~ rit iii Ltt LTT Titi ii tTtTiTitifTiititititiititi ty 2een = —_ s be a) = Betty Blue Many of you will remember Beineix as the film maker who gave the world that cult classic Diva. I’ve never seen that movie. I decided not to go after reading a very damning review by John Simon. Still, I have heard the recording of the aria Ebben? Ne andrano lontana from La Wally, as sung by Wilhelmena Wiggins Fernandes. She is a beautiful woman, but she certainly is not a great diva. Despite this, the film was raved about by most critics, and the cry of “new-wave” director resounded through North America’s daily tabloids. Well, Beineix is back with a film called Betty Blue (in North America, it’s European title being 32 Degrees) and this time I went to see it. First of all it’s French. You can tell this because everybody smokes. Secondly, it’s another “new wave” film. You can tell this because everyone drinks coffee out of soup bowls. Most importantly though, it’s smug, it’s pretentious, and unbelievable. Its greatest asset is its cinematography. Pastel blues and pinks, iridescent scarlets juxtaposed with somber greys and muted violets, yellows so intense they explode on the screen; from post-impressionist splendour to baroque charm, the film has captured the eclectic beauty of post- modernism. But a lot of pretty pictures do not a movie make — at least not a good movie. The movie is a statement on how chic people live. Chic people drink Pernod, or a mixture of tequila and soda water which must be wrapped in a tea towel and then banged on the table. Chic people have such a good time that they laugh hysterically over nothing. You want to knock out a wall, knock out a wall. You want to burn up your house, burn up your house. Don’t forget chic people drink their coffee out of soup bowls — yes always. Chic people also moisten their coffee grounds, so they can watch them swell. You could see the heads of potential chic people in the audience swelling trying to take all of this in and remember it. The worst offence a movie can commit is to try to extract unwarrated sympathy from its audience. It leaves the movie-goer with a distinctly bad taste in his mouth. This film is guilty in spades. The protagonist of this film, Betty, is blatantly and manifestly insane, violent and destructive. Her loving boyfriend is a docile imbecile by day, genius novelist by night. He accepts that Betty may be insane when she stabs her eye out and falls into a coma. Distraught, he disguises himself as Tootsie and smothers Betty with a pillow, in the hospital, at night. Back home he sheds his wig, gets drunk, and reminisces over a pot of chili. Most of the audience walked out thinking the film was depressing. I remain incredulous; the film is risible. Kelvin Holland “GOD DOES NOT PLAY DICE... vant - The Morning After The Morning After is not Maureen McGovern’s follow- up to The Poseidon Adventure as I had expected. Instead it was a new “Hollywood” movie, starring such famous personalities as Jane Fonda and Jeff Bridges. Race for the Oscars, can’t you smell it? This American movie was not as chic as the French movie. Modernism plagues it like the hangover to which the title refers — from Bauhaus interiors to warehouse exteriors. The gist of this movie is that Jane Fonda plays Viveca Van Loren, a broken down alcoholic actress and body builder who is being framed for murder, until she meets a cherubic, Hardy boy - wholesome handyman, Jeff Bridges. Though I didn’t dislike this film as much as I disliked Beineix’s, I still found it to be a pretty abysmal attempt at film making. This is one of Fonda’s social-trend films. Other offenders in this category include: Electric Cowboy, China Syndrome and 9 to 5. The trend under scrutiny in this case is the female bodybuilding craze. Viveca-Fonda, being such a prime example of the breed in question, is dragged back to a photographer’s pad and, being in a drunken stupor, is presumably exploited (physically, sexually or somehow?). She awakens beside the culprit and he is stabbed — dead. Though Viveca has a record for committing unsuccessfully that very offence in the past, we find out she couldn’t possibly have done it because she is really only Alexandra Sternberg, a simple Jewish girl who