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Stormy
weather
By Malcolm Robinson
Tempest
Directed by Paul Mazursky
Starring John Cassavetes, Geno Rowlands, and
Susan Sarondon
Script by Paul Mazursky and Leon Capetanos
Rated R
IN READING through the presskit
accompanying Paul Mazursky's
Tempest, one particular short phase
can not fail but catch the eye. It's not
that the sentence by itself is all that
startling or even revelatory: but, in the
disastrous context of the film it
describes, the words, "Now, nearly a.
decade after he first became fascinated
by the project. .. " make a sort of
horrific sense-at least on the surface.
Only a man as bright as Mazursky
(An Unmarried Woman, Bob & Carol &
Ted and Alice, Next Stop, Greenwich
Village, etc.), embroiled in this labor of
love-a contemporary reworking of
William Shakespeare's The Tem-
pest-could have created a film that
misfires in so many different directions
simultaneously. Truly, the single
question to be asked of such a project is
the one word question, why? Why has
Mazursky, and, for that matter, Woody
Allen too, turned to Shakespeare and
produced such an unresonant drama?
Sadly-yet to be expected-the answer
to this seemingly pertinent question is
not to be found anywhere in the vicinity
of a publicist's carefully written han-
dout.
To be fair to Mazursky, he has
described the film in terms of a work
freely adapted from the spirit of
Shakespeare comedy. On close
examination, however, the film ap-
pears to more mimic the general plot
line of its predecessor than its spirit.
The story is disarmingly simple; in
fact, for a film of close to two and a half
hour4 in length, precious little of in-
terest occurs. Through large chunks of
flashback sequences, Mazursky and
fellow script writer Leon Capetanos in-
troduce Phillip Dimitrios, an architect
for an underworld type named Alonzo.
Phillip's marriage to Antonia is not the
happiest and his own hand-designed
apartment repulses him. He does love
his daughter, Miranda, and would do
anythingto protect her. Yet, as he ex-
plains, "money and power mean
nothing to me."
Embroiled in this rich man's mid-life
crisis, Phillip runs off to Greece, to hide
from Alonzo and Antonia (now a
couple) and the rest of the world, alone
with Miranda, Aretha (a free spirited
young American), Kalibanos (a lust
filled goat herder) and his magic. The
rest of the plot basically follows the
guidelines of Shakespeare's.
One critic, Andrew Sarris in the
Village Voice, has made the somewhat
useful observation that "deprived of the
magic of Shakespeare's poetry, they
must seek their own magic in.. . the
special effects of Bran Ferren." This is
fine as it goes except to this statement a
slight caveat must be added-a caveat
concerning Mazursky and what
language means to his films. Unlike, for
example, a film maker like Francois
Truffaut (whose masterful Jules and
Jim was pathetically redone by Tem-
pest's director as Willie and Phil),
Mazursky can in no way be considered
a visual stylist. His use of the camera
is, with very few exceptions, basically
functional as is his sense of com-
position.
What his films have tended to rely on,
instead, more than anything else, is his
ear for the sharp line and his apparen-
tly natural verbal cleverness; Mazur-
sky's screenplay for An Unmarried
Woman (for which he-received awards
from both the New York Film Critics as
well as from the National Society of
Film Critics), filled with pungent,'heart
Seoul
food
By
Kana
1133 E.
Hours:h
A nn Marie Fazio
Huron
Monday-Saturday, 9 a.m.-9 p.m.
I
W HEN YOU first walk into Kana
Korean restaurant, you may feel
as if you are watching a bad episode of
M*A*S*H. The interior is small and
cramped. Customers talk loudly at the
tables across the dining room. And
American religious music plays softly
in the background.
But once you sit down, and the waiter
greets you with a sincere smile and the
hand-typed menu, the place begins to
take on a certain kind of charm.
The atmosphere -is friendly and
homey, kind of like your aunt's kit-
chen-right down to the vinyl flowered
tablecloths and motley bunch of fresh
flowers on each table that look like
they've justrbeenpicked from her
backyard garden. And, just like your
cousins, the help is very eager to ex-
plain the various dishes and help you
pronounce their names.
