Page 10 - The Michigan Daily - Tue
14 for the
Jaws hit three.
Star Wars plans a total of nine.
But no series of movies and their
sequels can match Her Majesty's
finest, James Bond, for sheer numbers.
Principal photography has begun
for A View to Kill, the 14th 007 movie,
and the seventh starring Roger Moore.
Details about the plot are as yet
available, but who cares because the
stunt work sounds better than ever.
Action unit photography has already
taken place at such places as the Swiss
Alps, the Seine River, the Eiffel Tower,
and a glacier in the Bering Sea.
Other scenes are currently being
filmed in Paris under the supervision of
director Arthur Wooster.
In addition to Moore, the film stars
Christopher Walken (who won an Oscar
for Best Supporting Actor in 1979's
Deerhunter) as Max Zorin, a multi-
millionaire industrialist; Tanya Rober-
ts as Stacy, the latest sidekick/bed-
mate; and Grace Jones as May Day,
But don't go wait in line yet, the film
isn't due out until next summer.
2 INDIVIDUAL THEATRES
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$1.75 TUESDAY ALL DAY
JAMIE LEE D
DAILY 1:00, 7:30, 9:30
PAUL VER HOEVEN
The Director of...
"SOLDIER OF ORANGE"
JERGEN KRABBE / RENEE SOUTENDUK
Go West, young man
Gavin Blair, lead singer of True West, offers a hard-edged rendition of Iggy Pop's 'Lust for Life' Sunday night at Joe's
Star Lounge. The small but appreciative crowd readily welcomed the boys from the West.
'Red Dawn'is stuck at 2 a.m.
(Continued from Page 7)
survival with a friendly game of foot-
ball. These are, mind you, all-American
When they discover two teenage girls
(hidden in their grandfather's cellar
and referred to by him as "the family
heirlooms") they make them both one
of the boys. In no time the girls snarl at
the suggestion of doing the dishes, and
prove themselves as good a shot as any
of the guys. Interestingly, there doesn't
seem to be any sexual tension between
the boys and the girls, as if there were
no differences between them. And while
the boys at least have some identifiable
male mannerisms, the girls are so
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devoid of any feminine characteristics
they end up virtually sexless.
The boys are even more emotional
than the girls. They are prone to
frequent bouts of crying,
unashamedly hugging each other with
open tenderness. On the eve of combat,
it's possible for one of the guys to look
into his comrades' eyes and openly
declare, "I love you," without even
Under Jed's leadership, the group
turns into a devastatingly effective
band of guerillas. Calling themselves
the Wolverines, after their high school
sports mascot, they stage periodic
raids with such effectiveness they
become legends. Even the Colonel in
command of the city develops a
grudging respect for them.
At one point the gang encounters a
downed American pilot, who tells them
the country between the Mississippi
and the Rocky Mountains are all oc-
cupied territory, and that the only other
countries to come to U.S. aid are
England and some "Six hundred
million screaming Chinese." After
looking over the group's cache of stolen
weaponry (grenades, submachine
guns, and anti-tank rifles) and after
watching them use it quite proficiently
against an armored convoy, he ad-
miringly tells Jed, "Your mama'd be
real proud of you, boy."
Such is the nature of the Milius beast.
He's a mom and apple pie patriot with a
gun adoring fetish that would make the
NRA beam. He never goes into
ideological differences, and doesn't
seem to show the slightest inclination
he would even know what they are. His
Americans are honest, clean-scrubbed
warriors just putting in a hard days
work of defending their property. The
Soviets are really nothing more than
Nazis in new uniforms, as soulless as
any stock villain. This is basically a
French resistance scenario updated
and repotted to home soil.
As director and co-scriptor, Milius',
only real concern is .with, fashioning a
hard driving, chronically fast paced
adventure. In that respect he succeeds.
There are more battles (with seemingly
infinite supplies of squibs and ex-
plosives) in this one film than in a dozen
other typical war films, though all the
killing is in a exaggerated, relatively
Milius has never been known as much
of a stylist, and his work here is gritty,
with a rough unfinished feel. The com-
positions are merely pragmatic, to the
extent that the principals are all in
front of the camera and in focus. The
closest Milius comes to creating a mood
is to wash the whole movie out in an
oppressively bleak gray lighting. The
one skill he does seem to have down is
for staging stuntwork, and editing it
together with a mechanical brutality.
Your senses aren't thrilled, they're just
overloaded with the relentless and loud
pyrotechnics they go numb by the sheer
Expectantly, none of the characters
emerge from the story as people we
would care about. They never stop
killing long enough for us to look at
their faces and learn their names.
Aside from one slightly psychotic boy
(played by C. Thomas Howell with cool
proficiency) who carves notches in his
gun after every kill, all of the other
characters are virtually unsketched,
and it's hard to tell them apart. There's
no sense of loss felt as they're gunned
down during the course of the movie
because we don't know any of them well
enough to sympathize with them.
Although they are in the foreground,
the leads have the anonymity of mere
Red Dawn is a very unsophisticated
movie that will probably prove to be
'eminently enjoyable to the un-
sophisticated audience it aims toenter-
tain. It's a movie made by and for boys
who are too old to play with their G.I.
Joes and who never quite got over the
loss. It will probably be the late sum-
mer hit movie.
DAILY 1:00, 7:10, 9:10