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entertaii >'rj-- -,^ '*:j- : - ^^^gKviSag 4" ^^^^HH|^gp953<mg By BARBARA D. HALL Gamecock Staff Writer Studying art history, one sees 1 point in many artists' careers whe a student, but a painter or craftsm THE ATTACHMENT to a mer leaves his school or another's wor independent creator. His works b This is a good point to keep in i student art competition at the IV through April 8. The case may be made that the ? experimenting, innovating, but le take a look at what USC art student There are 64 works on display.r runs from mediocre to impressiv good representation of the diversit student talent. This is the work trying new things, and experimen at William Berrie's "Process of Ob artist sacrificed a pair of jeans for Flower's award-winning rubbei ".Last l ycoc By CHUCK CROMER Entertainment Editor "The Last Tycoon," based on F. Scott Fitzgerald's unfinished 1940 novel, is a pointless and trivial melodrama. As an adaptation of his hnnlt it failc (n u 1 ?.v >ui>o iu tuiii(jit:iieiiu Fitzgerald's interpretation of Hollywood in the mid-30s, and as a romantic fantasy, lacks coherency and viewer involvement to the extent that the film is nothing more than a confusing, 105-minute bore. FITZGERALD HAS never fared well in Hollywood either as a scriptwriter or when his novels are adapted to the screen. Several versions of "The Great Gatsby" and "Tender Is the Night" have been made into films over the years and all have been critical and financial flops. Likewise, Fitzgerald's career in the late '30's as a Hollywood scriDtwriter was undistinguished as he could not subordinate his talents into movie writing. "The Last Tycoon" is one of the better novels written about Hollywood. Through it, Fitzgerald incorporates personal experience . W?.?v Miv UVIWHTVIUU O ?JU?fll in the movie industry as well as the machinations of the studio system under the direction of the die lment .-* Eg& 'ytm-1 % \4 MLt m JKii Jfmi-'.;, v(?*vB||g| leiSjiv V^ii&jpHE that there is a turning n the artist is no longer an of his own standing. itor ceases. The artist Rshop and becomes an egin to stand alone, nind while viewing the IcKissick art museum ;ood artist never ceases ave the issue open and ts are producing, rhe quality of the work e, but the exhibit is a y of art being made by of learners, of people itation is evident. Look iect No. 1" in whirh thp his canvas, Mark Elliot r stamped "Kristy's >n9 a poi tatorial moguls. The film version zgerald's insight. Inste wears out a well-trodde meanders through the i JVUVSUlAl OtUUlU Stahr (Robert de Niro) i work and supposi everything except comj Then one day, after an at the studio bursts se\ mains, he falls in ] watching a beautiful float across the studio huge bust of the godde Tilt" Tit IIK wr , a BIKJ ? /I11 1 # f\/ Brimmer, (Ingrid initially remains aloof persistent attentions, expresses great physic; for him. However, sh< relationship abruptly b; an American engine regresses into a state depression that eventuj his downfall. Director Elia Kazan Waterfront," "A Street Desire"), and screenp Harold Pinter produc tangible story based on i the novel. This inad because of unHpr relationships betweer characters. Situatio without reason or s .- - - apra t/flK?Hi9HBBBl v * IB T ^^^MHBffl^B??w'WMi TnffPtt i If I IN'Ml gpBjy^Jf/Jr ' k m i P^wEr /1 / \hiv HBiSiflrSti^^^HH^BFflF SB'< B\v* ta^M SSE^^HSRRSBnHHflHBSilBSii Arl?i?# Morgan-THE 0 Dream," Virginia Saunder's clothespin intaglio, "Pin Lyrics," and Edward Lewis's watercolor, "Pinkmombo." TRADITIONAL MATERIAL is found most heavily in the ceramic work. Two of the award winners from the medium, Mike Johnson's large covered jar and Michael Rutkowsky's casserole, show good craftsmanship and fetching form, but they are not highly original pieces. They are functional objects brought to a high level of refinement through these potters' hands. Most of the painting in the show is non-objective. Mike Walston's Best in Show 'Tprlnn " ic ? u/?ll-r?accacnwi ? - - j -wr? KMOOtt6,iU work. Distinct parts of the canvas are handled differently to produce a nervous, high-strung painting. Walston's finishing touch, his drawn finale, excites the composition. Mention is also due Maggie White's untitled painting. The artist unites her divided canvases with a rigid series of torn strips which carry one's eyes down the work. This is a provocative struggle-something came apart and now it comes oacK logeiner. Still