ARTS Page 12 Friday, August 7, 1987 The Michigan Daily New Bond By John Shea 007 is back, but is he better than ever? Well...yes and no. The name is Dalton. Timothy Dalton. With Roger Moore's departure from the role after 1985's disappointing A View to A Kill, Dalton becomes the fourth James Bond. The Living Daylights is Dalton's first assignment, and the British actor is game throughout. Unlike Moore's later Bond efforts, which saw him long in the tooth and lacking enthusiasm, Dalton gives Bond- and the series - a new life. Make no mistake about it; this is a different Bond. Conspicuously absent from The Living Daylights is fancy gadgetry, scantily clad woman, and the dry wit and humor which has all but evaporated. We get right down to some serious spying. The plot, like is dense and aw won't go into det I don't want to s and partly becai what was goingc Several Briti agents are kille Bond pursues th become involve( cellist (Maryam by a madman An (Joe Don Baker) Soviets for Afghanistan. Th can make it. It is At the cente Dalton; he reall job. Trained in theater, Dalton depth than either ever did. The cha human form, wt parture from M which fell just si adds depth Dalton is actually grieved at the most Bond films, death of his friend and fellow agent 'fully confusing. I and looks scared as the entire ails, partly because Russian army chases him. poil any surprises However, part of the appeal of use I had no idea the recent series lay in the dry wit on. and humor constantly injected by sh secret service Moore. It is missing here-and is d on the job and missed. Dalton is more serious, e assassin, only to more somber, more world weary. d with a beautiful He is flat in this regard. d'Abo) and a plot The supporting cast is somewhat nerican arms dealer weak with Baker not very believable to sell arms to the as a Bond villain. He exudes no their war i n evil; what the film really needed at is as simple as I was a more dominating, more far more intricate. sinister villain. D'Abo is incredibly r of the storm is sexy but too naive. y does a credible A general rule of Hollywood is, i Shakesperean "don't mess with success." If gives 007 more you've got a winning formula, stick Connery or Moore to the equation. At least the racter takes a more producers had the nerve to take hich is quite a de- some chances with the 007 oore's portrayal, character, and a few of them actually hort of cartoonish. work. Timothy Dalton debuts as the new Agent 007 James Bond in The Liring Daylighs. Many 'Trees' grow at University Museum of Art By Catherine Kim You don't have to stroll through Nichol's Arboretum to' catch a glimpse of some of natures' most awe inspiring trees. In fact, you don't even have to go outside. The University Museum of Art's current photography 'exhibit, appropriately entitled "Trees" offers a spectacular photo collection of some of nature's most beautiful forest giants. The exhibit displays several time periods and styles of worldwide photography. The works all include trees, but the similarities end there. Ansel Adams, a name that goes hand in hand with nature photogra- phy, is featured at the exhibit along with a host of others who haven't received the same recognition. Adams offers a somber work enti- tled "Aspens, Northern New Mexico", 1958, which demon- strates the modern use of photogra- phy as an emotional medium. He captures the same emotion in his work "Oak Tree, Snowstorm" as well. Two earlier works date back to the late 1800s, and demonstrate the traditional documentary style then common to photography. Italian Georgio Sommer's "Avenue of the Palms, Botanical Gardens,"1870, depicts a traditional Italian Garden in Palermo. William Henry Fox Talbot's "Loch Katrine," 1884, also shows a river scene. Both prints use dated salt print techniques which fade the print quickly and are meant to reproduce the scene, rather than convey emotion. Leopold Hugo's "Tall Poplar, California", c. 1930, demonstrates photography's painterly stage, when photographers tried to imitate the brushstrokes of art with the bromoil process. The development of non-repre- sentative photography is shown in several abstract prints. Irishman Alan McWeeney's "Flies in the Window,",1972, blends the fore- ground and background for humor- ous effect. Czech Josef Sudek's large-format contact print flattens foreground for its dream-like quali- ty. In the only color print in the collection, "Paesaggio, Baia Della Zeagere,"1970, Franco Fontano at- tempts to depict only the elements of sand, water, and trees by flatten- ing out the whole composition. Michael Smith's "Near Blue Riv- er,"1975, uses similar technique in black and white. The exhibition is on a flexible time schedule, and will run for about one month.While the collec- tion is small, its variety makes it well worth looking into. Records Jill Jones Jill Jones Paisley Park One has to wonder about Prince. His own records are among the finest of the decade, consistently innovative, challenging, and daring. His spin-offs once rivalled him. The Prince-produced Vanity 6 record remains the standard for all aspiring slut-funk units. And Morris Day, Jimmy Jam, and Terry Tyler played the most butt-shaking funk on the three Time albums. Things get more tenuous, though, when Shiela E. is added to the list. Shicla is unquestionably a talented percussionist, but more often than not, her personality was overwhelmed by her mentor's presence. And now we get Jill Jones. This record sounds like the out takes from Prince's Sign '0' the Times double LP, with occasional vocal overlays by Jones. As was the case with Shiela E.'s "A Love Bizarre" single, Prince i s everywhere, writing half of the songs, singing half of the songs, and then fading away momentarily, seeming almost like a bandleader offering a saxophone player a short solo. Jones does little with these rare opportunities, revealing an above-average voice coupled with an absence of punch. The lyrics are inescapably Princely. "Baby you're the Cross that's too deep to bear / Baby you're a star that's tooI attributed to Jones, but and the phrasing ar guy's. Sign 'O' the Times benefited from the effo on this record. Jill benefit from relegation of Badness' back-ups, < less career. James Cotton Take Me Back Blind Pig The current blues t has pushed the mus commercial success, is, it further and further av far away" is roots. Sick and tired of it and the images feeling constrained by his big band, e the short Cotton reassembled much of his original mid 60's band and recorded would have Take Me Back, an album of back rt expended to the basics blues. Jones will Freed from his big band, with to the ranks which he is also generally or a mentor- excellent, Cotton sounds more impassioned in both his singing John Logie and harp playing than he has in years. The band, including pianist "Pinetop" Perkins and drummer Sam Lay, cooks, playing unspectactular but deeply felt music. The first two song, Little rend, which Walter's "My Babe" and "I Done ic towards Got Over It" are particularly good, also moving upbeat blues. Cotton sings, howls, way from its asdblows-lak am pused-- This is an excellant and exciting trip back 25 years and Cotton is to be commended for daring and caring enough to record this album. --Alan Paul Joan Baez Recently Gold Castle The release of a new album after a ten-year respite is fraught with peril - especially for a folk singer. One risks estrangement from old fans if one "goes too modern" or rejection from younger audiences if one remains true to older musical forms. See RECORDS, page 13