0 m mm mm mm - mm mm mm - mm mm mm - m - mini Visiting Ft. Lauderdale Area For Spring Break? Clip This Ad And Enjoy A FREE Drink At The World Famous PARROT LOUNGE BUY ONE GET ONE FREE . fI i 1 1 1 1 Page 6 BJy J Looking back on Dylan Thursday, February 16, 1984 ARTS The Michigan Daily I I foseph Kraus Also, Feb. 22is MICHIGAN U. DAY 1 Block From Beach, Sunrise & A1A, Behind Sunrise Inn f Offer Good till 5 P.M. 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All other ads will be billed according to the original number of days ordered Mail vith Check to: Classifieds, The Michigan DailyI An ror I48109 , ADDRESS- _- -_-._- CITY - PHONE i - II I I s R~ lII T WAS Satchel Paige the baseball pitcher who lasted for 30 years or so, that said, "Don't look back, something may be gaining on you." But Satch sure wasn't the only one who subscribed to the maxim. Among others of the kind, certainly excluding Lot's wife, are A.J. Foyt, Steve Cauthen and Bob Dylan. "Bob Dylan?" ask the top-40ites, "isn't he that old guy with the new album out that everybody is talking about but nobody is playing?" "Yes, children," says the gentle critic, "but he used to be so much more There was a time when Dylan was the "new guy with the new album that everyone was talking about and everyone was playing:" There was a time when, "all the kids that used to listen to the Beatles, now listened to Dylan." And fortunately, even though Dylan himself didn't look back at it, filmmaker D.A. Pennebaker did. Pennebaker's film, not surprisingly called Don't Look Back, was first released in 1966 but was then removed from public circulation, until now. To make the film, Pennebaker followed Dylan's 1965 tour of England more closely than seems humanly possible. He even has footage from in- side Dylan's car as he leaves concerts. The backstage, personal footage of Dylan and entourage are certainly the strong parts of the movie. There is really very little actual concert footage, and what there is seems more to serve as a foil for the more hectic and pressured backstage scenes. On stage Dylan is shown as a con- fident, almost brave performer. He stands by himself on stage in front of thousands of faceless worshipping fans. Back stage, however, he simply does what he wants to. In seemingly random order, he signs autographs for devoted fans, pecks madly away at a typewriter and slices apart interviewers trying to pigeonhole his work. Pennebaker's camera is an objective one. He draws no conclusions about the man, he simply shows him to the audience. The picture he shows us, though, is by necessity distorted. Ob- viously, you'd act differently too if somebody were following you around with a movie camera. "It may not be so much about Dylan because Dylan is sort of acting throughout the film. And that's his right. He needs some protection in a sense against that process. But I think what you do find out a little bit is the ex- traordinary pressure of having to go out and be absolutely perfect on call. That is, he had to fill a house. It wasn't just enough to have every seat booked, he had to have standees. He had to be ex- traordinary where most of us settle for just being adequate," Pennebaker said. The movie is fascinating in that it presents a Dylan who has yet to realize the limits of his talents. Dylan seems always to be trying something new and he looks as if he is amusing himself, but all the while he seems to be educating himself, internalizing everything around him, and growing. Just what he was growing into the movie cannot show, only what he was. Pennebaker is aware of this. He said, "I was never interested in educating people about Dylan. First of all, I don't know enough about him. Who does? Besides, that's Dylans business. If he wanted to educate people, I'm sure he knows how to do it. What I wanted to do was just be present when Dylan enac- ted his whole life and show you what he deals with and what interests him." Another interesting aspect of the film were the portraits of the people around Dylan. Joan Baez comes across as almost nothing more than a hanger-on. Albeit she is a hanger-on with a beautiful voice, but she seems to be trying to impress a man who is so unin- terested in her that her prefers typing to listeneing to her singin. Alan Price, founder and keyboardist for the Animals, comes across as a star trying to deny the fact that his greatest feats are behind him. At the time of the tour, Price had been replaced in the band, originally known as the Alan Price Combo and for whom he had arranged the classic hit "House of the Rising Sun." In the film, Price is never, seen without a bottle, and he comes across in general as an embittered man. Donovan is an enigmatic "Entity" throughout the film.'He appears for only a few minutes and performs one of his songs backstage, but his new-found success is thrown jokingly at Dylan. himself from the moment he arrives in England. Dylan's manager, Albert Grossman, comes across as a frightfully cunning and able man - a business match for the Dylan who rules the stage. In a 10b) IJUlan ... he's come a long way unique scene where he actually negotiates a television deal for Dylan with the BBC, Grossman calmly moves higher and higher while quietly reiterating his demands with the same cold certainty that Darth Vader did in Star Wars. Throughout it all, though, Dylan comes across as the undeniable center - the axis around which everyone else revolved. No matter what he is today, the Dylan of 20 years ago was a fireball, a young artist in a world that didn't want artists so much as stars. Pen- nebaker's acheivement has been to record for us the ways in which Dylan handled the pressure and praise that was heaped upon him. If you know Dylan only through his latest album, or even only through his most famous works such as, "Like a Rolling Stone," you owe it to yourself to do something