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July 15, 1982 - Image 7

Resource type:
Michigan Daily, 1982-07-15

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The Michigan Daily Thursday, July 15, 1982 Page 7

- A selection of campus film highlights

Modern Times
(Charles Chaplin, 1936)
Classic comedy capers abound as C-
haplin battles the rise of a
technological America. He was able
to put a dent in '30s machinery, but
even the little tramp would have had
trouble with today's assembly-line
robots. (Thursday, July 15; Lorch
Hall, 9:00):
American Graffiti
(George Lucas, 1973)
One night ina sleepy California town
Richard Dreyfuss, Ron Howard,
Wolfman Jack, Cindy Williams, and
Harrison Ford took over the streets
in a series of escapades. Luckily

seemed to pay that much attention
to original story ideas with in-
teresting characters. (Saturday,
July 17; Lorch Hall, 1:00, 7:00, 8:35).
The Pink Panther
(Blake Edwards, 1964)
A Shot in the Dark
(Blake Edwards, 1964)
For Panther fans only. If you're
not a fan, like me, then this double
feature will only result in fifteen
minutes of great comedy and over
two hours of hum-drum, sit-cam
mindless entertainment. Yes, Peter
Sellers is a comic genius, but the
Panther films never put that
comedy to constant, consistent use.
Only in moments does Sellers shine
in a glorious pratfall, or a garbled
sentence. Both films are at the
Michigan Theatre Saturday, July 17.
(The Pink Panther, 2:00, 6:00, 10:00:
A Shot in the Dark, 4:00, 8:00).
(Steven Spielberg, 1975)
Complete your Spielberg weekend



George Lucas was there to film it
all. A warm, insightful look at
growing up in the early '60s from thes
director of THX 1138 and Star Wars.
(Thrusday, July 15; Michigan
Theatre 4:00, 7:00, 9:00).
The Fox and the Hound'
(Art Stevens, 1981)
If you're wondering why animated
movies have almost disappeared
from the screen in recent times, take
a look at two of the latest Disney'
releases. The Fox and the Hound is a
wonderful, warm, and earnest story
of two natural enemies who happen
to grow up as friends. This film has Robert Shaw
all the classic animation you expect with the master'a first blockbuster
from Disney. But hey, c'mon Walt, After the cuteness of ET. and the
that plot isn't exactly the most suburban horror of Poltergeist, the
ingenious thing. Tron, which will be subliial fear of Jaws i st for
reviewed in tomorrow's Daily, also subliminal fear of Jaws is a must for
attempts to overshadowv another serious fans of blockbuster movies.
attemptshtooersando aothye Remember the fun of the summer of
lack of characters and plot only it '75 when Robert Shaw, Richard
uses fascinating computer graphics Dreyfuss, and Roy Schneider valian-
in a world inside a computer. tly set out to capture Bruce the
Animated motion pictures take an Shark, dead or alive? The only thing -
awful lot of time and money to wrong with this film is that it
make. Unfortunately, in both, no one spawned Jaws II.
-compiled by Richard Campbell
Lou Grant' cancellation
intimidating, says Asner

Sparks -'Angst in My Pants'
Telex -'Sex' (PVC-Jem)
It's great that Sparks, America's
funniest combo on four legs, is still
making records after all these years.
Why, it must be nearly a decade now
that Mael Brothers have sought the
elusive Fountain of Fame guided only
by their incessant melody-spinning and
quirky wit.
Of course, I never understood why
Sparks didn't win commercial fame to
equal their critical acclaim aged ago.
Maybe it's just that no one but Sparks
takes "The Purple People Eater" and
"She Wore an Itsy Bitsy Teeny Weeny
Yellow Polka Dot Bikini" seriously as
major landmarks in the history of pop
music. But there's just no way you're
going to find anyone who makes songs
as witty or winning as the selections on
Angst in My Pants.
My only regret is that, as funny as
tunes like the current Beach Boys
salute "Sextown U.S.A." are, most of
the punchlines on Angst in my Pants
can't begin to match even the premises
of such Sparks oldies as their comment
on pre-adolescent sex, "Amateur
Hour," or their tribute to Albert Ein-
stein, "Talent is an Asset."
That unflattering difference is fur-
ther accentuated by Sparks' current
return to their earlier style of heavy
duty art-pop. Back when they were
doing Eurodisco with Giorgio Moroder,
you really didn't notice the missing wit
amidst Moroder's nervously chattering
wall-of-synth production.
Now, Sparks are returning to their
roots and inadvertently exposing their
gray patches. They've pushed the lyrics
all the way up front again so that every
song pretty much sinks or swims on the
words alone. That means half of the
album hits bottoms fast and the other
half has to struggle just to get its nose
above water.
That's where Telex comes in. Telex
were pretty much the first band to take
Eurodiusco seriously as a sound con-
cept applicable to other forms of music.
Their Neurovision was certainly the
trendsetter as far as the electropop
movement that has come to include
such diverse acts as Yello, Abba, and
Depeche Mode.
Following Neurovision, Telex pretty
much dropped out of the picture,
threatening to miss the very boat that
they had helped set sail. Then, out of
nowhere popped Sex with words written
by "Ron and Russel Sparks." Sounds
like another turning point in the history
of recorded music, doesn't it? Well,
sorry, not quite.
You must remember that Ron and
Russell Mael just aren't writing songs
the way they used to. Admittedly, Telex
add a whole new level of humor to the
enterprise with their French-accented
textbook English that flatly disregards
every joke and thereby underscores
their absolute daftness. But still, the
only joke really worth chuckling over is
"Sigmund's Freud Party," which is
topped by a synthetic tap-dance in-
terlude even funnier that any of the

Musically, Sex is a solid step forward
from Neurovision, evidencing more of
the bodily punch that seems to be
missing from most electro-pop. But
there's still something missing in the
,package: the knowledge that this is a
very good album just cannot erase the
sense that it still could have been that
much more.
Somehwere in the midst of these two
good albums lies a great one. I hope
that Telex and/or Sparks find it before
someone else does and steals the glory
that is rightfully theirs.
-Mark Dighton
Thanks to Schoolkids Recordsfor
their generous help in obtaining
albums to review in this column.
55th Av of hboy 16070
THURS, FRI-6:00 7:55, 9:50
5:30 p~m
Funny talk DI ME
and fast food IW
THURS--6:15, 8:15 10:15
FRI--6:15, 10:20 (R)
FRI 7/16/82
AT 8:10 PM

DETROIT (UPI) - Screen Actors
Guild President Ed Asner said Monday
cancellation of his "Lou Grant"
television series, which he blamed on
his activism, will be intimidating to
other actors.
Asner said he had no doubt the series
was halted because he spoke out on
behalf of El Salvador's guerillas but
said it was too early to determine how
lasting the damage may be.
"Other performers will be in-
timidated from speaking out," he said
following a speech to the Com-
munication Workers of America.
"El Slalvador will be back in the
news because the butchery is being
reinstituted," he said.

of his prospects for work now, Asner
conceded in a news conference,
"they're not breaking my door down."
"Let me put it this way, usually
during the primary season I am
beseiged by candidates. There has been
a paucity of requests."
"Time only will tell whether there is
anything against me," he said.
Asner said he was in discussion on
several projects, including a half-hour
comedy "by two very good writers," a
possible role as former Argentine
publisher Jacobo Timmerman, an offer
to play atorney Melvin Belli in a series
and share a two-hour television move
series with Elizabeth Montgomery.

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