The gamecock. (Columbia, S.C.) 1908-2006, March 20, 1978, Page Page 18, Image 18
entertaii
'High An
By SKOT GAKRICK
uamecock Starr Writer
Picture a movie where suspe
man is murdered by overexpos
sent hurling to her doom from e
Picture a movie which star
Korman, Cloris Leachman, an
imagine all of these elements ir
what 'High Anxiety' is all afcx
'High Anxiety' is the newes
Brooks, who is rapidly becoi
respectable comedy. In all of E
of motif, some unifying theme
westerns, horror movies, silei
Brooks has dedicated his late
Hitchcock. Incorporated into
most famous of Hitchcock's i
Birds.'
BROOKS HAS DONE his h
Hitchcock movies are perfectly
suspense is prevalent through
Brooks plays a psychiatrist n
winning doctor who takes ov<
dubious title of "The Institute
the villains of the plot at the insl
by Harvey Korman and Clorii
Hitchcock villainess with warj
pointed breasts. Leachman, as
and hisses biting retorts throi
Korman's portrayal of Dr. M
next in line for the position oi
vincing as a role possible in z
leachman and Korman are
institute by illegally prolongir
Brooks eventually stumbles on
Msistengs take ovt
Synthetic
~wrv1
UlllS IV
growing
AftI M?M
VHI WWHlil
flpnn ?mill
I ..-mi. zqq.,
I !TV\ii> c^L
I h?'5 bcrfi^nG Ojr 1
I cand ddio!
\ l
51 \m\
S , M
tzzYi
I
iment
ixiety' enjoya
nse is predominant, mysteries abound, a
>ure to rock music, and a wicked witch is
i high belfry window.
s Mel Brooks, Madeline Kahn, Harvey
id hints of Alfred Hitchcock. If you can
i one movie, you might have some idea of
Hit.
;t comedy spoof by writer-director Mel
ming American legend in the field of
[rooks' movies, there has been some type
for him to butcher. He has lampooned
it movies, and now, mysteries.
st work to the master of suspense, Alfred
'High Anxiety' are key scenes from the
movies: 'Psycho,' 'Vertigo,' and 'The
lomework well as the scenes from the
/ mimicked. The flavor of Hitchcockian
'High Anxiety.'
amed Richard Thorndyke, a Nobel prize5r
an asylum which claims the rather
for the Very, Very Nervous." He meets
titute, a pair of nasties admirably played
3 Leachman. Leachman is the perfect
>ed posture, hint of mustache and large
i Nurse Diesel, has a nasty temperament
igh clenched teeth.
ontague, the black-suited heavey who is
: director of the institute, plays as coni
comedy.
making a profit off the patients in the
ig their stays and milking them dry.
to this scheme but is a little too late; he
aee /ii>AiLi Y, page 20
gr By ERNEST WIGGINS
Gamecock Staff Writer
In 1975, Lou Reed of Velvet
ITnHprflrAiinH infomw ncn >i > cir\ n
V/IIUVI uuiim iimuiiij | 1,1 vatvu Cl
** double album entitled 'Metal
y Machine Music.' The album was a
combination of feedback, sound
distortion, oscillations and heaven
knows what else, all thrown
together to make a wall of noise. In
his liner notes, Reed commented,
"Most of you won't like this, and I
T4> i
uuu i uianic yuu ai dii . . . II S HUL
meant for you. At the very least I
made it so I had something to listen
to ... I'm sorry, butr not especially
if it turns you off." This message
was on the inside of the album and
the only way one could read this
was to buy the album. It was the
ultimate in self-indulgence.
This was an exception to the
genre of synthetic music which is
now capturing an ever increasing
ipu/
.. ow No
> j ? \L>'^ mark. sc
\Y\Q?>C. bUr>V^
I - :n I mm
( UHHP HBMi
ible, but not
j
Pi reHfl
. WmMm fwWnr
: -JyKh
i^snHHnni
n||)BB &?k I
jipl,'*-'' i^MBBillBaiBM
Brooks and Kahn in 'Anxiety' . .
TH
formii
Jr
"\* JmHHK now f
Gary Wright . . . once r
using electronics
Hawk
audience yearly. Performers like but n
Tangerine Dream, jGary Wright, callec
r,merson i^ane ana maimer, Edgar music
Winter and Yes all use synthetic The
. keyboard instruments as a major, Donm
if not primary, part of their' hit thi
compositions. syntht
>0 11 ?uurI'(l)t,r Ulan!
baUoTs ? I ? ^wb $uu'll 3Fry
fl a rn
, m a? Jit
n I f
T =1 = \~zr
Brooks' b
mgaGasesMgjL^^^BRjy^BL^^^B^HIB^^M^BjL I-'' iyfS?&:'"' j^fljyy
? BIIl jL^fl
comedy now playing at Mira
ESE COMPOSITIONS are Mitch*
sophisticated and often quite instrui
tiful, exploring realms of herlat
: not touched before. The "Clocl
, ARP of VCS3 synthesizers, made
fie capability of creating an turnini
;t infinitp nnmhor i-kf * *
..??vji in- latter
lents and sounds.
side the music field, brillinat SYN
> have developed machines music
lave the capability of per- often I
ng intricate mathematical instrur
;ms in split seconds. The new Eno b<
t in technological ad- Howev
ment had bled into the music Russel
slowly at first but now with (he sy
ervor. The synthesizer was strume
estricted to space bands like
wind, Ethos and Pink Floyd
ow had infiltrated the fields social
I disco, folk and classical is
. techno
nominal queen of the disco may sc
* ouiuiiicr nau a recent disco consist
it featured heavy, oscillating Reed's
stic rhythm. Ex-folky Joni Heavei
RV i
k lallxit I ? v
3lu?fU ? 3?"""3t,:s ^
1 "T
i I ~t hem? - ?
fTI I I firf
/
J
^EL' * -.-V. / .^.,
' ? /''*' v# fl
icle Theatre
ill has incorporated this
nent into many selections on
est albums. Walter Carlos of
[work Orange" fame has
it with classical music
g Bach and Beethoven into
day whiz kids.
ITHETICS are modern
at its most daring. It has
seen criticized as being an
nent of the non-musician ?
eing the guilty party here,
er even die hards like Leon
1 and Bread have adopted
nthesizer as a viable in;nt
in contemporary music.
as disco is indicative of
changes, so the synthesizer
icative of intellectual and
logical changes. The time
>on come when a concert will
t of a re-enactment of Lou
iwetai Machine Music '
n forbid.
3LENN RAWLS
MiV'.y . .
=n;
ill
An\iT r?i