The gamecock. (Columbia, S.C.) 1908-2006, April 28, 1986, Page 5, Image 5
Spotlight
Monday, April 28, 1986 0
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| Reviews
Moonchi
By EDWARD BOHAN
Senior reporter
The USC department of the
sneech's recrnt nrnHurfinn r?f
Walker's drama Moonchildren cap
essence of turbulent college life in I
Set in a college-town apartn
thought-provoking story revolve
seven occupants: Norman, a m<
graduate student struggling to bee
vant; Dick, a Far Eastern studie
Bob, who faces the draft after gi
Kathy, the object of Bob and Die
j ? tions; Cootie, who wants to be a h<
when he grows up; his comic co
Mike; and Ruth, the stabilizing elen
piay.
The story line of Moonchildre
teresting, but the ending seer
climactic. The story seemed to stc
too many things unresolved.
Julie Gallagcr's set design p
realistic backdrop for the play's a
maps and posters on the wall, "Go
Mick and
By ART BOERKE
Senior reporter
After 20-plus years of pumping
out rock 'n' roll, the Rolling
Stones have become stale, predictable
old men, right? Just look at
Charley Watts, who looks as
though he has a difficult time lif
ting his sticks to drum. So what is
Dirty Work! More of the same
nonsense? Think again.
Not since the brilliant Exile On
Main Street have the Stones been
this vital. Start to finish, Work is
solid rock sure to recoup some of
the band's lost following.
There arc two major reasons
for the resurgence of "The
World's Greatest Rock 'n' Roll
Band." First, Dirty Work marks
1 the band's first use of an outside
' Q producer since Jimmy Miller on
the dismal Goats Head Soup.
Steve Lillywhite, whose resume
ti/Arl vi/ith Q i m
Minds, Big Country and the first
L Howl
F w A
' '
....
Idren cap
graffiti on the refrigeral
costumes reflected 196(
atre and David Avin handled
Michael ease, providing his chai
)tured the ty, and certainly lookir
he 1960s. rhiUl
nent, the
s around Jeff Jordan's port
ithematics arouse much emotion
:ome rcle- scone between Bob and
s student; act one was better than
raduation; mancc, but paled comp
:k's affec- As the rational Ruth
amosexual Her stage presence anc
untcrpart, Cootie (Randy Hanna)
lent of the were the most colorful
providing terrific con
n was in- Their timing was per
ned anti- another well.
?p, leaving
Unfortunately, Per
rovided a mance as Norman was
ction. The rest of the cast. His bl;
d is Cool" conviction of the other
Stones ar
three U2 albums, takes up the
task.
Lillywhite, along with engineer
Dave Jerden, builds the band's
sound to its biggest ever, overcoming
the imperative sloppiness
and raunch that is the Stones.
The second and most important
factor is the guitars, those
wonderful churning six strings
missing for so long but not
forgotten.
Last year, while Mick Jagger
was doing his thing with his She's
The Boss solo album, Keith
Richards and Ron Wood were
hardly idle. In the absence of
"Lips," the foundation was laid
for this work. The result is cowriting
credits for Wood on four
of the best tracks.
One of these is the album's
opening cut, "One Hit (to the
Body)." Easily the best album
lead-off in 10 years, the song's
guitar interplay is exceptional;
big, yet without clutter.
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itures thi
tor, and Belinda Janis' man was s
)s styles perfectly. wooden,
the role of Dick with Even mc
racter with believabili- performan
ig the part of a flower nant lines 1
believabilit
A bizarr
rayal of Bob didn't show up b
*: i * i r!?i ?* A ?
u11111 me unui aci. /\ fcnn l hom
his uncle at the end of Shelly, a si
i the rest of his perfor- tables, frc
lared to his final scene. Morton p
, Nancy Pope excelled. unorigin;
I delivery were superb. characteri?
and Mike (Reid Davis) the neighl
characters in the show, aluminum
lie antics throughout. Sung C
feet, playing off one frustrated
and enga
descriptior
ry Simpson's perfor- African tri
;n't up to par with the Director
and delivery lackcd the be proud
actors. Granted, Nor- executed a
n hinlx orv
c uauiv aiii
"Fight" follows this with a
house-rocking vengeance. Jagger
sings "Gonna pulp you to a mass
of bruises/'causc that's what
you're looking for," and the
angst seems genuine. It doesn't
sound like the same guy who
cooed about that Emotional
Recue back in 1979.
The first single from the
record, "Harlem Shuffle," finds
the Stones in a familiar funky
soul slither. The song, aided by a
Ralph Bakshi ("Fritz the Cat,"
"Lord of The Rings")-directed
video pairing animation with live
footage, is already in the top 10.
Of the album's cuts, "Hold
Back" is the least immediately
likeable. It tends to lie on the
turntable rather than leap. Its
structure is unlike a song, and
may take time to grow on the
listener.