always wanted a complete set of Nancy Drew books (Nancy’s so smart and so together). Have no fear because jaded Viveca meets Turner “Ken doll” Kendall, dropped out ex-cop and collector of old books (he doesn’t read them) who will do anything, including risk his own life, to prove Viv is innocent. Credulity aside, the movie makes a statement that is so idiotic it’s alarming. The gist of which is that people who take pictures of women who look like Arnold Schwartzenegger and wear string bikinis are creating pornography. Bullshit! Women who choose to look like that are doing it to have their bodies looked at. Men who choose to portray such a state of ugliness as sexually desireable are doing these women a great service. Witness one Jane Fonda, whose portrayal of a hangover looks like someone suffering from excessive aerobics; whose jaw has been pumping so much propaganda that her neck looks like a sack full of hydraulic hoses; she gets to fuck on film, and that’s not pornography. P.S. You know how you can tell an American film in the 1980's? During the sex scenes the woman is always on top (see Jane crossing Bridges). Beineix, being French, has managed to buck this trend, and the hero, though he has not been given top billing, has at least received top billeting. Betty Blue opens with a long drawn out sex scene with plenty of animated grunts and groans. And just so you’ Il-know this is not pornography but “art”, overhead is a reproduction of the glowing Giaconda Smile (which may be Leonardo in drag) reigning down upon them in all its splendour. Kelvin Holland * Planet of the Arts Page 11 oth er earn ree LLL IIIT reeeeeeeeeeecceel aes — - use x = +. = » o e « ~ > oceapeeees 2 2 @ sae 2 hd nS ae o <2 e ‘Round Midnight This is the story of one man’s obsession with his art and another man’s obsession with the artist. Taking place primarily in the Paris of the 1950’s, Dale Turner is the stereotypical jazz musician, black, self-destructive and a genius. He’s trying to make acome-back from a long drunk but his will-power doesn’t match in strength his creative drive. Francis is a commercial artist and a fanatic for be-bop. His obsession with one be-bop player in particular threatens to destroy what little home life he has left. One night he fi- nally gets to meet his idol, Turner, and the two men try to find an equilibrium to their unbalanced lives. The director Bertrand Taveneir takes his time in letting the characters and the events in their lives unfold. The jazz numbers are shown uninterrupted (the soundtrak was re- corded live on the set) and the days and nights seem to flow together like the holiday we always dream of. When Turner goes home to New York with Francis in tow the film’s pace speeds up to catch up to The City’s beat. There are some subtle statements made about the differ- ence between the two great centers of the twentieth century. The difference between the Blue Note Cafe where Turner plays in Paris and “the Club” that he returns to in New York ~ speak volumes. Of course, it is a French director, with an obvious bias. But when Buttercup tells Lady-Aces that he’s doing the same things in Paris as he did in New York, he re- plies, “Yeah, but I’m doing it in Paris”. And you can’t ask for more than that. "ROUND MIDNIGHT is playing at the Royal Centre Cineplex. The music alone is worth the price of admission. Martin Stein Bs OK eo The Periodic Table by Primo Levi Hans he lied, as Braz could not offer Forbes neough. Nath’s MG’s all right, Sid's pal said, clubbing our cool cats. That was my (very) personal mnemonic for the first twenty elements of the periodic table. It is about as much as I remember, and certainly all that I liked about chemistry. However, Primo Levi, a retired professional chemist, has written a book that describes in an equally personal way selected elements from his experience. This is not a chemistry book, but a memoir that describes the elemental world that we all live in. He has written chapters about twenty-one elements. Each chapter characterizes its chosen element with great skill, altering style, time in history, or almost anything to get the essence. This is a great book. John Whistler @ purchases ® coffee then Teav +he room... ON deat ORS E BELLIS