ARTS

_The Michigan Daily

Thursday, March 18, 1982

69

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A selection of campus film highlights

Women In Love
(Ken Russell, 1970)
Yes, Russell has turned out bizarre
movies like Tommy and Altered
States (see below), but Women In
Love is a precisely crafted sensitive
film version of the D. H. Lawrence
novel. Alan Bates, Oliver Reed, Jen-
nie Linden, and Glenda Jackson star
in a story of love, possession, and
class struggle. (Thursday, March
18; Michigan Theatre, 4:00, 7:00,
and 9,:30).
Black Orpheus
(Marcel Camus, 1959)
Truly a marvelous festival of sight
and sound, this modern version of
the classic Orpheus myth weaves
the dazzling color and music of the
Rio de Janeiro Carnival into a fan-.
tastic love story. (March 18; Lorch
Hall, 7:00,9:00).

The Battle Of Chile
(Parts 1 & 2)
(Patricio Guzman, 1973)
Forget about fictional films like
Apocolypse Now. The Battle of Chile
is a riveting movie that deals with a
truly important subject. This is the
documentary of the century,
showing exactly what went on in
Chile as a result of their internal
political troubles, and the interven-
tion in those affairs by a certain very
powerful North American country.
Sure, Apocolypse Now was in-
triguing, but Battle Of Chile is
frighteningly real. (March 18; Aud.
A, 7:00).
Decameron
(P. Pasolini,1970)
A funny, touching compilation of dir-
ty jokes, bad stories, and ribald
humor from 12th century Italy. Most
of the film is rated X, but that
doesn't mean- it's obscene.
:Decameron is an, enjoyable romp
through the bedrooms and ideals of
early civilization. (Friday, March
19; Ldrch Hall, 7:00, 9:05).
Eraserhead .
(David Lynch, 1977)
I've never met anyone who under-
stands this movie-lots who admire
and enjoy it, but none who under-
stand-it. Centering on a few days in
the life of a bizarre looking man, we
-,see his frustrations with his
girlfriend, his troubles with the
people who live in the next apar-
tment, and his problems carving
these little, tiny chickens. The film
may have nothing but originality in
its favor, but that alone saves it.
(March 19; MLB 4, 6:30, 8:15, 10:00).
Airplane
(Jim Abrahams, David Zucker,
Jerry Zucker, 1980)
The smash comedy that said, "Just
when you thought it was safe to fly in
an airplane again . . . " There is one
bad pun, sight gag, or satirical joke
every ten seconds. Some of them are
even funny. (March 19; Aud: A, 7:00,
8:40,10:20).

Altered States
(Ken Russell, 1980)
One of the most enjoyable science-
fiction films of the past few years.
The late Paddy Chayefsky's last
script is an overblown, pontificating
masterpiece of pseudo-philosophy,
non-science, and anti-intellec-
tualism. Russell wisely rushes his a
actors through this dialogue, a move
that accentuates the pace of the
movie, resulting in a smorgasbord of
visual fun and semantic humor.
With William Hurt and Blair Brown.
(Saturday, March 20; MLB 3, 7:00,
9:00).
Tess
(Roman Polanski, 1980)
Thomas Hardy's tragic novel comes
to the screen in a brooding, pon-
dering, deliberately paced film by
that master of the not-quite-of-this-
world style of filmmaking, Roman
Polanski. Natassia Kinski forces the
accent a bit, but otherwise Victorian
England is fully realized. Peter Fir-
th adds the right amount of stoicism
in the role of her idealistic husband.
Great photography. (March 20; Lor-
ch Hall, 6:00, 9:00).
Gone With The Wind
(Victor Fleming, 1939)
A perennial, 10-best movie, GWTW
is (in this reviewer's humble
opinion) an overlong, drawn out epic
that is worthy of so much praise only
because of the charismatic perfor-
mances by Clark Gable and Vivien
Leigh. Of course, whenever Rhett
and Scarlett get together on screen,
all critical objectivism goes out the
window. You just can't top this
classic love story set amid the
tumultuous Civil War. (Sunday,
March 21; Aud. A, 4:00, 8:00).
The Shout
(Jerzy Skolimowski, 1978)
Short stories make the best movies.
This film tells the strange tale of a
man, Alan Bates, who has the power
to destroy life through 'The Shout.' It
doesn't sound like the makings of a
good film, but this is a detailed, per-
sonal short-story of a movie.
(Tuesday, March 23; Lorch Hall,
9:00).
Singin' In The Rain
(Stanley Donen, Gene Kelly, 1952)
Gene Kelly has never danced better,
Donald O'Connor has never been
funnier, and Debbie Reynolds has
never been more charming. The best
musical ever made on the'face of the
earth. The movie has: a) the two (not
one, but two) best dance sequences
ever filmed; b) a rousing musical
score featuring a number of
memorable tunes; and, c) a great
book, based on Hollywood's change
from silent to talking pictures.
(Wednesday, March 24; MLB 3,
7:00, 9:00).
Dr. Strangelove, Or
How I Learned To Stop
Worrying And Love
The Bomb
(Stanley Kubrick, 1964)
Kubrick's last undeniable master-
piece. Starring Peter Sellers in three
pivotal roles as The President, a
Royal Air Force Lieutenant, and the
infamous Dr. Strangelove. This is
the classic black-humored must-see
anti-war movie. Also starring
George C. Scott, Sterling Hayden,
and Slim Pickens. (March 24; Lorch
hall, 7:00,9:00).
-compiled by Richard Campbell

