The gamecock. (Columbia, S.C.) 1908-2006, February 26, 1982, Page Page 8, Image 8
Ward
BY DOUG BELL
Rim Critic
"Cannery Row," wrote
jonn bieinDecK, is a poem,
a stink, a grating noise, a
quality of light, a tone, a
habit, a nostalgia, a dream."
David S. Ward's movie of the
same title is as curious and
sentimental as Steinbeck's
/lAonitrnfiAti ArlonfoH frAm
ucov.1 Ifjiivsu. nuoptvu Iivui
the author's comic novels,
Cannery Row and Sweet
Thursday, it is a strange
little movie? a kind of
farcical mood piece chock
full of kooky characters and
looney situations.
mi. i! i^ i;_
ine acuuu is episuuiu m
structure and uneven in
quality. Set in Monterey,
California in the 1930's,
Cannery Row is a run down
seaside village. After the
canning industry closed
down, all that was left was a
colorful collection of misfits.
The hero of the Row is Doc
(Nick Nolte), an easy going
marine biologist who
dividies his time between
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arbiter for the local kooks.
His lifestyle accelerates
somewhat after the arrival
of Suzy (Debra Winger), a
pretty, breezy drifter.
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I becomes a part-time
prostitute in the house of
Fauna (Audra Lindley), the
local madam. Eventually
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her own? a renovated
boiler. She and Doc become
mutually attracted, falling
in and out of love in a series
of sketchy scenes.
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Suzy (Debra Winger) ai
share a moment in
1 ne love siory, nowever, is
never as interesting as the
zany exploints of the Row's
eccentrics. Hazel (Frank
McRae) is a comic version of
Lenny in Of Mice and Men:
a big, hulky giant with the
brain of a rabbit and the
strength of a bear. (M.
Emmet Walsh, plays his pal,
Mack. The most memorable
of their ploys is the hilarious
Mark Twain-like episode in
which Hazel and Mack
gather a surplus of frogs and
use them for currency.
The movie is well cast for
the most part. Debra Winger
has an earthy, raspy-voiced
aspect (slightly like Karen
Allen in Raiders) that makes
her Suzv verv aDDealing.
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nd Doc (Nick Nolte)
'Cannery Row.'
Nolte handles the hokum
rather well.
But, as the quote fromSteinbeck
suggest, the
essence of this movie lies less
in its story and characterizations
than in its mood.
The world of Cannery Row is
immersed in a creamy,
dreamy, sugar-coaiea ngni,
throbbing with nostalgia.
Ironically, these colorful
images are supplied by
cinematographer Sven
Nykvist, who photographed
some of Ingmar Bergman's
darkest, bleakest films.
And for long stretches,
John Huston narrates, with
that melodiously croaking
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voice 01 nis, over a lulling
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f| Russell House West
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BY DOUG BELL
Kim Critic
One of the recent trends in
Hollywood movies has been
the mature "family"
dramas. Kramer vs.
Kramer and Ordinary
People are the best examples
of this type. Alan
Parker's Shoot the Moon
aims for the same effect and
caters to the same audience ;
sadly, it strikes a false
note? ana noias lilt's
the oldest story in the
world: a middle-aged man
forsakes his wife and home
for another woman, only to
be overcome with guilt and
frustration. But Shoot the
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Albert Finney and E
happy family in 'She*
WOMEN'S
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aefore missing period
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Moon differs from, say, t
Intermezzo or Brief En- (
counters in that its primary j
focus is the broken home, not I
the extramarital affair. ]
In this case the erring I
husband is George Dunlap <
(Albert Finney), a sue- i
cessful writer with a spirited
family, including wife Faith
(Diane Keaton) and four
rambunctious daughters
(Dana Hill, Viveka Davis,
Tracy Gold, Tina Yothers).
After a heated argument,
George leaves Faith to move
in with his mistress (Karen
Allen). He continues to see
his daughters? except the
oldest, who will have nothing
to do witn mm? taking tnem
m
rii \
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tiane Kcaton SDlit their
ot the Moon.'
ioiiNim:!
up/j-y
o school, for weekend
)utines. etc. Also, he retains
*n authoritative attitude
:oward his wife, whom he
left, and resents her altering
their big New England
country house, which he
deserted.
Eventually, he has second
thoughts about his new life;
the relationsip with
girlfriend Allen seems
temporary at best, his work
suffers, nothing satisfies
him. Brooding tu ns - to
anger, anger to destruction.
The movie's falsest note is
struck by Albert Finney as
Dunlap. From his bursting
into tears in the opening
scene until the last shot in
i 1 1
which ne pieaus pncuusiy iui
help, forgiveness, love, etc.,
he seems conceived in selfpity
and dedicated to the
necessity of being gratified
at all times and at any cost.
The character is devoid of all
but the moste facile, shallow
shades of integrity, sacrifice
or love.
Director Parker refuses to
interpret Dunlap as the heel
he is but rather sets him up
as a sentimental, "misunderstood"
hero, condoning
and encouraging his selfpity.
The character stinks
not because of Finney's
performance (for Finney is a
strong, controlled actor), but
because of the petty, immature
treatment the
director gives it.
uiner iaise noies are
I struck, resulting in a ugly
I chord. Screenwriter Bo
Goldman devises some very
clumsy plot contrivances to
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