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The Tar Heel
Friday, June 21, 1973
Li u vLv-7V
by Fey LateheH
You are going to the desk to ask
directions from the waiting room to the
john, when the doors next to the desk
suddenly explode open. They wheel in a
middle-aged woman on a stretcher, her
arms floundering through the air.
"I want my doctor" she exclaims.
"No one else cares. No one understands.
My family doesn't love me. He's the only
Relatives surround her, trying to calm
her. A nurse assures her everything will
be fine, but she is not consoled.
"Give me my glasses," she continues.
"I want to remember everything, how it
A nurse gives her the glasses. Her
family calms her down somewhat, and
helps her into a wheelchair. Eventually
she is wheeled into the treatment room.
You remember your own entrance.
You came the long way, the way most
people would -prefer to come. You
entered the automatic doors, rode up
the escalator, made a left and a right
down two brief corridors, and entered
the Emergency Room of North
Carolina Memorial Hospital.
Somehow you thought they would be
there waiting just foryou. A dozen other
people had the same idea. You
wondered when they would get to you.
Forms. Whoever expected forms in
the Emergency Room? At the reception
desk they asked you your name,
address, age, had you been a patient
before? Yes? Did you have your hospital
card? What was wrong, how long had it
been bothering you?
It was difficult to listen to her when
that radio would squeal on and off.
Rescue squads were connected to the
hospital. Chatham was calling,
somebody else was going to Duke
The receptionist had told you to have
a seat. The waiting room was beige. It
had vinyl chairs, flourescent lights, and
Belter Homes and Gardens. At least the
place didn't smell like other hospitals. It
just smelled like a place.
Now that the woman was calm, you
didn't want the john anymore. Maybe
there was a phone near-by and you
could call your roommate to let her
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know you'd be here longer than you
A tall dark -haired man was at the
reception -window. As you approached
you heard him say, "I came to pick up
some fingers," and the receptionist gave
him directions to another part of the
Throwing modesty aside, you ask,
"Did he say he came for some 'fingers?'"
"Yes," one of the receptionists says.
"He is with the FBI."
"A body had been buried about two
feet deep in Harnett County," she
explained. "They don't need the whole
body for identification, just fingers."
"So " you think, "that's the everyday
life of an FBI man."
The other receptionist is on the phone
and tells someone to bring the eyes over.
What now, you wonder. They explain
that the Highway Patrol is bringing two
eyes from Raleigh-Durham to the
Immediately a gory accident comes to
mind, but before you can get that full
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Staff photo by BUI Wrtnn
effect they tell you that the eyes were
flown in from Charlotte, and are coming
here for cornea transplants.
Back in the waiting room you hardly
notice general conversation, but stare
into the reception station. You go over
to watch again.
Nobody is talking at the window. You
see a band across the width of the
window. You smile at the receptionist
and ask him what it is. He explains that
it is a metal screen there for protection.
Protection in the Emergency Room?
You are almost afraid to ask why. But
then you do.
"The shooting and knife victims come
through here," he explained.
"Sometimes the attacker comes in
behind them to finish them off."
"Here," you ask, "in the Emergency
"That's right," he replies. "We've had
real fights here in the lobby. The screen
is recent, it's never been used, but it's
sure been wished for, even though it isn't
When they call you from your seat,
you discover your own pain is gone.
That makes you even happier that you
came to the Emergency Room.
We Always have a Nice
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Chapel Hill. N.C.
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by Harvey Elliott
"Blazing Saddles" Mel Brooks gets a lot of
easy laughs from this unrestrained Western
spool which has, if not control, at least some
very funny actors. Harvey Korman, Dcm
DeLuise, Slim Pickens and Madeleine Kahn
(as saloon singer Lily von Schtupp) provide
moments of delight, but actor Brooks drops
his trousers and crosses his eyes and is,
apparently, shameless. (Playing ell week, at
"Cateh-22" It looks better the second time
around, but sti'.l not good enough, teke
Nichols' earnest movie version of the Joseph
Heller novel is, in tone, Richard Schickel
writes, "as hot and heavy as the original was
cool and light. The key to the film's almost
total failure lies in its restructuring of the
novel" which results In "manipulative"
cine ma tics .(Tonight and Saturday, late show,
at the Carolina.)