You won't find any grasshopper salad
or dog meat listed on the menu,
however. Nothing is particularly
exotic, or even distinguishably Korean
to the untrained eye and tongue. In fact,
customers not knowledgeable in far
eastern cuisine probably won't ,notice
much of a difference from the Chinese
restaurants they are used to frequen-
ting.
The menu includes teriyaki beef,
chicken and fish, with their Korean
names, fried rice, and egg rolls. The
dishes basically consist of vegetables,
or meat and vegetables over rice. En-
tree prices range from five to eight
dollars, plus appetizer and beverage.
Although neither the food nor the at-
mosphere seem enticingly oriental, the
meals are tasty and filling, and the
price isn't too bad.
Both of the sampled main dishes were
delicious. Bi Bim Bab consisted of a
large bowl of rice topped with savory
beef and steamed sliced vegetables, left
slightly crunchy, but not raw, all
crowned by a fried egg. Tak Chim had
plenty of chunks of tender chicken,
deep-fried in a light batter and onions in
a teriyaki sauce with steamed rice.
Neither the vegetable nor meat and
vegetable egg rolls had any real appeal.
And the chicken and rice soup tasted
like your basic chicken and rice soup.
The ginger "tea, however, is a must.
Although it looks very weak, it smells
and tastes spicily oriental.
Before, during, and after your meal,
the waiters and owner will come around
to your table, asking if you have any
questions about the menu, and then how
you like your meal, and then how liked
your meal, and was it too spicy, or not
spicy enough, and would you like some
more ginger tea (say yes). But for some
reason all this hospitality doesn't get on
your nerves.
So, while dining at Kana isn't an ex-
tremely memorable experience, it is a
pleasant one, and the restaurant is wor-
th a visit. And while the menu offers
nothing out of the ordinary, what they
do have is tasty. Plus, the people are so
nice.
_...
w,
A -
Y ' . .
& s'
__
F .,r
Raul Julia: Kalibanos gets his goat.
felt and occasional memorable
dialogue, quickly comes to mind as a
prime example of his craft. There is,
again' sadly, little evidence of such
saving graces in Tempest.
Indeed, it would hardly be unfair to
say that some of the worst dialogue to
be found in a supposedly major motion
picture by a director of some stature
can be found here. Perhaps Mazur-
sky and Capetanos felt overawed
dealing with Shakespeare's dialogue
and, so as not to provide the public with
the opportunity to compare texts, pur-
posefully wrote this most prosaic and
crudest of dialogues. Characters are
y v
'00
-'
Kana: A M*A*S*H hit
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given to making statements like "Show
me the magic; show me the magic" and
"You're the famous architect, aren't
you?" Sex, in this extremely talky film,
is described as, "fireworks, the Fourth
of July."
There's a great deal said about sex, to
be more precise, sex is mentioned often
in Tempest-with little accompanying
insight into either it or love. Aretha
lusts after Phillip, fifteen-year-old
Miranda more than once murmurs
something about dying a virgin,
Kalibanos wants to make it with
Miranda, Phillip remains celibate, and,
as in The Tempest, labors to protect his
daughter from men. He effectively con-
trols the sexuality of all on the island.
By film's end, however, none of this has
come together to form anything ap-
proaching a coherent point of view. It is
as if Mazursky thought something was
being communicated here in this
pretentiously overdrawn drama, un-
duly blinded, failed to realize during
production that nothing was.
Part of this undoubtedly is the fault of
the cast: and a major share of the
blame must fall on John Cassavetes as
Phillip and his wife in real life, Gena
RoWlands, who plays Antonia, his wife
in the film. For some strange reason,
neither of these two extremely modern
sorts seem to belong in the film. They
don't exactly ruin every scene they are
in; rather, what they manage to create
is the impression that the film's
emotionally hollow flashback sequen-
ces belong to an altogether different
movie, both of which have artfully been
grafted onto this one. Susan Sarandon
as Aretha and Molly Ringwald as
Miranda, on the other hand, do what
they can with their next to impossibly
written roles. The two of them,
together, in a wonderful rendition of
"Why Do Fools Fall in Love?" give the
film one of its few true and felt momen-
ts. Amidst the pretentiousness of the
rest of Tempest, this scene, therefore,
appears to be merely a fortuitous ac-
-cident rather than a part of the.direc-
t0' overall dsign. -
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