Jhe Michigan Daily
Wednesday, January 6, 1982
SObligatory ten best
at the GU-Club!
GDRNCE PA RTY
with D. J. Michael Kremen
movies of the year
Diane Keaton and Warren Beatty in 'Reds'.
By Richard Campbell
IT'S THE FIRST issue of the Daily for
1982 and I really don't feel like
writing a film review. So I'm going to
do something a lot easier: pick the ten
best movies for last year. Not that it is
an easy thing finding ten extraor-
dinary films out of the rather average
bunch that came out. It is like the stars
many reviewers give out for movies,
albums, etc. They are almost
meaningless, but quickly communicate
a simple, abstract notion about the
film's worth. Anyway, here it is:
1) Reds-The years best. This one has
got it all: acting, editing, music and
photography. Beatty, Keaton,
Nicholson, Stapleton, Sorvino; and
Kosinski give impeccable performan-
ces: Romance and communism have
never looked better.
2) Prince of the City-Treat Williams
presents a remarkable portraitt of a
man caught between his loyalty to his
fellow cops and his conception of
justice. Contrary to popular opinion this
film is not boring. Sure it's over three
hours long, but every minute is filled
with insights into Williams' character.
3) Raiders of the Lost Ark-Even
though this film is a little one-
dimensional, it is the only film to com-
pletely succeed in its mission: to en-
tertain. Harrison Ford shows he is a
very good actor; not many other people
could stand up to the larger than life
events that whirl around him.
4) French Lieutenant's
Woman-Meryl Streep stars in this an-
cient romantic tale of love and
mystery. Harold Pinter's screenplay
confused a lot of people, and some of it
is simple-minded. The movie is one of a
kind, and upon repeated viewings you
will understand the grace with which
Karl Reisz directed.
5). Gallipoli-Director Peter Wier
started to make a film about the
Gallipoli landings in WWI, but it was
turning into a straight documentary. So
he started all over again, keeping with
his strength: telling a story. He ended
up with an epic tale of a young boy who
goes to war.
6) Body Heat-See this film and be
transported back to the '40s. There's;
snappy dialogue, mysterious women,
and a murder. A wonderful retelling of
a half-dozen film-noir classics all rolled
7) Atlantic City-Louis Malle turned
to the rebirth of America, or at least
Atlantic City, in this story of an aging,
would-be gangster on the boardwalks.
Burt Lancaster is turning into the U.S.
version of Laurence Olivier, running
around playing the old guys, acting
8) Thief-Janmes Caan gives a tense
performance in this frantic tale of, you
guessed it, a thief. His neurotic acting
has never had a better outlet. The
music, by Tangerine Dream, isn't bad
9) Napoleon-Okay, so it was made in
1927. But the 'movie has practically
never been seen in its entirety since the
premiere. Napoleon is certainly able to
stack up with anything from this year.
It deserves to be on this list.
10) - I couldn't find any other film
that was worthy of being on the ten best
list. Maybe Pennies from Heaven,
maybe Ragtime, but nothing that could
undisputedly take its place with the
G'he GUniversity Club
Qt's here for you!
Orchestral Manoeuvers in the
Dark-'Architecture and Morality'
"The New Stone Age," which opens
this new OMD album, is simply the
wildest. thing they've ever
done . . . honestly, the only really wild
hing they've ever done. They never.
should have put it on this album. ,
For next to this bit of inspired chaos,
the remainder of the album seems
somewhat manicured. "The New Stone
Age" speaks with the rhythmic
busyness of The Velvets or The Feelies
and the distortion-with-a-mind-of-its-
own of Pere Ubu. There's no room to
doubt that Andy McCluskey means it
when he sings "Oh my God, what have I
done this time?" from inside this con-
fusion. The song goes off like a fizzled
firecracker, flaring off in every direc-
tion just on the verge of exploding. The
sum total is more akin to Killing Joke
than OMD's usual fare.
But 'after that it's back to music as
usual on Architecture aid Morality.,
There's certainly no way to fault the
other compositions; most of these songs
are every bit as fine as anything
they've ever done. The only certifiable
loser is "Sealand," a blatant and over-
wrought, attempt' to recreate the'
mechanically moving ballad,
With the one exception, it's mostly
smooth sailing, though I must admit
that I'm beginning to question the
motivations and methods of everything
Andy McCluskey and Paul Humphreys
do under the guise of Orchestral
Manoeuvers in the Dark. It seems to me
that OMD are mostly pop revisionism. I
don't think it would be a misleading
exaggeration to call them the post-
Giorgio Moroder (or maybe even the
post-Keith Emerson) Beatles. It seems
to me that what these two really want to
do is write tearjerker pop songs, but
their musical sophistication and in-
tellectual reserve make them come out
more like anthems of cerebral anguish.
Luckily, the true pop song that beats
underneath the trumped-up groun-
dswells of emotion and soung manages
to save OMD every time around.
Admittedly, my qualms with this
record are somewhat unclear, even to
myself; I know that every time I listen,
to Architecture and Morality a different
part pulls at toe heart strings. Maybe
it's just that OMD's veddy English
reserve has infected me and made me
unable to embrace this album
wholeheartedly. Or maybe it's just that
"The New Stone Age" has ruined this
album for me by showing me OMD's
capacities to develop in an almost con-
tradictory direction from where the
rest of the album leads. Therefore, if
syou can ignore this on'e exceptional
song, I think you'll find Architecture''
and Morality an otherwise very good
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