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Entert 'Resu By David Baker FHm Critic The title sequence of Daniel Petrie's Resurrection, in which rainbows of light swirl around the screen in the shape of hands, is just the beginning of the film s odd metaphorical scheme involving our sense of touch. Petrie uses hands as representatives of love, health and power. At various points throughout the film, he focuses on the hands of children, the hands of old women and the hands of Edna McCauley (Ellen Burstyn), a Los Angeles woman who is seriously injured in an automobile accident as the film opens. For a minute or so after ' "r Auto-accident victim Edi (Ellen Bur styn) rejoices v in Daniel Petrie's "Re B-52's to i Y T?1 f Wild i ;ainmer irrecti Woman brc the accident, Edna is dead. She sees herself in a dark, tunnel-like limbo with a blinding light at one end. The space is filled with people whom Edna has known throughout her life, all of them helping her toward the light. Just as she arrives, however, she returns to life paralyzed from the waist down. She returns to her childhood home in Kansas to recuperate from her ordeal. At a family reunion, she discovers she has been given the power to heal others by the mere laying on of hands. Eventually, she uses the power to heal herself and At 1 soon auer, me power mases her famous. People begin coming from across the midiL\ v-fc M| -; M HEjijl 7a McCau/ey McCauley h vith relatives herself and c surrection." f/-?D If f Ull 8.17UI promote Planet' B on9 mgnt back West to be healed and to watch Edna heal others. But Edna never equates her power with religion, and kAnniiDA r\.r Vtmlii/ifntiAn ucvauoc in uci iciutuiu^c iu heal people "in the name of God," certain people begin to associate her power with Satan. One such man (Sam Shepard), after briefly being in love with Edna, decides to punish her for her devilry. On the surface, this doesn't seem like such great m a tori n 1 frnm vuhinh tn make a movie, but Resurrection is extremely well thought through, paced and written. Virtually every character has depth and most all are highly sympathetic. Lewis John Carlino's script is full of character eccentricities , iter learns she can heal others. By Tanya Staff V Suppose you are at a party, ar the sound of shattering glass, walkie-talkies and toy pianos, ai a half of hair piled on their hea< front door rudely demanding to I might be inclined to kick them yet, exit quickly yourself. This very scene occurred Ballroom in Atlanta, but nobody out. Why? Because the 1,300 p; awaiting the arrival of these fiv< The B-52's, on tour to prorr Planet," finally stormed onto th and the mood of the sell-out cro\ anticipation into sheer pandemc Hnnrtrwis nf flnehina etincr response to "Lava " the band': first album. Fans fashionably i spike heels, or leopard body streaked to the packed dance f the weight of the jumping crowc FOLLOWING THE BAND'S group followed an old song with screaming "Give Me Back Mj During the song Cindy generoi combination, to her rival in r shower of candy burstfromtheci single plastic flounder was I guitarist Ricky Wilson's feet. The B-52's execution of song mrar\rvt?H ntvuinrl thpir VI VTTM U|/pVM MB vwaaw W. could not help but feel a I songwriter and toy pianist Fr the loss of Quiche Lorraine, hi vocals of Kate Pierson and C amazing than their towering h? Particularly memorable wa during which the crowd chant* me? I'm not no limburger," bined her vocal and keyboard produce the incredible sound manta ray, sea robin and bih ? > L-t n l/\ \ LMIWIU wllciu: is. ; The band was induced by an two encores. The group play Claire," complete with Ricli Keith Strickland's sharp drui walkie-talkie. The concert ended with one < to life with and that is refreshing. mere s noi a single stereotype in the picture. Mario Tosi's cinematography has a beautiful, washed-out look about it. Maurice Jarre's score fits each scene unerringly well and the special visual sequences, by Tony Silver and Richard and Robert Greenberg, are stunning. Especially well realized is Edna's onscreen trip to L/caiii 3 uinji dim Uciciv. These shots, with their