that Dylan himself never did - Look Back! Television preferred m By Joshua Bilmes O VER THE YEARS, many Americans TV movies have been released in foreign countries. Battlestar Galactica and The Day After are two examples which come to mind. Experience Preferred But Not Essential is Britains way of turning the tables; the film was originally a British TV film called First Love. The first love which the English TV title refers to is Annie, a young woman. who works as a waitress at the Grand Hotel, a resort in Scotland, during the summer of 1962. The title given to the movie in America probably refers to the contents of the classified ad to which Annie replied. Like most such jobs, the room and board is part of the pay, and Annie gets an attic room which leaks whenever it rains. Once she gets settled in, she meets the rest of the hotel staff - the waitresses, the cooks, some of the managerial staff. One of the cooks takes a liking to Annie, and as film's 90 minutes run by, their relation- ship, and the relationships of most of the hotel staff develops. All of this is supposed to be a comedy seen through Annie's eyes. There are a few good laughs, most of them concer- ning love and sex. The scenes which stick out the most are those of a male worker who takes a nightly sleep walk in the nude. Rather, it is watching Annie, played by Elizabeth Edmonds, adjust and ma- ture to the situation at the hotel. When she leaves the hotel, we can tell she is a changed person, and that is a'rarity in a day when films seem to have more simplistic characterizations. As op- posed to some movies which provide all the change in one momentous tran- sitional scene, the more gentle tran- sformation here is a pleasant surprise. It really is difficult to pinpoint the change. Does it happen due to the daily routine of getting up at 5:45 a.m. (the man who houses the waitresses wishes that, just once, someone would say good morning) to serve breakfast? Is it the presence of a lover? Is it the peer pressure to dress in nicer clothes? Or is it, as it is in real life, a combination of all the above? Experience is a gem to its portrayal of people an. their daily routine of breakfast, lunch, dinner, and an evening with a date. It has notable scenes, but nothing really fabulous. When it comes on TV, the recominen- dation will be quite definite. But as a movie, it might be just a little too sweet. Daily Photo by SCOTT ZOLTON Laurie Penpraze (left) and Cynthia Phelps are just two of the graduate competition winners that make the music school proud. Concerto winners show -why they won a I By Pamela Starrett ATTENTION!!! ALL CALIFORNIA STUDENTS Ir T HE WINNERS OF the 1984 Perfor- mance Competition of the Music School performed two nights of sen- sational concerts in Hill Auditorium on Monday and Tuesday. Pianist Cynthia Szabo began the series of soloists with an electrifying performance of Rachmaninoff's Variations on a Theme by Paganini. Her technically flawless playing was supported by the spotless accom- paniment of the University Symphony Orchestra and conductor Gustav Meier. Szabo played with power and conviction sometimes demanding a forte im- possible to produce on her instrumeht. STEPHEN Radcliffe, making his or- chestral debut, conducted the world premiere of R. Lubetskys Momentum: CAN EITHER YOU OR YOUR PARENTS STILL USE FINANCIA. AID THIS YEAR? The CLAS studentsa loan program is now available to California and their parents. The program which is similar to the Guaranteed Student Loan Program (GSLP) allows parents to borrow up to $3,000 per year to help with educational costs. It is also available to "THE TRAGEDY OF LEBANON" speaker: DR. SANKIS ELMASSIAN OF LEBANON Thursday, February 16, 1984 8:00 p.m. at the Ecumenical Campus Center 921 CHURCH (between Hill and Oakland) The audience was then treated to a fascinating performance by organist Martin Jean. P. Paul Burnett conducted Samuel Barber's Toccata Festival while Jean played the pedal solos with great vir- tuosity. Christopher Pulgram, violinist, began the second half of the program with Tschaikovsky's Violin Concerto conducted by Yakov Kreisberg. A true soloist, Pulgram performed difficult passages almost effortlessly. His cadenza was extremely strong and well-polished. RACHMANINOFF'S Variations on a Theme by Paganini:concluded the con- cert, this time performed by. Stephanie Leon and conducted by Zuohuang Chen. Her elegant stage presence and musicality created an exceptional per- formance, evoking a sense of in- spiration and pride that a soloist of such fine caliber received her musical education here at the University. Tuesdays concert began with the first movement of the Beethoven Concerto in G major for piano played by Tania Fleischer. The expressivity between Fleischer and conductor Carl St. Clair and the Philharmonia Orchestra had an early 19th century European flavor, enhanced by the facility of Fleischer's refined technique. Trombonist Scott McElroy then per- formed Larsson's Concertino, op. 45, No. 7. His warm, full-bodied tone came through beautifully. It seemed as though his instrument was an extension of his body while he powerfully played this well-written composition. Tibor Serly's Concerto for Viola was impeccably performed by Eric John- son. The difficult cadenza exhibited Johnson's perfected technique. See CONCERTO, Page 7 independent undergraduates and graduate students. This program is made avail- able through the California Student Loan Authority. 1I.~/ Two Ann Arbor Locations * Kolossos Printing 310 E. Washington " 412 Longshore Drive $1.25 per page (double spaced) Full Service Professional Typing Academic & Commercial ..- --............-...-- ----- ----" FOR MORE INFORMATION SEND THIS COUPON TO THE: 1 I Central Campus Typing Service* 662-2940 IBM WORD PROCESSING EQUIPMENT CALIFORNIA STUDENT LOAN AUTHORITY SWENSON. CRAWFORD & .PAINE J