Beatty' II; STUART AUSTIN Daily Collegian Staff Writer Purpose. Goals. Ambition. Dreams. We students are bombarded with such cliches daily, these banal justifi cations for a life of pressure and anxiety that goes largely unrewarded. "Reds" is a story of purpose, goals, ambitions and dreams that are rewards in and of thpmselves for that same kind of life. ."Reds," written, directed, produced and starring Warren Beatty, is the biography (obligatory historical accuracy notwithstanding) of John Reed, journalist, arts U 2, Prince, AC/DC: hard rockers who are here to play Prince Show a blast from the past, but then fades fast s 'Reds' a possible classic But Warren may be too much of a good thing Diane Keaton and Warren Beatty activist, adventurist of • the early days of the 20th century. An era of war, of political and economic unrest and collapse in Russia. An era of rising blue-collar consciousness, of ,unions, of Socialism, of a global dogma of dictatorship of the proletariat. John Reed was there. He did more than just report history in the making, he was history in the making. Warren Beatty has successfully brought this character and his historical-novel lifetime to the screen. Successfully, did I say? I'd better qualify that. The film is engaging and very entertaining, lively, action- By CHRISTINE CURCIO Daily Collegian Staff Writer U 2, "OCTOBER," Island, ILPS-9680 This curious release is courtesy of the relatively new band, Ireland's U 2. These lads have created an 1p that can't rightly be called rock. It doesn?t even fit in to the mold of New Wave. This music is mysterious and hypnotic, with the help of The Edge on lead guitar. The mixture of percussion and unusual guitar patterns lends an unmistakable tone of originality to U2's strange style. Lead singer Bono has a tone of desperation in his voice which is effective on "I Threw a Brick Through a Window" (the -most commercially accessible cut), "October," and "Scarlet." But at times he sounds a bit like Saturday Night Live's Bill Murray in the routine of his not-too-popular nightclub entertainer. "October" entered. Rolling Stone's Top 100 at number 25, which isn't too shabby for a band both new and unusual. Watch for their North American tour in the following months. Photos by David Appleby PRINCE, "CONTROVERSY," Warner Brothers, BSK 3601 Will this guy ever do anything middle-of-the road again? After his latest success with "Dirty Mind" which dealt with incest, cross-dressing and fellatio, Prince, was involved in a lot of, you guessed it, controversy over his music and ideas. Prince explains himself more or less in "Con troversy's" title track, dealing with his recent problems with the press and public over 1980's "Dirty Mind": "I just can't believe all the things people say/ Am I black or white am I straight or gay/ I can understand human curiosity/ Wa i s it good for you, was I what you wanted me to be?" "Controversy" has the subjects of sex ("Let's Work," "Sexuality," and "Jack U Off"), politics ("Ronnie Talk to Russia") and religion ("Annie Christian"). Prince lives up to the album's title when, in the lead track, he recites the Lord's Prayer. How much of a scandal is this? To ,avoid a dull discussion on Prince's political and social views, the musical merits of the album should be mentioned. "Controversy" has plenty of fresh material not expected of Prince. "Jack U By ELAINE WETMORE Daily Collegian Staff Writer The Roaring '2os with its speakeasies, bootleg whiskey and silk-seamed stock ings swept into Eisenhower Auditorium Wednesday night in the swinging jazz musical "One Mo' Time." Unfortu nately, the storm quelled prematurely, and the initial excitement dwindled to an occasional stir. Sponsored by the Artists Series, this Broadway hit under the direction of Bill Gile recreated a bawdy, drunken night of entertainment in the infamous New Or leans' Lyric Theatre and at times, as the agitated theatre owner played by Sam Baker so aptly put it, featured "the best in colored entertainment." The show cleverly juxtaposed Big Ber tha Williams and her Touring Company's stage numbers with the troupe's comedic confusion between routines in the dress ing rooms. The gaudy purple backdrops contrasted the shabby interior of the backstage cubicle, yet the diverse talents of the company surfaced in both settings. In the first half, numbers like "C.C. Rider" with Mama Reed, "He's in the Jailhouse Now" featuring Papa Du and Bertha's "Kitchen Man" set a rakish pace that never diminished. Each song and ensuing dialogue seemed better and funnier than the last. However in the second act, the flow never returned the scenes were disjointed and numbers less vivacious. Even Bertha's attempts at humorous sexual overtones failed and Ma Reed's "Exotic Dance: Hindustan" was particularly dismal. The spark that ignited the first half fizzled in the second. Each of the two acts,featured a dozen songs running the gamut of musical genres, all accommpanied by well-cho reographed soft shoe