The gamecock. (Columbia, S.C.) 1908-2006, September 10, 1982, Page 8, Image 8
.entertainment
3-D hack j
By John Vaughan
In the continuing saga of "Friday the
13th," the best part for Joe Moviegoer is
guessing which foolish teen-ager will
receive which sharp instrument through
which part of the body.
Unfortunately for Joe, the worst part is
that he will always guess correctly long
before such exciting events occur.
Even more unfortunate for Joe, the
guessing has been getting easier from the
original to "Part II" and now to "Part III."
Ah, but this time around, there's a bonus for
Joe ? all that carnage may be viewed in 3ni
WELL, THE44bonus"isn'tione, and this is
one Joe Moviegoer (I kind of like horror
movies) who is ready to tell the producers of
"Friday the 13th" that the party's over.
The flimsy, contrived plot that existed in
the original fell apart completely in "Part
II" and it seems the good people at Jason,
Inc. (yes, they've named the company after
tneir crazed Kiner; were experimenting
with active vagueness and deliberate
confusion when they slapped together "Part
III."
Debbie (Tracie Savage) and Andy (Jeffrey Ra
unaware of the savage bloodbath that awaits
Country'leg
By Johnny Boggs
When "The Statler Brothers" logo appears
album, two things almost can be taken foi
album will sell and it will be good.
The Statlers continue this popular career wi
release, appropriately titled "The Legend Goe
This newest collection by the most awa
country music marks the last time the Statl<
tenor Lew DeWitt.
DeWitt, whose tremendous high notes be<
tradition, retired this summer because of bad
be replaced by Jimmy Fortune, who toured
when DeWitt was sick.
"The Legend Goes On..." is the group's wc
to poor health, and ha* been replaced.
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ob flounder
film review
For those unfamiliar with this trilogy of
box-office successes (with a budget as
obviously small as this, Jason, Inc. is raking
it in), the story has been simple.
In the 1979 original, a group of teen-age
summer counselors arrived at a camp on
beautiful Crystal Lake, only to be
methodically mutilated by an unknown
killer. The heroine, if one could call her that,
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triumphant from an ax battle with the
murderer, who turned out to be the camp
cook, Mrs. Voorhees.
APPARENTLY Mrs. Voorhees was
exacting her revenge on the unsuspecting
teens, because it was a group of counselors'
irresponsibility that led to the drowning
death of her son, Jason.
The 1981 sequel opened as Jason, who
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homicidal maniac, took his revenge on his
mother's killer by pushing an ice pick
through her brain. Naturally, a new heroine
gers) begin a romantic interlude,
them.
ends'cut nev
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the past few years, but tha
th their newest "Years Ago," "10th Anniversj
sQn..." some of the best country albur
rded group in It is a difficult task to follo>
jrs will feature 1981 cut and their best albi
"Legend" does have its mome
^ame a Statler The album features the so
t health. He will i-K>n Keia ana his older brothe
with the group daughter Kim wrote one tune
Phil Balsley helped adapt an
sakest outing in number.
? DeWitt are the original Statler Brothers. DeWi
sin predict
Chris (Dana Kimmell) lunges with an ax at a
Part III." And it's in 3-D!
was necessary.
So when the camp reopened at a later
date, a tresn crop of fun-loving teens arrived
to be sliced, chopped and diced..This time
the film was directed by Steve Miner (the
original was the child of Sean S.
Cuningham), who unimaginatively showed
the audience very similar attacks. The
second time around, the bloodbaths were
horribly predictable.
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and "Part III" unabashedly employs the
same old gimmicks. By now, the scenes are
so familiar one wonders why Miner didn't
save some time and just re-use the footage
from parts of one and two.
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post-adolescents (played typically by
masochistic post-25-year-olds) driving up to
Crystal Lake for a weekend of lovemaking
and pot smoking. That means, of course, the
audience gets to "relate" as they watch the
characters make love and smoke pot.
Everyone has a mate but attractive Chris
(Dana Kimmell), and it's an easy guess that
she is to be the heroine. Much to her surprise
but not to the viewer's,she meets a former
beau in the house who wants to resume their
romance.
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album faci
review iiUp!
??By Pamela Sli
t is not a complaint. Simply, usr, n
ary" and "The Originals" were . series o
ns released durinc their vears
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v up "Years Ago," the group's mernbers
lm in an 18-year career, but Although v
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r, bass singer Harold. Harold's T^e opeilinj
, DeWitt another, and baritone poSer pauj
d arrange a traditional gospel Raymond Du
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demonic murderer in "Friday the 13th
encounters an eccentric old man who warns
them to "go back where you came from"
and pulls an eyeball out of his duffel bag to
express his opinion. The old man gimmick is
particularly bothersome; apparently every
"Friday the 13th" will have one around.
Oh, hadn't I mentioned that the ending is,
in the classic hack-iob tradition, left
decidedly open for future sequels?
I won't give the ending away, but it has
been seen before (almost exactly as it is
seen here) and by the end of this tedious
routine, audience predictions have a very
high rate of correctness.
TO FLESH out the middle, we are treated
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knitting needle, a pitchfork, a spear-gun (in
one of the few effective 3-D effects), a
machete, a carving knife, a sizzling
fireplace poker and an ax. Noninstrumental
deaths include a skull
crushing and an electrocution.
The 3-D, with few exceptions, does nothing
for the film. The opening titles are good, the
eyeball incident garners a few screams, and
the spear-gun, as mentioned, is very effective.
But even for the most devoted
horror buffs ("It's so bad, it's good")
"Friday the 13th ? Part III" is only
horrible. ,
ilty present
ressive debut
law
irtment of Music got its new September Con
ff to a smashing start Tn^dav n with a
hamber music performed entirely by faculty
ocal pieces dominated the concert, the inlections
were part of the program's charm and
I number was a sonata by the German comindesmith,
with Frits de Jonge on viola and
idley on piano. The composition's romantic
an the concert on a proper foot.
'.'S rendition of thfi viola's r\art 117QC ConeifiirA I
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expressive piano blended smoothly with the
te an often haunting air, particularly in the
ariations.
evening, pianist W. John Williams performed a
which concluded the concert as rousingly as it
le first etude was a popular piece by Chopin, a
ber that Williams played with studious, yet
ss.
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owea Dy a transcendental etude by Sergei
at, in its wild, unsupressed strains, differed
he Chopin etude. Both selections were superbly
sspite a broad variation in moods, ending the
atisfactory note.
neatly between the sonata and the etudes were
1 selections which served as the concert's
rhaps the most intriguing of these were the
that featured flutist Constance Lane, soprano
3 and pianist Charles Fugo.
PLET'S "Viens! Une flute invisible soupire," a
life and nature, had its aesthptiraliv niAQcinal
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1 with care by all three performers. Lane and
atment of the "Deux Poemes de Ronsard" by
el was equally enchanting, as the two pered
how well Roussell adapted Ronsard's 16thy
to music.
Dances of Death," by Modest Mussorgsky, was
ely different vein; even the title connotes a
was present throughout the two selections. The
lone of Donald Gray took on Death's persona.
o ne conveyed a malevolence that made Darth
ike Peter Pan.
Sm "Concert" page tin*