The gamecock. (Columbia, S.C.) 1908-2006, October 01, 1980, Page Page 12, Image 12
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
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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