and chorus line dances. Yvonne Talton Kersey as Big Bertha, (the adjective attributed to either her sheer immensity or her ample breasts forever threatening to spill from her outrageous get-ups), sashayed about the stage, belting out the burlesque as well as the torche. Just like Nell Carter in "Ain't Misbehavin', " Bertha was the ba- and romance-packed; star-studded and a real bargain at $3.75. But how much can one petton do? Beatty's screenplay is excellent, and the cast (includ ing Diane Keaton as Louise Bryant, Jack Nicholson as Eugene O'Neill and Maureen Stapelton as Emma Gold man) captures the tension and emotion of it, bringing it to a life that's bigger than•life. Clearly Beatty's'direct ing is also top-notch; to put together such a myriad of emotions and conflicts without becoming confusing, too shallow, or worse yet, sentimental. • Fine. But, try as I might, I still see Beatty 'as the athlete a.k.a. millionaire Leo Farnsworth in "Heaven Can Wait," bouyantly addressing his board of trustees with a boyish grin of optimism for a utopian plan of goodwill-at-the-expense-of-financiaPreality.. So Leo Farnsworth wants to make the world safe for consum ers, John Reed wants to make it 'safe for workers, and Warren Beatty wants to make it safe for cute guys with lots of fun ideas about how to make the world a better place. Perhaps this isn't fair to him, after all, he's been so busy writing "Reds" with Trevor Griffiths; maybe he hasn't had time to develop a new character. Maybe he identifies with Reed better than anyone else he knows. Maybe he's John' Reed reincarnated. I'm becoming absurd, but there is a point. Beatty is just too much of a nice guy to render what an s.o.b. Reed must have been. Unlike Nicholson, who shows us just what an s.O.b. O'Neill could be. Enough lambasting. Go• see the damn movie; it says more than I can. What I will say is that Diane Keaton is great. She hit me with all the frustration of Louise Bryant, the struggling author(esss???!) ignored by her lover's trendy friends, who thought that ol' Jack Reed was the greatest. All the bitterness of living in his shadow, but not being able to live without him. All the fiery self-confidence of a woman who would damn the torpedos and make it on her own. Of a woman in love; a woman who wanted and needed love, and who wouldn't wait around for it to happen. Gripping? Definitely. Almost engrossing. Long? You betcha, but it's worth it. A classic? Well . . . like the events that became history which Beatty has brought to the screen in "Reds," only time will tell. ba-ba-bo6m, boob-jiggling, ass-wiggling husky tenor who forced a head-shaking laugh from wonderment or a throat-con stricting gag. Lynne Clifton Allen as Ma Reed spar kled her voice, her dance, her '2os costumes of sapphire blue complete with blue fringe and feather all contributed to an awe-inspiring whole. When accompa nied by Ronald "Smokey" Stevens as Papa Du the two in the first half were unsurpassable. Stevens boasts of body fluidity that is not only enviable, but downright amaz ing. From the cane and derby routines to the Charleston, the man shad the timing and could make the moves, and all he says is "Ain't nothin' to it but to do it." Even his corny, overtold jokes were crowdpleasers. artists series The'weak link appeared in the role of Thelma played by Adjora Faith McMil lan.' Though a talented performer, she was often overshadowed by the other members of the cast. But her backroom antics as the brazen hussy (or brown Heifer as Bertha put it) seemed charac teristic and were immensely entertain ing. • ' The talented members of the New Orleans band The Blue Serenaders per formed consistently well throughout. Al bert Bemiss, piano; Manny Boyd, clarinet; Joseph ,Lastie, Jr., drums; John Brunious, trumpet; and especially Alton Carson, tuba (who had Big Bertha beat by 75 pounds) provided the core around which any of the show's success evolved. The old sounds of Bourbon and Burgundy Streets and the Louis Arm strong magic permeated the auditorium. Through "One Mo' Time" the tingle of the '2os did traipse through Eisenhower, if only for a short time. Off" oddly enough has a beat reminiscent of 1940 s swing. "Sexuality" has synthesizer work from Doctor Fink that is weirdly intertwined with Prince's vocals. Prince's vocal range. has.much to do with the complexity of the albuni. He is a little boy with his falsetto on the syrupy "Do Me" and someone completely different screaming about gun control _ on "Annie Christian." This aspect makes the listener sit up and wait for what will happen next. Choice cuts are the danceable "Let's Work," "Private Joy," and "Controversy." 'Aside from the heavy breathing and lyrics that you wouldn't want 'Mom to hear, these tunes are Prince's saving grace. As long as he puts out music that people will like, let him say what he wants. 