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CTha Daily Tar HeelThursday, August 27, 1981
'Werewolf:9 refreshing film gives horror new loo
Th Ghost and Mn. Muir at ? and 9:30 p.m. .
today in the Union auditorium. Gene Tiemey re
fuses to be intimidated by .ghost Rex Harrison,
who haunts her New England home; they eventu
ally fall in love. Joseph Mankiewicz's fine film
shouldn't be confused with the rather shoddy
television series of the same name. Admission by
UNC student ID or Union privilege card.
The Uephant Man at 7, 9:30 and midnight Fri
day in the Union auditorium. David Lynch's film
was the surprise hit of last year. It is a compassio
nate look at John Merrick, a hideously deformed
man who became the darling of Victorian society.
The Elephant Man owes much to the Universal
horror films of the J930s, in atmosphere at least,
and though the film is at times stagy, Lynch shows
an incredible talent for how to use the cinema vis
ually. Admission SI. '
- Sleuth at 7 and 9:30 p.m. Saturday in the Union
auditorium. Laurence Olivier, who plays a brilliant
writer, attempts to humiliate his wife's lover,
Michael Came, in a series of games. This bank of
wits, directed by Joseph Mankiewicz, is particu
larly fascinating if you don't know the ending.
But even if you do, the acting is so strong that a
second viewing isn't that disappointing. Admis
sion by UNC student ID or Union privilege card.
Everything For Sale at 7 and 9:30 p.m. Sunday
in the Union auditorium. The Carolina Union
film schedule enigmatically describes this film by
Andrzej Wajda as a "fascinating reflection on the
death of actor Zbigniew Cybulski (star of Wadja's
Ashes and Diamonds) that emerges as a dynamic
elegy to the man often compared with James
Dean." Well, guess you'll just have to trust them.
Admission by UNC student ID or Union privilege
Sunset Boulevard at 7 and 9:30 p.m. Wednes
day in the Union auditorium. Billy Wilder's
bizarre and bitter film about the aging silent
screen star Norma Desmond (Gloria Swanson) is
the greatest film ever made about Hollywood:
With William Holden, Eric Von Stroheim, Buster
Keaton and Cecil B. DeMille. Admission by UNC
student ID or Union privilege card.
Another Part of the Forest, Raleigh's Theatre
in the Park summer series presents Lillian
Hellman's drama at 8:30 p.m. Saturday and Sun
day in PuDen Park. Call 755-6058 for more information.
Fugue for Tinhorns, the Chez Condoret Caba
ret presents a tribute to the works of Frank
Loesser. At 9 p.m. Wednesdays through Satur
days with late shows at 1 1 p.m. Fridays and Satur
days in the Chez Condoret Restaurant jn Univer
sity Square. Through Sept. 12. Call 942-8714 for
more information. .
Hello, Dolly! The Village Dinner Theatre pre
sents Jerry Herman's musical through Sunday.
For reservations and more information, call
Beach Musk Convention beginning at noon
Saturday at the N.C. State Fairgrounds in Raleigh.
With Jr. Walker and the All-Stars, the Drifters,
Chairmen of the Board and others. For more in
formation, call 832-7350. .
Pat Benatar at 8 p.m. Wednesday in the
Greensboro Coliseum. For more information, call
Ruse, with Hege and the Heartattackers at 8
p.m. Tuesday in the Art School in Carr Mill Mall.
For more information, call 92V-2896.
Ackland Art Museum Glimmering Land
scapes and the Artist's Eye, a collection of paint
ings, prints and drawings representing landscapes
over the past 500 years, is on display through
Sept. 6 in the main gallery.
Morehead Planetarium Gallery The History
of Pharmacy is on display through Monday. Cr
ete Development, two- and three-dimensional
paintings by Nan Gressman, will be on display
Art School Gallery A collection of photo
graphs by students of the Bowling Green School
in Butner will be on display through Saturday.
Cat's Cradle, Vi W. Rosemary St. The Blue
grass Experience performs today. The Fabulous
Knobs play Friday and Saturday. Hege and the
Heartattackers appear Sunday. The Chadbournes
perform Monday. And the Red Clay Ramblers
appear Tuesday and Wednesday.
The Station, East Main Street, Carrboro
The Jim Ketch Quartet plays jazz today. The Sun
fire, the popular reggae and calypso group, per
forms Friday and Saturday. Group Sax plays jazz
Sunday. On Tuesday there is a square dance with
the Red Rose Flyers. And Champagne Charlie
plays swing musk on Wednesday.
. . . By LEAH TALLEY
DTH Staff Writer
In An American Werewolf in London, John Landis,
the director of Animal House and The Blues Brothers,
takes the ancient legend of the werewolf and personalizes
it, making a refreshingly innovative horror film.
David (David Naughton) and Jack (Griffin Dunne),
two average guys, are spending three months overseas on
a shoestring budget, which includes hitchhiking across
the English countryside in a sheep truck. Dressed in their
down jackets and vinyl backpacks, they could be any
young Americans visiting England.
Contrary to the extreme heroics common to other hor
. ror films, David and Jack's responses are generally be
lievable. When told he is a werewolf, David reacts as any
normal person would: "I must be dreaming" and "I
must be insane." And the characters around David sup
port these conclusions too. Why believe in werewolves
when the convenient alternative is insanity?
