Psgs 6
Thursday, April 3, 1980
Weekender
'Little Darlings' smiles at teen sex
By SCOTT TIMMONS
This year's summer camp movie is Little Darlings.
Starring Tatum O'Neal and Kristy McNichol as the
little darlings, the movie presents what can happen at a
girls' summer camp that's across the lake from a boys'
summer camp.
Sound familiar? Last year's summer camp movie,
Meatballs, which starred Saturday Night Live's Bill
Murray, had the same fixings, but that's where the
similarities end. Meatballs was a comedy, with lots of
slapstick pranks, puppy love, a man-boy relationship they
call "heartwarming" and a good deal of good deal of
good ol' T. and A.
Little Darlings is a half-funny, half-serious movie about
girls coming of age. Two 15-year-old girls, the rich one
played by Tatum O'Neal and the poor one played by
Kristy McNichol, go to summer camp. There, they are
egged on by one of their cabinmates, a snooty aspiring
model, and drawn into a bet to see which of them can
lose her virginity first. Their cabinmates all place bets and
look on squealing in anticipation.
Hesitant at first, the two rise to the occasion and
straightaway choose their respective target males;
O'Neal's is a camp activities director who teaches French
and listens to classical music, and McNichol's is a camper
Cinema
from across the lake, a semi-Travolta lookalike who rides
dirt bikes and, like her, chain-smokes Marlboros.
If you're under 12, the movie will hold you in awe. If
you're under 17, the movie will hold your interest. But if
you're older, the movie might not hold you in the
theater.
There is some funny slapstick, including the obligatory
food fight, and at least one funny scene. The cabinmates
sneak away from camp while everone else is singing
"What a What a Friend We Have in Jesus" and steal a
camp bus, with McNichol at the wheel; at a closed service
station they break into the men's rest room and steal the
condom vending machine, later to break it open in the
woods and stuff their pockets with the little foil packets.
The two leading ladies turn in competent
performances. O'Neal plays a conniving but sensitive
young lady, but she is not at her best (the movie does not
demand it). McNichol plays a tough little girl with lots of
working-class cool, and she is, good as an awkward
adolescent struggling with hurt feeling and conflicting
emotions.
Little Darlings is a good movie to take your kid brother
or kid sister to see; that way they will have someone to tell
them whether first sex is really that way or not, and you
will be able to pose as the knowledgable older sibling.
E3
Scott Timmons is a movie critic for Weekender.
Willie
Willie Nelson will bring his special blend
of music a mixture of country, rock, Tin
Pan Alley and jazz to the Greensboro
Coliseum at 8 p.m. Friday. Nelson first
achieved fame as country songwriter over
20 years ago. But record producers
wouldn't let Willie play his own music
because they were convinced that Nelson
didn't have the voice to be a country star.
In the late '60s he moved to Texas and set
up his own recording empire. And slowly
he became the biggest name in country
music with his concept albums The Red
Headed Stranger and Phases And Stages
and his duet albums with Waylon Jennings
and Leon Russell. Nelson's fine guitar
picking and smooth, silky nasal voice
make him one of the finest talents in
American popular music. Tickets are
available at authorized Belk outlets, the
Raleigh Civic Center and at the door. 0
J
4 k 4 RACE
Sat., April 12 FLAT DIRT DRAGS
Sun., April 13 MOTORCROSS
Races start each day at 12:30 pm
LIVE MUSIC SATURDAY NIGHT
ADMISSION:
$5 per day per spectator
$1 children under 12; under 6 free
Camping $2 per day per vehicle
Racing: $5 MA member
$6 non-MA member
for further info, call:
LINDA ALLRED 933-1163
KENT COOPER 542-3131
77""'
V
From Chapel Hill take 501
South to Pittsboro and follow
the signs.
Watercolor classics return,
highlight Ackland art show
By JOHN BEHM
The watercolor painter is, by nature,
a deft technician of color, light and
mood. His art is suited to quick snatches of
inspiration, but there is no room for
mediocrity, and little room for mistakes.
The use of watercolors, at first regarded
; as a poor man's medium, was championed
by romantics of the 19th century who
challenged the rigidity of classical
painters. Now on exhibit at the Ackland
Art Museum is a show that chronicles this
enthusiastic adoption of watercolors,
"Nineteenth and Early Twentieth Century
Drawings from the Musee Carnavalet."
Most of the works exhibited are
products of the first half of the 19th
century, including neo-classical
treatments as well as more experimental
approaches by post-blockade English
impressarios. Swebach-DesFontaines'
"Horse Fair" and "Napoleon Receiving
Troops in the Courtyard of the Tulieres
Palace" best characterize the high
precision and continuity desired by the
neo-classicists. Examples of the work of
Bonnington, Martinet and Norblin De La
Gourdaine also detail the early traditional
use of watercolor.
Lighter, more spontaneous romantic
paintings highlight the exhibit. From the
urban scenes of Paris to more provincial
subjects, the artists' inspiration is
identifiably Paris and the environs.
Bright, illustrative works by Georges
Emmanuel Opiz ("Terrace of the Cafe de
la Rotunde"), a diffuse and color-active
1
UD
Country
Kitchen
Where you can enjoy
country cooking
fresh vegetables
homemade pies
and
breakfast
Eat in or take out
OPEN:
Mon. Sat. 7:00 a.m.
Sunday 8:00 a.m.
N ri y con
T 405 W. Rosemary Sf.y1 ZJJ,
9:00 p.m.
y.w p.m. f
approach by Georges Victor Hugo ("The
Marigny Theatre and the Gardens of the
Champs Elysees"), and a collection of
rough "graphic reports" by Constantin
Guys ("Seven Brothel Inmates" and
"Hussares at a Table With Prostitutes")
describe uses of line and color.
English landscape artists including
Thomas Shutter Boys, Ambrose Poynter
and John Scarlett Davis are also featured.
Davis' "View of North Transcept of Notre .
Dame Cathedral" is a triumph of light and
color value; its gracefulness is appropriate
to the subject. Poynter's "Ruins of the
Church Saint Louis Du Louvre", though
not as precise, is an intriguing exercise
with appealing use of shwdow.
The diversity and spirit as shown by
these watercolor artists is evidence of the
fascination with a revitalized medium. In
addption to the watercolors, a number of
pencil studies, simple sketch and washes
and gouache paintings are also displayed.
Jean-Louis Fourain's "Au Palais" sketches
capture men in motion and suggest the
basic caricatures done by Yves Brayer in
the 1930s. A pencil portrait by Jacques
Louis David, the master of the revolution
and empire, cleverly defines Talleyrand's
profile in a few lines.
The absence of masters such as
Delacroix and Degas makes no difference
in this show. The intent here is not to
showcase the finest watercolors and
drawings of the period, but to celebrate
the rediscovery and continued testing of a
new technique. Works by Gericault,
Jongkind and Chasseriau are certainly not
their best, but reveal each's competence.
The pencil sketches by Chasseriau,
notably "Portrait of Alice Ozy." are
especially interesting.
"Nineteenth and Early Twentieth
Century Drawings from the Musee
Carnavalet" will be on exhibit in the main
gallery of Ackland until April 13. O
John Behm is a staff writer for The Dally
Tar Hel.
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