'AC/DC "FOR THOSE ABOUT TO ROCK," Atlan tic, SD-11111 'Australia rocks again. These bad boys have released a typically brutal collection of tunes that have given AC/DC fans something to argue'about. The cover is terrible. The band's logo is above a dull picture of a cannon (it relates to the title, Doors organist Ray Manzarek and guitarist Robbie Krieger are work ing with rock groups in the Los Angeles area. And drummer John Densmore is dancing. Interviewed in New York while Bess Snyder and Company was visit ing to give performances, Densmore wore a Bob Marley T-shirt. "Ray and I and Robbie made two albuMs after Jim died," he says. "We realized we didn't have a focal point. Then Robbie and I had anoth er group, the . Butts Band, which was together about a year. We went to Jamaica to record. I wrote an article about Marley and my experiences in Jamaica. I think Wet magazine is going to put it out. "When that group fell apart, I realized what a special group I was, in, in the Doors. I shied away from being in another band. "I studied acting for 2 1 / 2 years. I wanted to break away from my drums. It is My security and I love it. I know how to do it; I've done it so many years. I wanted to get up and express myself." Then, a year and a half ago, a friend took Densmore to a concert Ex-Door dancing to different drum beat By MARY CAMPBELL AP Newsfeatures Writer The Doors were together a short time. Their'first recording came out in 1967 and lead singer Jim Morrison died in 1971. The interest in them and in Morrison may be greater now than it was when they were perform ing. A greatest hits album sold almost a million copies in 1980. A Morrison biography, "No One Gets Out Al ive," sold big. Morrison's book of poems, "The Lords and the New Creation," published in 1969, will be reprinted next year. Warren Beatty The Daily Collegian "For Those About to Rock We Salute You"). For art's sake, I prefer the cover of "Back in Black." The main complaint with this effort is its lack_ e of originality. With Angus Young on guitar, this band can do, anything. Going by AC/DC's early days with the late Bon Scott, the group did a lot with incredibly suggestive lyrics and amazing guitar work. After Scott's death in 1979, Brian Johnson took over as lead singer in his own throaty, vulgar way. "Back in Black" showed that AC/DC could go on without Scott, and had possibly their first biggest commercial success to date. On this latest release, Angus Young is dazzling on "C:O.D.;" "For Those About to Rock," and "Put the Finger on You." He absolutely carries the band and is the focal point of their live performances. This album will only be accepted by diehard AC/DC fans, because it takes a few listens to distinguish songs. Too bad. Overall, this album, as far as AC/DC is con cerned, could have been called "Back in Black II" or, more of the same old stuff. by Bess Snyder and her small, av ant-garde, modern-dance troupe. He and Miss Snyder talked after the concert and came up with the idea that he could drum while she danc ed. "Then she started to make this drummer a character. I got up from my drums and spoke to her. Then she said, 'l've got this one piece I think you could 'dance in.' That's when I started taking dance classes. She has a house in Santa Monica where there are classes indifferent kinds of dance. It's the focal point of the Los Angeles Area Dance Alli ance." Densmore is 36, as he quickly says, "about the time when dancers give up." But he is studying ballet, on an elementary level, always has been thin and wiry, and says he can stretch his leg farther than he could a year ago. The Doorg played in Madison Square Garden and Bess Snyder and Company's audience is small but, Densmore says, when he danced with her in "I Don't Think It's Fun ny, Honey," in San Diego, San Fran cisco and Santa Monica, he had butterflies in his stomach. "I'm still interested in acting," 'Densmore says. "I'm sidetracked now, so I think I'll stay in dance for a few yegs. My individual growth is doing good. That's why I'm here. It is painful sometimes to dance and it also feeis good. My body is the instrument, not the drums. It's more vulnerable 'and frightening." Densmore is also able to help the group financially, which pleases him. He was impressed with the very first concert he saw by "this group of dancers trying to say some thing to people, for no profit." Friday, Dec. 11 O'Toole finds the studio a difficult place to work By 808 THOMAS Associated Press Writer HOLLYWOOD (AP) "Stupid, ridiculous and ultimately self-de feating." That's Peter O'Toble's analysis of working conditions after his first real experience in the-Holly wood studios. • , The British actor has been per forming in films since "Kidnapped" in 1959, and mostly for American producers "Lawrence of Arabia," "Beckett," "Lord Jim," "What's New, Pussycat?" "The Lion in Win- ter," "Goodbye, Mr. Chips," 'etc. Curiously, he has never undergone the Hollywood studio experience un til now. "Well, I did make some added scenes for 'Masada' at Universal," he cited, "and although 'Stunt Man' was shot mostly on location, we did a