lives have been painted since Herculaneum in 50 AD, and Louise Yancy's award winning watercolor, "Tools," is part of a long tradition. This is a painted parody* Yancy's immaculate tools and oil can are Lntless bore I background information. lacks Fit- For example, the basis of a ad, the plot struggle for power exists between ;n theme. It Monroe Stahr and studio head Pat *outine of a Brady (Robert Mitchum), but the is Monroe viewer doesn't know why the who lives to competition exists at all or how the sdly has supposedly all-powerful Stahr is , panionship. deposed from his position. I earthquake Kazan and Pinter took many reral water liberties with Fitzgerald's text and > love while have distorted most of its young tart significance. Although the novel is set atop a unfinished, Fitzgerald's notes Jllgl ss Siva. clearly summarize the rest of the MSI manuscript. His version traces the Rot \TI1LEEN rivalry between Stahr and Brady "Th Boulting), as both men plot to murder one to Stahr's another. According to the notes, bases his < but later both die. Stahr has Brady mur- Brady on ~i ?a!? J " * ai dtiecuon aerea ana siahr is accidentally Thalberg, b ends the killed in an airplane crash. MGM mog y marrying The Kazan-Pinter version struggle f :er. Stahr depicts a loathsome Stahr being studio. Th of drunken replaced without any explanation youthful s ally causes as the studio head by Brady. politics I Furthermore, Kazan and Pinter Thalberg's > ("On the only touch upon Fitzgerald's social approach car Named commentary of the plight of the Hollywood, lay writer Hollywood scriptwriter, a struccle had suffer ed an in- to achieve a respectable status in that could incidents in Hollywood's strict caste system. HE OUT lequacy is Fitzgerald also laments in his notes. Fitz developed novel the passing of a rare breed of being pus i essential studio executive who handles Brady and ns occur business on a personal and more has hel< supportive trustworthy basis. Fitzgerald responsible n I IIU i "Nursie..." AM E COCK arranged on a turquois DRAWING PRIZES Gamecock's editorial c zota's graphic drawing "Foreshortened Head complishment. These artists leave n dling a pencil. Drawing show gains much clout fi Metalwork is beautifu "Auntie Nell." Michael deserving prize winner. a delicate interpretatioi The represented sci works. David Zacharias Mile Strip," Jan Boxx'i struction, Gary Keown'i of enamel and plexiglasi sculptures. Dan McCun with five bricks suppor attention-getter. Minimal pieces like th _ 1_1 ^ i?i auie 10 noia us in as m tension of a sculpted le s^HSISiSsMffiE^HL M ML fl IBR^ ^ ^ .* ^ >ert De Niro stars as a 1 le Last Tycoon." characters of Stahr and the careers of Irving MGM producer and ul L.B. Mayer and their or supremacy of the talberg represented a incerity in Hollywood to Fitzgerald. With I death in 1936 and the of unionization in i , he felt that Hollywood ed a loss of innocence I never be restored. i LINES this belief in his I gerald writes, "Stahr is hed into the past by ; by the unions alike. He I 1 himself directly \ i to everyone with whom , \ show goes i mediocre impressive by Patsy H. Storla c va& a|k:. went to Jim Mazzota (The artoonist) and Bill Stroud. Mazis a real achievement. Stroud's with Oil Drum" is also an aco question of their abilities han' is the basis for all art, and the rom the works of these two artists, illy represented by Jane Nodine's French's "Unicorn Beetle" is a Jeannie Rhvnp'? ciiwor i -J ..V ./ uai TV? Vlllltll/ic Id n of the functional. ilptors display highly original ;'s small, novel assemblage, "100 s untitled wood and plaster con> eye-fooling "Line Continuation" s were all interesting, small-scale iy's wood and brick construction, ted through wire tensions, is an is prove that a sparse sculpture is uch awe as, say, the anatomical g __________ ?' lolly wood production head in he has worked ; he has even wanted U U A iu ut*u up nis enemies himself. In Hollywood, he is the 'last tycoon'." The film characters lack the affection that Fitzgerald shared with his characters in the novel. Even though DeNiro underplays his role magnificently, Ingrid Boulting remains distant as mysterious Kathleen and no ap?* * * H,u cm iove aevelops between them. The viewer finds their relationship unidentifiable and therefore unbelievable. Further interpretations of Fitzgerald's works should be left to the critics of literature and the printed page because they better appreciate his many talents.