frighteningly bright lights and smoke-filled frames, look like something out of the finale of Close Encounters oj the Third Kind. But their effect is real enough to be scary and, at the same time, mysterious enough to pass for psychic phenomena. But the main reason one should see Resurrection is the picture's wealth of fine acting. For a time (the past seven months to be exact) I thought Sissy Spacek was going to be a shoe-in for next year's Best Actress Oscar for her portrayal of Loretta Lynn in Coal Miner's Daughter. But with this tourde-force performance from Burstyn, Spacek now has a formidable competitor. ~ J uuiaiyn ucis uui secineu so assured, so admirable, in a role since Alice Doesn't Live Here Anymore. The contortions she performs in several of the picture's more memorable scenes are downright alarming. Sometimes we fear she's doomed to remain in strange positions for life. While Resurrection is an Savory i/riter id with no more warning than three young men carrying nd two women with a foot and J0 iu.?~i_ iu_ jo, tunic udigui^ uiiuu^ii nit; know where the punch is. You out the back door, or better Friday night in the Agora / left, and nobody was thrown artiers had been impatiently e individuals ? The B-52's. lote their new album "Wild te Agora stage near midnight, wd switched from one of tense >nium. lasses blinked excitedly in s opening number from their clad in Hefty trash bags and suits and cat eye glasses, loor, literally swaying under I. $ nnttprn for thf? show the ' r ? i a new one with Cindy Wilson 1 Man" from "Wild Planet." isly offers fish or candy, or a eturn for her stolen lover. A *owd and onto the stage, and a lurled from the balcony to s and stage presence had the walkie-talkie antenna. One tinge of sorrow for singer, ed Schneider as he bemoaned s green, two-inch poodle. The Indy Wilson were even more lir-dos s -Dance this Mess Around " ed/'Wtiy don't you dance with along with Cindy. Kate comtalents in "Rock Lobster" to s supposedly of a jelly fish, ;ini whale. (Don't ask what a hysterical crowd to return for ed the inexhaustible "Planet :y Wilson's pounding guitar, Timing and, of course, Fred's of their new songs, "Party Out special po | . -7-2: \ Edna McCauley exercise lays healing hands on a ft extraordinary film to some extent, it does nave its snare of problems. Foremosl among them is the fact thai it almost never deals directly with the loneliness and seclusion which is forcec onto Edna after her ac cident. There are also a fev lapses in logic in the sectior of the film dealing with the death of Edna's father. Sh( of Bounds," in which Fred parties really get out of hand "OK, who ordered pizza?" PERHAPS SOME may tx writing songs about small gr and disgusting parties can be of the B-52's is not to be sei audience have a good time. I they successfully achieve this Their new album, "Wild mirahlfi follnw-nn tn th?*ir Although there is an abundar album, it can't match the absv offered such inspirational lir sky, it's called the moon". The B-52's, in concert or c experience. Whether or not y< in their music, it cannot be d unique sound. Don't miss a ch S5FSHBH Wf .c Members of the B-52's s cover of their new album iirnirc ri I It? i ritrw ai////j/c?3 cto aric iend. ! sees him reaching the light ; in a death-tunnel when, in t reality, he has only suffered t a stroke and is in the process i of dying. I But even with its flaws, Resurrection is one of the f better movies in town. It's j effect is immediate and lastine and vps it's pvr?n [ inspirational at times. -1 asks>' Who's to blame when I?" Cindy, meanwhile,shrieks, ; confused as to how a band een dogs, non-existent planets taken seriously. The intention rious, but simply letting their n concert and on their records goal. Planet," proves to be an addebut alburn "The B-52's." tee of outrageous lyrics on this lrdity of their first effort, which les as,''There's a moon in the >n the stereo, are certainly an )u find any redeeming qualities lenied that they are a rare and ance to experience them. v.* ~ 3"'- ""Vt-? )-> - lgp^fl^H||9 Hr- n Of ; ^Hg trike a leisurely pose for the I Wild Planet. I