ARTS The Michigan Daily. Wednesday, March 3, 1982 Page 5 Emotions clobber viewer in 'Shoot the Moon' By Chris Case T HERE IS A whole new milieu of films about broken families. This is, of course, a reflection of our times, and as the divorce rate continues to rise we can enjoy or fail t1 enjoy ever-increasing numbers of movies bewailing the trauma of marital separation. It is a subject peculiarly t sceptible to the melodramatic, which, based on the critical acclaim of films like Shoot the Moon, already en- 'jys a resurgent appeal. From the moment this film opens with the proverbial shots of teddy bears and baby dolls lying unusued on the floor of a sunlight-streaked room, mediocrity sets in and we are forced to prepare ourselves for a lamely but insistently emotional film. "Not that there aren't moments of successful emotional involvement in Shoot the Moon. Yet many of these seem almost accidental, as though director Alan Parker inadver- tently captured them between efforts to overwhelm us with a series of embarassingly melodramatic scenes; Shoot the Moon is the story of George and Faith Dunlap (Albert Finney and Diane Keaton) and the events surroun- ding their separation. The emphasis here is apparently on "reality," and just as real life consists of a certain amount of dead matter, so is much of Moon lost to the mundane events of everyday life. Dialogue tends to revolve around whether or not a particular character would like a cup of coffee, of whether he or she minds if another smokes a cigarette. When the conversation turns to more involving topics the trivialities all to readily become theatrics, leaving the evasive middle ground of realism somewhere in the dark. Hence we get Diane Keaton lamenting aloud in the form of an old Beatles song until she can't stand the pain anymore and breaks down, sobbing. The effect of scenes like this, in which we are clobbered over the head with the pain and trauma of the characters in this film, is not necessarily engaging, and may even repulse you. Albert Finney is more convincing and somewhat less melodramatic as a man caught up in a growing rage and his own indissoluable immaturity. The tension between his oldest daughter (Dana Hill) and himself emerges effortlessly as the center of the film. There is real power in the scenes with these two, and one of those scenes will put you right on the edge of your seat. But many of the other relationships are vapid and appear to be almost obligatory. The curiously vague and theatrical relationship between Faith and George is not enhanced or enlightened by what we see of their affairs on the side. George's lover seems almost deliberately uninteresting, and says things to George's three younger daughters like: "Making love to your father is like eating ice cream." ("Eating ice cream?" says one of the daughters, in one of the few really enjoyable moments of the film, "I think it would be gross.") Faith manages to find someone more in- volving (Peter Weller), and their relationship is at times touching, though largely unconvincing. The movie is almost saved by the performances of the girls playing the Dunlap daughters, whom the director seems to throw into a scene whenever things threaten to get too oppressive. Their constant banter gets annoying and somewhat unbelievable at times, and their use of four letter words in reference to their parents' sex lives grows trying, but they provide on the whole a sense of life and excitement that would otherwise be more noticeably lacking. The film ends with a last-ditch effort to knock us out with the reality and trauma of the Dunlaps' situation. The last scene is indeed surprising and effectively painful, but we end up wishing, for the movie's sake, that it had never hap- pened. Finney's character has been building up for this all along, but the scene has the same staged quality that has haunted the movie since the opening scenes. If you've read all the reviews and your heart is already set on seeing Shoot the Moon-think twice. This is the kind of film that ends with a beaten man's hand reaching up towards the dark night sky as he utters the last word before the credits flood the screen: "Faith." You might want some ice cream instead. - - - Records Quarterflash- Quarterf lash ' (Geffen Records) There is no better way to turn an average band into something noticeable, and therefore salable, than to hire a good producer. David Geffen has taken this approach to marketing his first new group on Gef- fen Records, Quarterflash. Quarterflash is sure to contend for this year's "Contrived Package" (I mean band) of the year. Each song, each facet of the album is geared toward profit maximization. The folks at Geffen have targeted their product at an audience somewhere between the Air Supply/Hall and Oates easy listening segment and the Eagles/Foreigner/J. Geils rock market. In spite of its successful sales, Quar- terflash finds itself making neither group particularly happy. It combines fluffy compositions with polished, though occassionally gritty, guitar chords and, well, awful vocals. The finished product is uneven, but has a couple bright spots. "Harden My Heart," the monster hit with the first grade bass line, combines typical "you hurt me" lyrics with just enough guitar to keep the kiddies hap- py. The vocals are interesting at first listen, but unbearable at second. That brings me to Rindy Ross. Rindy (think that's her stage name?) is the lead female vocalist in Quarter- flash, and she suffers from Linda Ron- stadt Syndrome. Put a song in front of her and you'll never know whether she'll sing is with understanding, grace and power, or botch it with the whines that say "this thing went right over my head." Rindy can sing with energy, as she. does on the album's finest cut, "Find Another Fool," and with beauty, as she does on "Love Should Be So Kind," but she can screech with as much insipidness as the best of the wor- st. The only thing to be said about Rin- dy's male counterpart, Jack Charles, is that his vocals should have been left off