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Hennii . ^W'sk Doug Hen t f G 1 'Last J Waltz' j 11 /)n f e c a tl g li a u t< r \ on campus [ &oger? 8 Ok, hj Lord/ (rff 7~11 I fMilllU'' iii^pp test 'stern i^UBM r~? " * ig's magic c '. - *%, ^B?k| : JL JienHP ' " kl ning and friend. ^ ~ OAMecoc' By Larry Hudson Gamecock Staff Wrltor "The Last Waltz" is not a Ginger Rogers-Fred tstaire movie; neither is it concerned with the big and era of the thirties and forties. "The Last Waltz" is a film of The Band's last performance as a group, and it is undoubtedly one if the finest films of its kind ever to be produced he concert took place in San Francisco, where The land first appeared sixteen years ago and director dartin Scorsese does a beautiful job of presenting "he Band on stage. Unlike most of the concert films ti the past ("Woodstock" is a prime example), 'The Last Waltz" does not suffer from either poor amera work or a shoddy sound system; in fact, hese are the film's major strengths. There is no nuddiness in the vocals, and the instrumentals, specially the guitar work, are very strong. The amera work is far superior to a "Woodstock" or a 'Bangla Desh"; the clarity and selection of the amera angles indicate the care taken in producing m accurate representation of The Band on stage. THE BAND IS interviewed intermittently throughout the film, reflecting on old times and - tying me viewer some msignt into the personal ves of these gifted musicians. These sessions occur fter nearly every selection, but they do not break p the mood of the film; on the contrary, the in rviews help the viewer identify that special elationship between the musicians and their Eoger, S'be been meaning to sfpeak toitf) pou about Hucinba... i Inrrnl o [pp '/ ^ Ij /' v H 1 lest k^aaaasb^iasl fcstcrn. i ,- i ? aptivates a I By Skot Garrick Entertainment Editor The magic of Doug Henning has captivated television audiences for the past few years. His annual award-winning shows never fail to grab viewer attention and hold it. But if someone has never sei?n Henning on stage, then they've never seen Henning. Henning's magic captured the Coliseum audience well before his appearance on stage. As soon as the house lights were dimmed, the audience became gripped with an apprehensive feeling. There was an overall feeling of wonder as to how Henning was going to make his opening appearance. Not disappointing the audience, Henning made his dramatic p debut bursting through a flaming paper jj wall hovering some six feet in the air. E From that moment on the audience was i-i-i * H neiu in a state of almost electrifying i astonishment. HENNING PERFORMED BOTH silent, I graphic tricks and sleight-of-hand magic 1 in the first few opening minutes of the < show. He is a master showman and knows how to win audience attention; he plies his music. There are, of course, some accounts o more humorous aspects of life on the road, but whole the discussions are very serious. There great deal of emphasis placed on the toils of lj on the road for sixteen years, and it is obvious The Band made what they considered a good r in disbanding when they did. The musical selections are a representatic OAM.A T> ? ? ' * oviiuc ui me oanu s oesi Known tiits. On Creek," "Stage Fright" and most of the ( favorites are included. Appearing with The Bai a list of musicians that cannot be describe anything less than impressive: present are Dylan, Neil Young, Eric Clapton, Joni Mitchell John, Ringo Starr, Ron Wood, Van Morrison, Diamond, Emmylou Harris, The Staples, Mi Waters, Paul Butterfield and Ronnie Hawkins. Band serves as a back up for most of t musicians, with Neil Young's "Helpless" Clapton's guitar solo being two really outstan uiuuuers. in iaci, mere is not a single weak s< tion during the course of the entire film. The i tune has The Band and all their very special gi on stage together, reminiscent of the Bonnie R Little Feat concert in Atlanta a few years back. Films like "Omen II" will be here for c awhile, and as far as pure entertainment is cerned, they have little to offer (unless you e blood, gore, etc.). For a real treat and a verj joyable evening, leave the violence behind one1 and see "The Last Waltz." "B 1 I X- alrmdy hwoj/ Lord. I X eddied nty rvont-rnaic, I lodfort. fkz WcddiKQ. I L , ? |jy$>~ i = f!' ^ 'Pp Jest zstern | } 1^ .*::sl jf ^ 1 udience trade very well. Onstage magic requires that the audience's attention is diverted from the center stage at times. Henning certainly can keep the eyes of the audience where he wants them. With his flashy, cosmic suits, elegant dance techniques and lovely, leggy assistants he rivets viewer attention from one end of the stage A. _ il lu uie ouier. If the audience was spellbound with Henning's act, they were no less captivated by his backup performer, juggler Michael Marlin. As described by Henning, Marlin "is a cross between W.C. Fields and Steve Martin." Marlin certainly bears a strong resemblance to Steve Martin, both in looks and technique. Commanding a major part of the show by himself. Marlin entertained just as well as Henning. Juggling everything from scarves to battle axes, Marlin hit the audience with a relentless stream of puns and jokes. "This is a double-bladed battle axe/' he said holding aloft a rather formidable-looking weapon; "Better known as a mother-inlaw." Henning performed some old favorites as well as a few fairly new tricks during See HENNING, page 7 n: ^ 1 LUC I as a | Iving n?ve i iff yi jj ipple IB ill H^^Hp )ther ^Ij nd is IB as IB ^11 Jddy 8& "W (IB IT J| hese 1 and gBaBHHBSgy^lgJjP J elec^ ^ IH# ?^iVfibAiMft^^i?lil i mwmi time ? r\i ? i ? - ? ? ?1978 UY LiLfcJIH RhWLS IOTTTIiTIIU IMIIIBMM> BTTlflllWHiIfHftmr~T" I Ill Ifofotttfie?tofip ] &oger! |)ou glp oil) [ hfirr Mrtttf ' 'Ihtitks, Lord. :i ) JrLfS) sir jfi^p Stern. :::[ b1? I'.'. r i ^