Bravo | June 14, 2018

GOLF SPECIAL! $10 Green Fees Before Noon Seven Days A Week! For details call 308-238-0760 or visit 4 BOOKS, MOVIES AND MUSIC KEARNEY HUB — THURSDAY, JUNE 14, 2018 Listen to haunting, longing creature of ‘Frankenstein’ By SUSIE WILDE The News & Observer (Raleigh, N.C.) This year marks the 200th birthday of Mary Shelley’s “Fran- kenstein; or, The Modern Pro- metheus.” I began celebrating by renting the audio from the library, using the OverDrive app for the first time. OverDrive allows for easy borrowing, all it took was my library card. Over the years, there have been different audios of this book, but I can’t imagine a better one than Simon Vance’s 2008 recording (Tantor). Vance has narrated many classics. That makes sense given his rich, sonorous voice. As the story opens, Vance’s deep, resonant voice captures the sadness and regret of Vincent Frankenstein, a near-frozen survivor rescued by Captain Walton in the North Pole. Frankenstein relates his tale as a warning to the scientifically curious explorer who expresses an interest in experimentation. Frankenstein’s narrative frames the famous story, one of the first horror/science-fiction stories in literature. I savored Shelley’s vivid language while I waited to hear about the monster I’d seen depicted in movies. Instead, Frankenstein conveys more horror at what his scientific tinkering has wrought Tribune News Service than the object of his invention. The centerpiece tale, nested within this frame, is told by the creature himself. Vance’s sonorous, full-bodied voice has a depth that evokes the intelligence and loneliness of a giant being who is hated by the humans with whom he wants to connect. This seems to be the real core of Shelley’s tale and Vance’s intonations, pauses and emotional emphasis express that by making the “wretch’s” painful isolation palpable and his “vengeful spirit” understandable. The conclusion returns to the initial frame of Frankenstein’s storytelling and makes the tragic ending more horrific than any later conceits rendered by film makers. Tribune News Service NICK OFFERMAN and Kiersey Clemons star in “Hearts Beat Loud.” Reality, relationships quietly powerful in ‘Hearts Beat Loud’ By RICK BENTLEY Tribune News Service “Hearts Beat Loud” is a quiet film in tone and delivery. Don’t let that fool you. The production from writer/director Brett Haley shouts its messages about love, family and the addictiveness of passions. Haley has shown how command- ing a film delivered in lean-in- to-hear quiet tones can be. In a world where theaters shake with the latest big-action movie, it’s a gift to find a film that shakes the viewer’s emotions with an equal amount of intensity. Frank Fisher (Nick Offerman) is a retail dinosaur desperately trying to hold on to the record store business he has run since ending his days as a professional musician. It’s a fool’s errand, as the world has grown past his passion for vinyl — and for him. At the same time, Frank is facing the parental realities that his daughter, Sam (Kiersey Clemons), is leaving home to go to college. Frank wants the best for his daughter, but the separation anxiety is full blown, because the pair made their way together since the death of Frank’s wife. What appears to be a life preserver comes to Frank in the form of a song he and Sam have recorded. After Frank posts the tune online, the reaction is strong enough that all he can see is a future where the father-daughter team becomes a permanent band. That would keep his passion for music alive and be a detour for his daughter’s plans to leave home. Offerman turns in a quietly powerful performance as both the caring father and the passionate musician. It’s a balanced perfor- mance that at times makes the viewer sympathetic to his need to hang on to the two greatest loves of his life — music and his daugh- ter — while at the same feeling pity for him when he takes such a stubborn stance. It helps that he gets such a strong performance from Clem- ons to match the emotional moments. Sam is facing her own emotional crossroads, especial- ly with the new love in her life, Rose (Sasha Lane). Couple that with her deep feelings for her father, and Clemons gives Sam a grounded feel. Both performances work so well because Haley has avoided the standard family drama cliches, and the way father and daughter act is so richly wrapped in reality. “Hearts Beat Loud” is an honest portrayal of relationships — whether they be with people or music — from start to finish. Porter taps into music of Nat King Cole By HOWARD REICH Chicago Tribune At age 6 or 7, remembers singer Gregory Porter, he made a home- made tape recording of himself singing, played it for his mother and was struck by her response. “She said: ‘Boy, you sound like Nat King Cole,’” Porter said. “I’m sure I didn’t.” No one besides Nat Cole sibling Freddy Cole really does. But those words from Porter’s mother launched his lifelong fascination with the music of a jazz giant born and trained on the South Side of Chicago. So perhaps it was inevitable that Porter, the leading male jazz singer of his generation, last year released “Nat ‘King’ Cole & Me,” an emotionally intense, vocally sumptuous homage. In effect, “Nat ‘King’ Cole & Me” — fea- turing Porter’s plush baritone with lush symphonic accompaniment — addressed ideas the singer has been developing since childhood. For after his mother compared him to Cole, he wasted no time raiding her record collection. “We weren’t supposed to do it, but I did it,” Porter said. Once he began spinning those records, he marveled at the “beautiful sound, rich tone and messages” of Cole’s recordings. “That was my start with Nat, and his music has been with me really all my life, at the most significant times in my life. “It always made me feel better. It felt like home. It felt like encouragement.”