the record. Not even John Boylan's ef- fective production can save his tunes. This group doesn't have much to say, and their sound is lacking, it's that sim- ple. Emulating the Eagles and Fleet- wood Mac isn't a bad idea monetarily, but Quarterflash just can't pull it off. Frankly, their voices don't have the range, and their lyrics make "The Greeks Don't Want No Freaks" sound like great literature. I'm certain Geffen was ready to hear reviews like this when he released Quarterflash, but they really don't hurt. He can glance at this, then pull out the sales figures and feel nice and warm all over-business is good. -James Harris Laurie Anderson-'O Super- man' (Warner Brothers) Laurie Anderson's "0 Superman" grabs your attention in a mellow, syn- thesized grasp. But mellow is not boring. On "0 Superman" and the flip- side of the EP, "Walk the Dog," Ander- son tries to make music that's art. Or maybe art that's music. Anderson's lyrics are pointedly satirical. In "0 Superman," which has little to do with the famous superhero, she pokes not so gentle fun at American society with lines like "Hold me mom, in your long arms/Your petrochemical arms/Your military arms/In your elec- tronic arms." She sings this through a vocodor voice synthesizer in a subtly sinister manner. Anderson's music is bizzare, but biz- zarely fascinating. Each instrument is' like a seasoning that is used sparsely, but to maximum effect. For instance, she begins, continues, and ends "0 Superman" repeating a strange, childlike chorus singing "Ha- Ha-Ha-Ha." Sung in an odd, quick rhythm, it unifies "0 Superman," and focuses your attention on the music. At first, I thought this chant was ab- surdly silly. But after hearing her satirical lyrics a few times, it seemed like Anderson was laughing at American society. "Walk the Dog" is not as accessible as "O Superman," but just as imaginative. It has no unifying rhythm. The lyrics are separated by an interlude that first'sounds like a clash of instruments, but later becomes much more in the listener's mind. Each time the instruments come together they seem on the verge of becoming a sim- ple, easily-digestable melody, but then they break out of it again. In this way, Anderson teases and taunts her audien- ce into listening to her music. Anderson's music is worthy of a good, long listening because it is imaginative and innovative. But it takes a few listenings for her charm and power to hit you. -Scott Stuckal Kool and the Gang-'Something Special' (Delite/Polygram) This album continues in the previous tradition of Celebrate and Ladies' Night by offering more of the pop/soul/jazz style that has come to be known as uniquely Kool and the Gang's. The entire album oozes mellow, melodious sounds that slide right off the turntable and make yur body groove. Despite the bouncy rhythms, songs like "Take My Heart," "Get Down on it" and "Steppin' Out" are for the most part relaxing, smooth, and never harsh or piercing. Something Special is infused with the music that has brought Kool and the Gang such great popularity, especially during the past few years with such hits as "Hanging out" and "Celebrate." Although Kool and his gang might be accused of moving away from their earlier jazz-oriented style for the sake of big money, it really seems as though they should be commended for remaining solvent during the current recession in the record industry. There are few black groups other than the Jacksons, Earth, Wind and Fire, and the Commodores who have been able to do so and they have all at one time been accused of selling out as well, so Kool is in good company. If this is the least that their group can present, they are in- deed something special. -Elizabeth James Yello-'Claro Que Si' (Ralph) Finally a Ralph record one doesn't have to have an INSIDER'S GUIDE to fathom. You don't even have to have an anthropology degree to detect the musical antecedents of this record, although a familiarity with spaghetti westerns, The Residents, Atari sound effects, Humphrey Bogart, and mole culture will prove invaluable. "Pinball Cha Cha," indeed! -Mark Dighton Thanks to Schoolkid's Records for making many of these record reviews possible. £ SHOWS 769-1 0 BARGAIN SHOWS12.50BeforePM A Riveting 7 ACADEMY and AWARD NOMI Enthralling NATIONS 1:15 AWWilm.4:001 -:00 CHARIOTS Of' F3RE BURT LANCASTER SUSAN SARANDON1330 AT LAXTIC 5:30 CITY 7.30 A PARAMOUNT -L_0 " ACADEMY AWARD NOMINATIONS JACK NICHOLSON He found a line within himself 1320 THE . 15 201 BORDER 730 A UNIVRSAL ®9:45 DON'T YOU WISH 4 ACADEMY AWARD YOU WERE ARTHUR?NOION Dudley Liza 3 30 ! Moore Minnelli 5.30 The most fun money can bus 7.40 Mf-L~r0 19:451 TAKE CREDIT FOR A ARFAT ---- SCReT CITY = . weeps1K ~h - here s a city in Europe-y0ou-could travel thnere free So unravel these riddles, n noerisky C _ ART e ____NC-E / 1 ~i2 3 4 56 7 T 990 11 1213 1+ Name Zip TO PLAY THE GAME: Answer each of the riddles that will appear here each week in February. Write your answer in the blanks below each riddle. The letters with numbers below them corres- Wv[7T AN ? pond to the numbered spaces in the master key. As you - fill in the letters of the master key, you will be spelling the name and location of a secret city in Europe. Send us the solution, and you and a friend could win a trip there, free. TO ENTER SWEEPSTAKES: I work all day 1. NO PURCHASE NECESSARY.. ad thrugh he dak1of.ight 2. GandUPrizeconsists of two regular round-trip economy airfares and LihroUgh I the~ drk Oflighit, to the secret city, 30-day Eurail passes, American Youth Hostel So Stron passes, two backpacks and $1000 in cash. g 3. Cut out master key for use as official entry blank or use 3" x 5" and yet so frail when love does leave card. Print your answer along with your name and address. Mail to Secret City Sweepstakes, P.O. Box 6018, Norwalk, CT 06852. 4. The first 1,000 correct respondents will receive a poster as an When I stop, entry prize, I cause alarming fright, 5. All entries must be received by 3/15/82. 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