"Con rack" A real-life story which seems
like a fairy tale, this story of a liberalized whit
boy from South Carolina who goes to the
coastal islands to teach backward black
children is both engaging and high-spirited.
The artificial parts like a scene where the
teacher rides through a coastal town with a
van .and a loudspeaker, preaching brotherly
love are obvious and fatuous. (Sunday
through Wednesday, at the Varsity.)
"Gun 3 a Din" A dashing 1339 adventure
which takes place, according to the New York
Times, "somewhere over the Cuckoo
Cloudland in the Khyber Pass," was
suggested by Rudyard Kipling's poem. The
cast is good, "yet for all the dash cut by the
three stars, Cary Grant, Victor McLaglen and
Douglas Fairbanks Jr., it is the humble,
ascetic, stooped, yet somehow sublime,
figure of Sam Jaffa (as Gunga Din) that one
remembers." (Wednesday and Thursday, at
Lab's 'Live9 steals the black
by Betsy Flanagan
The black of a stage just before the lights
come up and a play begins... a fine, pure
color. Directors sometimes take that black
away. They'll open with a lighted set and no
curtain. Or they'll have music playing and
take away the silence that's usually part of
They always have reasons, of course.
Reach the audience sooner. Create a mood.
Extend the illusion.
They must not know they're stealing. Or
what they're stealing. The brief moment just
before what comes after, when there's always
the chance the play might have magic in it.
The magic oj the theatre. It's got to be
somebody's book title.
But the concept drops its hokiness and
Director Chris Adler stole the black, but
he stole it well. H e used the moment gave it
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"Impulse" William Shatner.of "Star Trek,"
takes to demons and the occult in this
obscure offspring of The Exorcist." Harold
"Odd-Job" Sakata is involved, somehow.
(Playing through Tuesday, at the Carolina.)
"Macon County Line" Sheriff teax Eaer
mistakenly stalks two youths who, he thinks,
killed hb wife; This American-International
release is "a suitable dual bill exploitation
item for lesser yahoo situations," according
to Variety. (Playing all week, at Plaza 1.)
"Mutiny on the Bounty" Clark Gable,
Charles Laughton and Franchot Tone were all
nominated for "Best Actor" In this original M-G-M
version of Norclhoff and Hall's epic.
Gable's Fletcher Christian is one of his most
firmly-rooted film characterizations, and
Laughton's sadistic Captain Bligh is the
definite sea tyrant. The film won the 1335
Oscar as "Best Picture." (Wednesday, 8 p.m.,
Gross Chemistry Auditorium, Duke.)
"Nanook of the North" Robert Flaherty
was the early master of the documentary
form, merging a film realism with mood and
heart. This 1322 look at Eskimo life is "an
instructive film on the ethnological level and a
warm and amusing human drama, too,"
according to Peter Cowie. Flaherty stresses
"the simplicity of (Nanook's) existence."
(Wednesday, at the Chapel Hill Public
"Psycho" The film that made filmgoers
shy away from showers, Hitchcock's 19S0
suspense film begins as a theft story and ends
as quite something else. Anthony Perkins is
motel-owner and amateur taxidermist
Norman Bates in the role by which people still
identify him. Hitchcock directs some
wonderful scenes several sequences on the
stairs, and the shower scene, for which there
were 70 camera set-ups for 45 seconds of
footage. Hitchcock has said he cares most
about "the pieces of film and the photography
and the sound track and all of the technical
ingredients that made the audience
to the audience, then slipped it away gently.
The burning tip of a cigarette. A man
whistling. Lights come up.
A bar Blue cocktail-lounge lighting.
Small round tables, wooden chairs. A
superlative set by David Downing.
The bartender (played by Kenny Morris)
says it's Morocco. Part of the international
playground. The drunken road to heaven.
And in comes the- first customer of the
evening. The Woman Who Knows
Everything Badly. Donna Davis quickly
established her character as a compulsive
talker w ith an extensive collection of factual
trivia. "She'd win the Nobel Prize for bores if
there was one."
Second customer. The Richest Girl in the
World. Jaded, not yet faded, and 1-vant-to-be-ahlone.
