -shining behind a well-groomed ability to portray loving toughness.
"Jayhawkers" is a must-see for any Kansas graduate, student or basketball fan, and instantly becomes a vitally important torch for Kansas' rich basketball heritage.
Edited by Chelsea Mies
CONTRIBUTED PHOTO
MUSIC
Drake apologizes for Rolling Stone blowup
Drake has apologized for railing on Rolling Stone after the magazine bumped him off the cover in favor of Philip Seymour Hoffman.
He took to his website on Friday to issue an open letter "to clear the air about an extremely emotional day."
"I completely support and agree with Rolling Stone replacing me on
the cover with the legendary Philip Seymour Hoffman. He is one of the most incredible actors of our time and a man that deserves to be immortalized by this publication," Drake wrote.
"My frustration stemmed from the way it was executed. The circumstances at hand are completely justifiable (on the magazine's behalf), but I was not able to salvage my story or my photos and that was devastating."
He went on to write that had he be given the choice, he would have waited "until it was my time."
"I understand the magnitude of the cover they chose but I just wasn't given that option and that made me feel violated. I apologize to anybody who took my initial comments out of context because in no way would I ever want to offend the Hoffman family or see myself as bigger than that moment," he continued.
The rapper-singer created a Twitter firestorm on Thursday when he admonished the publication in a series of tweets, some of which were subsequently deleted, to his more than 14 million Twitter followers.
He vented over remarks on Kanye West that he believed were off the record and was peeled that he lost the cover "last minute" after the magazine replaced him with a tribute to Hoffman, who died of an
apparent overdose on Feb 2
Drake went so far as to say that he was "disgusted" by the publication and later added that he's "done doing interviews for magazines."
The rapper didn't further address another issue he has with the magazine — that it used comments he made over West's polarizing "Yeezus," saying he was ambivalent about the album and criticizing some of the album's lyrics.
"Atter dwelling on it for a few hours or days you will come to the conclusion that you brought it on yourself almost every time," he went on to write. "I respect Rolling Stone for being willing to give a kid from Toronto a shot at the cover. I guess this is a day to learn and grow."
Associated Press
KANSAN COMICS
Presented by: Jayhawk Buddy System
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