University of South Carolina Libraries
Nickelodeoi By Doug Bell If the commercial movie season appears rather harran lnr? ? In ? ? ? 11 -* a! .' VI uui VII JUOI liuvv, II IS ail CAL'CUCIU lime to trot down to the Nickelodeon. The Columbia Film Society is offering an excellent selection this month. This weekend it's Francois Truffaut's latest, "The Woman Next Door." Starring Gerard Depardieu and Fanny Ardant, this highly acclaimed French movie tells the story of an old love passionately and tragically rekindled. Sept. 18 and 19, Orson Welles appears as the lovable, exasperating Shakespearean rogue he was born to nlav Sir lohn Fnictuff Welles combines all the plays in which Falstaff appears to create a composite portrait of the character, with all Welles' poetic, unpredicatble flamboyance. The result is "Chimes at Midnight." SEPT. 20 and 21, it's"Discreet Charm of the Bourgeoisie," a masterpiece by the late surrealist maestro, Luis Bunuel. Arguably his greatest film, certainly his funniest, "Discreet Charm" defies description. It is a hilarious, insane, salacious romp into the bizarre, with Fernando Rey leading the way. It must be seen. 'Come on baby, light it IIIUoU dlcll I j pPP "Sj / -A m ^ Jim Morrison The illustrated history of The Doors is written fa Enterfi i presents The weekend of Sept. 22-24 offers tl best-known film of the late, celebrated Ge man director, Rainer Werner Fassbinde "The Marriage of Maria Braun." Set i post-war Germany, this strange corned; satire stars Hanna Schygulla in the title rol< James Cagney displays all his energet genuis as Cody Jarrett, a psychopathic kill< with a mother complex, in "White Heat, one of the classic films of the America cinema. Directed in a fast, hard style t Raoul Walsh, "White Heat" is brutal an touching: the ending is unforgettable, plays Sept. 25 and 26. "Zabriskie Point" is the first America film by famous Italian director Michelangel Antonioni. A bold, modern exploration inl American culture, with an extravagai ending. THE MONTH concludes with the late film by America's most original, unpredi* table director, Robert Altman. "Come Bac to the 5 & Dime, Jimmy Dean, Jimmy Dean stars Cher, Karen Black and Sandy Dennis < old friends who reunite to honor their ido actor James Dean, on the 20th anniversary c his death. The Nickelodeon is located at 937 Main S iy fire' listory of The * - ^ '- **91 M>- ? .aEaffMgsHlM^B ^ A-ygy^.^^vMPMlr^ifc, .jmgk swifeg^^. i^w? W?^^gj^?^aMi|IMHBM?B^^y 'UJJU Byjlsf: J n IT it ^pllltil t Danny Sugarman. linmenT diverse fill ***** iv iS^B i^stsBfaaasi& vjtSis 1 | lifl . i: >f Parlor theater t The Nickelodeon offers the Columbia community Doors covers bi I By Michael Miller Danny Sugerman was 14 years old when he went to his first Doors concert. He, like manv nfhpr vnnno in 1 QA"7 n ~ v j x/pwj/iv *11 * y\j I , naa wuiutionally charged by the music and enthralled by lead singer Jim Morrison. But Danny took his devotion to Morrison and The Doors to the extreme by hanging around their offices, and backstage entrances at concerts, and getting as close to his idols as he possibly could. He finally became a sort of mascot for the group and given odd jobs, one of which was cutting all the clippings about The Doors and pasting them into a scrapbook. This book, "The Doors: The Illustrated History," is the result of his fouryear association with one of America's most in f 111 pntinI anH pniomatif rn"l' V1115111UIIV ? uvi\ ?>1 UU^3. The Doors were punk before punk was cool. Jim Morrison said in his Elektra Records bio in 1967, "1 like ideas about the breaking away or overthrowing of established order. I am interested in anything about revolt, disorder, chaos ? especially activity that has no meaning. It seems to me to be the road toward freedom ? external revolt is a way to bring about internal freedom." INDEED, THE music ofTheDoors helped inspire a generation to question the social structure that surrounded them, and the chief of this inspiration, who was constantly at the center of a storm of controversy, was Jim Morrison. The book is arranged chronologically, starting with the emergence ofTheDoors in I A ..1 r\r i ? 1 - - Iivus in 1^0/ anu closing witn Morrison's obituaries in Paris in 1971. It is a 'Eating Raoul' offers By Doug Bell Forgive me if I belch at the table. Not ; that "Eating Raoul" is a necessarily indigestible dish, but, as cinema cuisine goes, it's different from anything I've tasted. A look at the recipe may help prospec1 tive diners decide if they'd care to try this comic concoction. Paul and Mary Bland, played by Paul Bartel and Mary Woronov, are a boring, straight-laced Hollywood couple surrounded by hordes of hip, sex-crazed swingers they despise. THE BLANDS' dream is to open a peaceful countryside restaurant. They 3 have their sights on the perfect location, but lack the money to close the deal. They devise a scheme that not onlv money, but allows them to avenge the sick excesses of the swingers. * $ Mary, who is as voluptuous as Paul is vapid, sets up a kinky prostitution service. Her clients arrive, whips and chains in hand, to enact their fantasies, n nntnnnrri a H I Photo by Mikt Evan a diverse movie selection. eginning to end journey through a fascinating period in rock history taken with its most mystique-fille^ band and one of its most complex, charismatic and disturbing performers. Sugerman, who with Jerry Hopkins coauthored the popular Morrison biography, "No One Here Gets Out Alive," has arranged the material in a functional, highly visual pauci 11 inai carries me reauer rrom one concert or event to the next. There are record reviews of all The Doors albums from every major music publication and.many major daily newspapers. The concert reviews are extremely interesting as you follow The Doors from city to city and read the different reactions from the reviewers. AS FAME engulfed the members of the group, changes in their attitudes and personal behavior became apparent. Morrison was destined to become a cult figure, and the circumstances surrounding his death helped create a legend. The Doors, like the Beatles, will probably remain popular forever, winning new fans with each new generation. Sueerman's historic chronicle is not meant to be read from cover to cover, but is more of a coffeetable book, to be picked up and opened for an account in the lifespan of The Doors. The work of many early rock critics such as Richard Goldstein of The Village Voice, Pete Johnson of The Los Angeles Times, and Paul Williams of the original Crawdaddy magazine are featured. It is intriguing to read the accounts of Morrison's provocative performances from the point of view of the late 60s. digestive comedy Meanwhile, Paul waits in the wings for the opportune moment to rush in with a heavy black frying pan and, with a single clanging wallop, put the poor pervert out of his misery. After rolling him for his cash, they stuff the corpse into a Glad bag and hurl it down the garbage chute. Enter Raoul, Robert Beltron, the crazy, emotional, hot-blooded Chicano who discovers what Paul and Mary are up to. He becomes a partner in their grisly but growing business when he finds a profitable use for the mounting corpses. I WON'T disclose that information, nor will I reveal Raoul's fate, thouch the title offers a pretty strong hint. Compared to "Eating Raoul," Jonathan Swift's famous Proposal is indeed Modest. But the movie can't properly be called satire ? the target of its attack is too general. Reprinted from the March 30 issue of the Gamecock.