Boring in her boredom. Poor,
poor little rich girl. Deborah Phialas plays
Next enter The Most Famous
Playwright of Our Time. Tennessee
Williams, maybe? Any
resemblance... living or dead is purely
coincidental. Played to the hilt, or ascot as it
were, by Dallas Greer.
Two more complete the group. Ben
Cameron as The Most Evil Man in
Washington Courthouse, Ohio. Withdrawn,
nervous. And no one knows what he did.
Chris Adler as The Best Hustler in M orocco.
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at the RIVER VIEW
Kroger Plaza, Next to Plaza Theaters
Hours: 4 p.m. to 12 a.m. Daily
scream... They were aroused by pure film."
(Tonight, 8 p.m.. Biological Sciences
"The Sound of Music" Variety called it
"The Sound of Money" and co-star
Christopher Piummer named it "The Sound of
Mucous." Julie Andrews, riding the crest of
her popularity, played Maria von Trapp, the
singing nun and wife. In one cf their lapses of
judgment, the Motion Picture Academy
named it "Best Picture of 1SS5." The other
nominees were "Darling " "Doctor ZhivagoT
"Ship of Fools," and "A Thousand Clowns."
Yoj can't argue with cash. (Playing all week,
at Plaza 2.)
"The Three Musketeers" An astoundingly
rambunctious and magnificent film version of
the Dumas novel, "The Three Musketeers" is
the pinnacle of Richard Lester's style and art.
Full of surprises for the cast, we often feel,
es well as for ourselves and suffused with a
musty subdued color, the film is the first "all
star" spectacular which uses every actor
perfectly. It is sure to become a classic.
Michael York is D'Artagnan, a country
bumpkin who wants to join the King's
Musketeers (Oliver Reed, Frank Finlay and
Richard Chamberlain). See it at least twice a
week, and you may catch all the jokes. (Starts
Thursday, at the Varsity.)
"The Twelve Chairs" Mel Brooks' last film
before "Blazing Saddles" was a more even,
more structured, work. It's funny, in a more
satisfying way. Based on a Russian story, the
comedy is about a search for money which
has been sewn into the upholstery of some
chairs. Ron Moody and Frank Langella star,
but Dom DeLuise steals the picture with his
cheerleading-style prayers: "Come onnnnn,
Gad!" (Today and Saturday , at the Varsity.)
"Live Spelled Backwards" and "A Day for
Surprises" Lab Theatre's first summer
productions. Free at 8 p.m. in 06 Graham.
Abdullah. The kid. Appetizing young love
for sale, he says, and says nothing else but an
occasional bit from a song. Sight and day,
you are the one.
An assemblage of the bar's regulars. It
goes without saying that tonight is different
(otherwise no play). Frank withholds the
booze and brings out the hors d'oeuvres.
Peyote, Nepalese smoke, LSD. One for all
except Abdullah. And Frank.
One by one they partake, loosen,
hallucinate. Most of all. they reveal. What
they reveal is. naturally, their innermost
selves. Fears, hopes, desires, illusions. The
whole mess. With freedom, release, insight
and truth adding to the mess.
Frank steps in, albeit rather late, to clean it
all away. We've had the illusions, now let's
have the facts i.e., the Nepalese dope was
nothing but tobacco and camel dung, the
LSD-25 a saccharine tablet dipped, in ink,
etc. - .
It's a joke without laughter, a false victory
for Frank. The customers leave. It's not
likely they'll ever come back.
Only Frank and the kid are left. Abdullah
gets a roach out of an ashtray and smokes.
The bartender, amazed, tells him it's dung,
not the real thing at all. But for Abdullah it
The final performance of Live Spelled
Backwards by Jerome Lawrence and
directed by Chris Adler will be presented
tonight at 8 p.m. in the Laboratory Theatre,
06 Graham Memorial Hall.
Live spelled Backwards follows John
Guare's A Day jor Surprises, directed by
Michael Kerley and featuring Richard
Ussery and Eilene Pierson. Admittance is
Krogsr Plaza Next to Plaza Theaters
Saturday 4 p.m. -10 p.m.
Sunday 12 p.m. -8:30 p.m.
. ... ... .I I IMIIHI I
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