Side one closes with the reggae
rocker "Too Rude." Featuring
guest vocalist Jimmy Cliff, "Too
A -i
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e '60s
upposcd to be reserved, but not so
>re mundane was Chelley Edwards'
cc as Kathy. Her potentially poigwere
marred by her decided lack of
yc
group of visitors tried to spice the
y parading through the apartment,
ipson kept her supporting character
)accd-out vegetarian who sat under
nn becoming too redundant. Art
layed a stereotypical nerd ? an
il but adequately executed
:ation. Mike McKenzie did well as
?or crusading against galvaniz.ed
trash cans.
"hul Kim played the sexually
landlord. His interesting accent
ging mannerisms enhanced his
i of an off-the-wall dream about an
hp'c Cf?vnnlit?i
Jenny Cooper and her cast should
of their entertaining and wellccomplishment.
d rocking
Rude" possesses the classic reggae
sway, as well as the equally
classic Stones sting one has come
to expect. The combo works well.
Bill Wyman's bass marks the
opening of the album's flip side.
"Winning Ugly" wants to swing
like "Face the Face" from Pete
Townshend's White City album,
but neither the tempo nor the
fluidity is there.
"Back To Zero," co-written
by Jagger, Richards and former
Allman Brothers/Sea Level
keyboard player Chuck Leavell,
is a cranking piece of funk 'n'
roll. Leavell's organ is like an expert
skier, slaloming in and out
of the snapping guitars' debris.
The title cut "Dirty Work,"
and "Had it with You" arc both
smoking tunes with grinding axe
work. The latter, reminiscent of
"Lies" from Some Girls,
features excellent harp-blowing
by Jagger over hard-driven fuzz
boogie.
HOME
GREAT
Vs Burger $2.(
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Chicken Sandwich .... $2.1
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?f*?KU?r?,,WU,W! '*
Mia Sara reaches out to touch the t
Director ol
creates vis
By STEPHEN C. GUILFOYLE
Assistant Spotlight editor
"Legend" looks great. Ridley
Scott, who directed "Alien" and
"Blade Runner," has created yet
another visual feast of the
imagination.
I he story is quite simple: It is
the time of legends, and Darkness
is held in check by the power of
the unicorns, two magnificent
white horses with horns.
Darkness, played by Tim
Curry, decides he is fed up with
being held by the unicorns and
sends a goblin and her followers
to strip the horns from the
unicorns. When asked what the
bait is, Darkness replies,
"Innocence."
The innocence is that of Lily,
played by 17-year-old Mia Sara.
Her boyfriend Jack o' the Green,
played by Tom Cruise, is the only
being who can find the unicorns,
and he brings Lily to see them. As
she tries to touch them, the
goblins strike.
Disaster follows, and Jack and
a band of elves and leprachauns
must set tilings straight. The
elves' and leprechauns' make-up
is among the best ever for a live
action film.
OF TOE w
EST HAMI
>5 Child's Hotdog $1.%
!5 French Fries $ .80
>5 Chili $ .35
)f> Sauteed Onions $ .25
K) Pinto Beans $ .25
15 Taco Salad $2.95
>0 Tuna Salad $2.50
)5 Soft Drinks $.70
BUCKET" OF BEER IS <> KEEKS HtK THE I'K
1T1
t ANY EN
(excluding sic
J 1801 BUSH RI
>
^oopucic^
Nobody builds a br t ter
burger than Kudd nickers and me.
i ?BI M CM MM MM MM W MM MM M MM MM MM
.sSnHBawn
sacred unicorn in the film 'Legend'
f 'Legend'
>ual feast
Cruise displays a range of
physical acting not shown before
in his movie career. He has been
given more realistic works such as
"Risky Business" and "All the
Right Moves," but he handles
this fantasy role as if he were
made for it.
He bounces around the woods
that arc his home as comfortable
as Tarzan in the jungle. He is
physically competent in battle
and uses brains as well as brawn
when fighting Darkness and his
minions.
The hero of the production is
definitely Tim Curry, from "The
Rocky Horror Picture Show"
nnrl rMt.n ?' IJ
miu viuv, iiv (Jiaya uai Mitss
under what seems to be a ton of
make-up, and weathers it to bring
his character alive. His voice is
electronically modulated, but his
true voice comes through at
times.
As good as the acting is, the
cinematography is better. Scott is
known for making his films look
great, and this is perhaps the best
of them all.
The best part of "Legend" is
Scott's cinematography, but the
story and acting rate a close second.
Il
rORLD'S i
5URGER
Iced Tea $ .70
Coffee $ .50
Wine $1.85
Beer $1.15
Imported Beer $1.50
Buckets of Beer $5.75*
imported Buckets.. .. $7.50*
Malts $1.50
ICE OF 5
TREE j
ie orders) I
VER ROAD I
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EXPIRES:
4/18/86
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