AON YY .. HE PLAYS DOMINOES. ~ -A, EINSTEIN H 7 Tt was at tat point that Fester bean \o\ to suspect tht Berta had ben keying around... int oH Gop , Look! 17's, “THE Boy | have a SOUS ONS SS <> SRR : \ ‘iq ) ia \ PO OWN >JOH Boy! % Lorunx aenie PITHED even har dl : acknowledgi , (' the girl», 9 Se Qx COs, FOO YO x x oe =X xox go Cc SHe GOeS Home and Drinks... | and ClKe p.iGHt - He's {uenine Many of you will remember Beineix as the film maker who gave the world that cut classic Diva. I've never seen that movie. I decided not to go after reading a very damning review by John Simon. Stll, [have heard the recording of the atia Ebben? Ne andrané lontana from La Wally, as sung by Withelmena Wiggins Fernandes. She isa beautiful ‘woman, but she certainly is not a great diva. Despite this, the film was raved about by most critics, and the ery of “new-wave" director resounded through North America’s daily tabloids. Well, Beineix is back witha film called Berty Blue (in North America, it’s European ttle being 32 Degrees) and this time I went to see it. First of all t's French. You can tell this because ‘everybody smokes. Secondly, it's another “new wave” film. You can tell this because everyone drinks coffee out ‘of soup bowls. Most importantly though, it's smug, i's pretentious, and unbelievable. Its greatest asset is its cinematography. Pastel blues and pinks, iridescent scarlets juxtaposed with somber greys and muted violets, yellows so intense they explode on the screen; from post-impressionist splendour to baroque ‘charm, the film has captured the eclectic beauty of post- ‘modernism. But a lot of prety pictures do not a movie make — at least not a good movie. The movie isa statement ‘on how chic people live. Chic people drink Pernod, or a ixture of tequila and soda water which must be wrapped ina tea towel and then banged on the table. Chic people hhave such a good time that they laugh hysterically over nothing. You want to knock outa wall, knock out a wall. ‘You want to burn up your house, burn up your house. Don’t forget chic people drink their coffee out of soup. ‘bowls — yes always. Chic people also moisten their coffee ‘grounds, so they can watch them swell. You could see the hheads of potential chic people in the audience swelling trying to take al ofthis in and remember it ‘The worst offence a movie can commit isto try toextract ‘unwarrated sympathy from its audience. It leaves the ‘movie-goer witha distinctly bad taste in his mouth, This, film is guilty in spades. The protagonist ofthis film, Betty, is blatantly and manifestly insane, violent and destructive. Her loving boyfriend isa docile imbecile by day, genius novelist by night. He accepts that Betty may be insane when she stabs her eye out and falls into a coma. Distraught, he disguises himself as Tootsie and smothers Betty with a pillow. in the hospital, at night. Back home he sheds his wig, gets drunk, and reminisces over a pot of chili. Most ofthe audience walked out thinking the fil ‘was depressing. I remain incredulous; the film is risible Kelvin Holland GOD DOES NOT PLAY DICE. (Some 9s mee Sy HE PLAYS DOMINOES. =A, EINSTEIN The Morning After The Morning After is not Maureen McGovern’ follow- upto The Poseidon Adventur a Uhad expected. Instead itvas anew “Hollywood” movie, staring such famous personalities as Jane Fonda and Jft Bridges. Race forthe Oscars can't you smelt? “This American movie was nota chic asthe French ‘movie. Modernism plagues it like the hangover to which the tite refers — from Bauhaus interiors to warchouse exteriors. The gist ofthis movie i that ane Fonda plays Viveca Van Loren, a broken down alcoholic actress and body builder who is being framed for murder until she meets acherubic, Hardy boy - wholesome handyman, Jeff Bridges. Thowgh {didn't sie this film as much ast disliked Beineix's, [still found it tobe a pretty abysmal tempt at film making “This is one of Fonda's social-trend films. Other offenders inthis category include: Elecric Cowboy, China Syndrome and 9 to 5. The tend under scrutiny inthis case isthe female bodybuilding craze. Viveca-Fonda, being such a prime example ofthe breed in question, is dragged back to. photographers pad and, being ina drunken stupor. is presumably exploited (physically, sexually or Somehow’). She awakens beside the culprit and he is stabbed — dead. Though Viveca has a record for committing unsuccessfully that very offence inthe pas, ve find out she couldn't possibly have done it because she is realy only Alexandra Sternberg, a simple Jewish gil wo always wanted a complete set of Nancy Drew books {Nancy's so smart and s together. Have no fear because jaded Viveca meets Turner "Ken doll” Kendall, dropped ‘ut ex-cop and collector of old books (he doesnt ead them) who wil do anything, including risk his own life, to prove Viv is innocent Credlityasie, the movie makes a statement that sso idiotic it's alarming. The gist of which is that people who take pictures of women who look like Amold Schwartenegger and wear string bikinis are creating Porography. Bullshit! Women who choose to look like that are doing it to have their bodies looked a Men who choose to portray sucha sate of lines as sexually desireable are doing these women a peat service. Witness one Fane Fonda, whose portrayal ofa hangover looks like Someone suffering fom excessive acrobies; whose jaw fas been pumping so much propaganda that her neck looks like a sack fll of hydraulic hoses; she gets to fuck ‘on film, and that's not pomography -8. You know how you can tellan American film in the 1980's? During the sex scenes the woman is always on top (see Jane crossing Bridges). Beineix, being French, has managed to buck this rend, ‘and the hero, though he has not been given top billing, has at least received top billeting. Betty Blue opens with a long drawn out sex scene with plenty of animated grunts ‘and groans. And just so you'ILknow this is not pornography ‘but “art”, overhead is a reproduction of the glowing Giaconda Smile which may be Leonardo in drag) reigning down upon them in al ts splendour, Kelvin Holland ‘Round Midnight This another man's obsession with the artist primarily in the Paris of the 1950's, Dale Turner is the Stereotypical jazz musician, black, self-destructive and a the story of one man’s obsession with his art and Taking place drunk creative genius. He's irying to make a come-back from alo but his will-power doesn’t match in strength hi drive Francis is a commercial artist and a fanatic for be-bop. His obsession with one be-bop player in particular threatens to destroy what little home life he has left. One night he f- nally gets to meet his idol, Turner, and the two men try to find an equilibrium to their unbalanced lives. ‘The director Bertrand Taveneir takes his time in leting the characters and the events in thei lives unfold. The jazz numbers are shown uninterrupted (the soundtrak was re- ‘corded live on the set) and the days and nights seem to flow together like the holiday we always dream of. When Turner ‘20es home to New York with Francis in tow the film's pace speeds up to catch up to The City’s beat. ‘There are some subtle statements made about the differ- cence between the two great centers of the twentieth century. ‘The difference between the Blue Note Cafe where Turner plays in Paris and “the Club” that he returns to in New York speak volumes. Of course, itis a French director, with an ‘obvious bias. But when Buitercup tells Lady-Aces that he’s the same things in Pars as he did in New York, he re- plies, “Yeah, but I'm doing it in Paris”. And you can’t ask for more than that. ROUND MIDNIGHT is playing at the Royal Centre Cineplex. The music alone is worth the price of admission, Martin Stein a The Periodic Table by Primo Levi Hans he lied, as Braz could not offer Forbes neough. ‘Nath's MG's allright, Sid's pal said, clubbing our cool ‘That was my (very) personal mnemonic for the twenty clements of the periodic table. It is about a a as I remember, and certainly all that I liked about chemistry. However, Primo Levi, a retired professional d ‘written a book that describes in an equally personal way selected elements from his experience. This is not a chemistry book, but a memoir that describes the elemental world that we all live in, He ‘chosen element with great skill, altering style, time in history, or almost anything to get the essence This isa great book John Whistler crores = ties era ET em eis, gn He as I waa reid dere ia) HOPE You Die uely