Daily Photo by KIM HILL
(r to 1)-showed reggae

The Mighty Diamonds-Tabby, Judge, and Bunny
brilliance at Second Chance Tuesday night.

The Mighty Diamonds
cut powerful reggae

Exotic Asian wind
instruments exposed
Exotic wind instruments of Asia may most unusual and beautiful examples
be seen and heard at 3 p.m. on Sunday of Asian woodwind instruments, in-
(March 21) in The University of cluding clarinet types with metal reeds,
Michigan's Stearns Building when oboes with quadruple reeds, and
Prof. William Malm presents the third globular flutes made of glazed clay. He
in this season's Stearns Collection Lee- will also discuss some of the secrets of
ture/Concerts. their construction.
The Stearns director, Malm will The event is open to the public
bring out of the storerooms many of the without charge.

By Ben Ticho
D URING THEIR Tuesday night
performance at Second Chance,
the Mighty Diamonds displayed
something Ann Arbor concertgoers
might not have seen or heard for quite a
while: authenticity.'
Just the actual' presence of the
Kingston-based reggae group provided
the first thrill of realization. These guys
are the real thing; genuine Rastafaris
from Jamaica, dread locks, "I and I"
grammar and the whole bit. Not some
(comparatively) insipid dryland
imitation like we've been getting from
Ital (the opening band, hailing from
Cleveland, of all places).
The Mighty Diamonds, for those not
familiar, -consist of Tabby (Donald
Sharpe), Bunny (Fitzroy Simpson), and
Judge (Lloyd Ferguson), backed by
rhythm and lead guitars, bass,
keyboards, and lots of fine percussion.
Ordinarily, Tabby takes the lead
vocals, while Bunny and Judge provide
some well-synchronized and tuneful
harmony.
Adjusting to the large, excited
audience quickly and easily, the
Diamonds opened their Midwest debut
with "Right Time," a grooving number
with well-placed lyrics backed by a
practiced, sure reggae beat. Actually,
"grooving" describes the entire con-
cert pretty well; nothing hurried or
anxious, just reggae true and lovely.
And with the Diamonds, the reggae
flows and grows. Consistent hit-makers
since their formation in 1976, the group
has already issued ten LPs. With two
recent U.S. releases-Reggae Street
(on the Shanachie label) and Indestr-
uctable (on Alligator)-they had plenty
of new material from which to choose.
The Diamonds mellowed quickly with
"Reggae Street," in a happy, almost
whimsical manner, as a broadly
smiling Tabby breathed out, "Oh what
a joy to see another day." On "Shabby,
Raggy," another cut from Reggae
Street, Tabby proved that he really
does sing love songs, always with a
special sensitivity for the rasta man:
"My hair might be natty/ My clothes
might be shabby/That don't stop you
from loving e
Diamond-style reggae is not music
for your typical college dance mixer.

It's not foot-stamping, not disco, not
even blues; vocally, one might claim
the Diamonds are close to Smokey
Robinson or Marvin Gaye, I suppose,
but such comparisons probably won't
evoke much.
You just don't get excited about the
Diamonds; you groove with them.
Good reggae can have a kind of heavy
quality that asks a great deal of the
listener, wears you down, until you feel
quite light-headed. Or something like
that.
A good example: the Diamonds
really shone on an excellent rendition of
"For a Thousand Years," the emphasis
on heritage and rastafari resounding
through a suddenly quieted but atten-
tive audience. And when Tabby cried,
"Time is running out," on "Mer-
cy"-well, that was something.
By the time they got to "Smile For
Me Once More," and "Fun Time," the
Diamonds had more than adequately
displayed their many facets of musical
expertise; fast to slow, up and down,
soft, loud, mystic, romantic-just about
everything.
But they did it all from themselves.
The Diamonds succeed just as the first
rock 'n rollers did; they use a unique
and creative form to reflect them-
selves, their passions and ideas. Dread
locks alone do not reggae make; but the
rasta does. The Diamonds are real;
genuine multi-carat reggae.
NOON LUNCHEON
Soup & Sandwich, $1
Friday, March 19
PHIL MOULTON,
Visiting Scholar:
"CAN WE PREVENT
NUCLEAR WAR?"
GUILD HOUSE- 802 Monroe
(corner of Oakland)


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