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"'f ........::.....:...: .............. ....... ...."r."r......................:.. rf..........A ........................................r.....r:.......Y::rr::r...:.....r.....rVN::::"::":.,N':::.'."::"':::::n ::v:::::::.".-:::::::. :::::._::::::::::::::. ::::::::::::. :::::: 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 USED EQUIPMENT SPE ALL GUARANTEED AND RECONDITIK SAVE 50% OFF Manufacturers Suggest " Fisher Cassette Deck CR 120 " Teac 124 Co I Phillips Turntable AF887 " Teac a3300sx * Toshiba receiver sa3500 Recorder wil " Sharp cassette deck rt1157 " Onkyo t9 amp " Marantz speaker system " Onkyo o7 14 3 way 12"'woofer *" Infinity qua * Sansui r70 receiver * Wad Receive " Technic 5 band equalizer sa8010 Genesis isp HI FI STUDIO 215 S. ASHLEY DOWNTI 769-0392 or 668-7492 /2 E %- -- -- - 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. - SE-VNNi-1E5 ALL AoE'$ VJbcc oFD 3&1.D'E ° F PA6 f 23 . wj SUN MON IVES WWS I'f IRS FRS U- ... _....._..... - qmp- - ALL. [r3TTLL R# '6N, AAPA roEE $TE5 REEK N1? NIT COVER FOR 1.LEGE 25c PIZZA BY 1NE s2.50 sLIcE P1CNER fi /APA~y,- N TIE PARW K A U AM XDPIT C H E R C RMD I N KSO F T? 4 TASK -rp-0/2. IRICEAurOI