few pickup shots here." O'Toole was spending a few mo ments of relaxation in his motor home-dressing room on his next-to last day in "My _Favorite Year" at MGM. His complaint was directed not at the movie, which he has greatly enjoyed, but at studio think . ing that decrees a full workday. He arrives for work in the early morn ing and leaves well after dark. "It makes no sense," he declared, pushing a cigarette into his holder. "Working in films is hard enough for actors 'doing one-or two-minute scenes every couple of hours. To try to maintain your energy for a 12- SUNSHINE` 2 20 S . FRASER (Across From The Post Office) BUYING .. . • CLASS RINGS • WEDDING RINGS • OLD JEWELRY • GOLD & SILVER COINS • WRIST & POCKET WATCHES • DENTAL GOLD • PLATINUM • DIAMONDS • STERLING DIN NERWARE (Complete or partial) • SERVING TRAYS CHARM BRACELETS • ANTIQUE - JEWELRY • ETC. TOP PRICES For Gold & SILVER ...Any Form 1 DAY O N LY—SAT., DEC. 12 11 AM to SPM 240 S. PUGH ST. DOWNTOWN STATE COLLEGE SHERATON INN. hour period is absolutely impossible. You can't even keep your makeup in suitable condition 12 hours at a time." Aside from the hours, O'Toole is delighted with "My Favorite Year." Understandably so, since he has a bravura role that any actor would envy. He plays Alan Swann, a larg er-than-life film star who swashes buckles and swigs bottles with equal abandon. Sound like Errol Flynn? The resemblance is more than coin cidental. The year is 1954, and Swann is booked on television's "Comedy Cavalcade," starring Stan (King) Kaiser (Joe Bologna). Swann, de spite his on-screen bravery, is terri fied by the prospect of live TV . Peter O'Toole Fonda discusses with candor his expe riences with women, beginning with a disastrous initiation in Minneapolis dur ing his brief College career. Despite his lifetime shyness, he has loved many women, sometimes disastrously. He speaks frankly of his four failed mar riages and blames himself for the di vorces. The actor recalled a 1927 date on the Princeton campus with a blond New England girl from whom he exacted a ofri , °l.l l Humble Fonda subject By 808 THOMAS Associated Press Writer HOLLYWOOD (AP) Henry Fonda, struggling I with health problems, has much to cheer him these days: praise for his performance in the new film "On Golden Pond"; his appearance with Katharine Hepburn on Time's . cover; praise for his autobiography, "Fonda My Life." The book was written by playwright biographer Howard Teichmann, based on 200 hours of interviews with the star plus talks with his family and friends. The result is a bit more adulatory than the modest Fonda would probably like, but with characteristic honesty he dis cusses the major events of his life. Well, almost all. He is incurably hon est, but also a gentleman. He chooses to omit some of the ill treatment from producers and . directors and false friends. Unlike some star autobiogra phies, "Fonda My Life" is not an exercise in retribution. One of Fonda's earliest memories was of a' boy of five when his mother wakened him to see Halley's Comet flash across the Nebraska sky. She told him: "Re member this. . .it comes around only every 76 years. Seventy-six years is a long time. . ." / 6 :5 fii single chaste kiss in the back seat of a car. A few days later, he received a letter: "I've told Mother about our lovely experience together in the moonlight. She will announce the engagement when we get home." Fonda adds that he be lieved he was engaged "That's how naive I was, and that's what a devil Bette Davis could be at 17." During 'their early Hollywood days, Fonda. and James Stewart shared a house and partook of nightlife with movie beauties. One night Stewart dated Ginger Rogers and Fonda escorted Lucille Ball to dancing at the Cocoanut Grove and ended at dawn in Barney's Beanery. When Stewart commented that the wom en's makeup looked heavy in the morn ing light, Fonda agreed and Miss Ball's ardor cooled. Fonda comments: "If I'd behaved myself, they might have named that studio Henrylu, not Desilu." Fonda is less than expansive about the rifts between himself and his famous children, commenting: "Peter and Jane were successful very young. Their rebel lion against me as a parent didn't last too long. They willingly admitted, 'l'm sor ry, Dad, for the hurtful things that mere said.' Jane said plenty of hurtful things to the press: She told one reporter she grew up in a completely phony atmosphere." Fonda's restless spirit finally turned tranquil after his marriage to airline stewardess and model Shirlee Adams. He comments: "Shirlee turned me around. I'm easier with her than I've ever been with anyone before. Maybe I'm mellowing with age. Maybe with Shirlee I'm more willing to compro mise." His friend Nedda Logan observes: "His whole life opened like a rose coming out from a tiny, tight bud." Hey, Mom! H I'm coming for Summer a?n,„,,, -4r:i4e-e a/aZ -efio 74tc.44 a service of the Commonwealth Educational
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