John Landis adds a fine edge to the horror in Were
wolf by meshing it and contrasting it with crisp, light
humor. This is done mainly through the character of
Jack, who Landis also uses to examine the dilemma of
the werewolf's undead victims, a new twist on the genre:
The. scenes involving Jack after he's undead are the
film's most fascinating parts, at once hilarious and grue-
some. Landis also avoids the standard horror film cliche
by using humor.
For instance, it's refreshing to watch David and Jack
respond to the terror of an unknown growling creature,
with a touch of real-life humor instead of resorting to
screaming and cowering into submission like most vic
tims in horror movies. Landis' balance of comedy and
terror, combined with imaginative editing makes Were
wolf a well-paced film that makes you drop your pop
corn. And with all this, Landis even manages to squeeze
some romance into the film. David's affair with his
nurse, Jenny Agutter, gives the film a modern feel and
further adds to its realism. But thank goodness it's not a
predominant theme in the film, only a pleasant element
that emphasizes the irony and reality of. David's con
Unfortunatly, An American Werewolf in London
does resort to a few cliches. David and Jack stumble in
on the "Slaughtered Lamb" Inn, complete with suspi
cious and superstitious countryside Englishmen who,
naturally, refuse to warn David and Jack about the crea
ture. The townsfolk only hauntingly advise them to
"stay on the main road and stay away from the moors."
Then, of course, there is the disbelieving doctor who
suddenly suspects that there may be some truth in th
werewolf legend. True to convention, he becomes aware
on the day of the full moon. Finally, there is the irri
tating character of the bumbling police detective whose
awkward physical comedy slows the film's pacing and
But An American Werewolf in London finally, is
worth seeing simply because , of the fantastic makeup
and special effects that create the werewolf. Again, Lan
dis takes the viewer into a new realm of horror films as
the transformation occurs right before our eyes. Rick
Baker, the makeup artist in that now infamous cantina
scene in Star Wars, works wonders in creating the
werewolf. " : J
' Although John Landis occasionally falls back on
overused situations, he innovatively combines humor,
romance, realism and terror to bring a touch of class to
the current state of horror films. And this makes An
American Werewolf in London a refreshing horror film
in an age where the "hack 'em and slash 'em" style of
films like Friday the 13th has become the standard fare.
New album 'Pleasant Dreams'
' - -
Kamoines fans cairi cheer latest effort
By TIM MOONEV
DTH Staff Writer
As the sixth Ramones album hits the
shelves, their devotees in the music world
ask one more time: Is this the record to
catapult da Bruddas out of mookdom
and into commercial stardom?
That's a silly question, of course it
isn't. By virtue of their dumbness (so
dumb in fact, they ignited a rebirth in
rock in 1976), the Ramones have been the
schmucks to kick around so that
mainstreamers such as The Cars and
Blondie could go platinum. Singer Joey
once aptly called the Ramones the fall
guys for the aforementioned "new
wavers." . '-
Indeed, if the Ramones were destined
for commercial success, it would have
been with Road to Ruin, their fourth and
best album. By the time the make-or-break
End of the Century LP, hyped as
the band's most crucial effort, came out,
radio virtually turned its back on the
Ramones. Which leaves us well into 1981
with Pleasant Dreams, an album of pure
triumph. It is clearly the album that End
of the Century should have been. Former
10 cc member Graham Gouldman pro
duced the new album, and he improves
upon Phil Spector's "Wall of Sound,"
which so often drowned End of the Cen
tury. One obvious benefactor of the pro
duction is Marky's clrumming. Frequent
ly muffled beneath Spector's "Wall," the
drums here crack through all sorts of neat
fills and rolls. - ,
But without question, Joey: all but
steals the spotlight on Pleasant Dreams.
"All's Quiet on the Eastern Front" is a
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fantastic cut, with his vocals sliding lip
and down a hilarious roller coaster of
lyrics. Compare any song here to one
from their debut album and you can hear
the remarkable improvement in Joey's
crooning. "This Business is Killing Me"
is a second example of Joey's greatly in
creased range and verve..
Pleasant Dreams also sports some of
the Ramones' funniest lyrics since 1977's
Rocket to Russia. "7-11" is the sar
castically romantic cut, complete with a
wonderfully cheesy synthesizer. "She was
standing by the Space Invaders So I said
can I see you later Yeah we went for a
little spin Down to the Holiday Inn."
And "You Didn't Mean Anything To
Me" offers,: "Everybody was cranky
Even the maids were mean We ran into a
miracle There was beer " in the soda
machine." And even the Bus ' Boys
couldn't improve upon "The KKK Took
My Baby Away."
But what makes Pleasant Dreams so
enjoyable is the feel of it. Perhaps it's
those squeaky noises Johnny makes when
changing guitar chords, the ones we
haven't heard since their second Leave
Home album. But listening to "Come On
Now," side two's best cut, or the
crashing ending of "You Sound Like
You're Sick," you're grabbed by that
zany intensity and mindlessness only the
Ramones can transmit. .
Inside the black vinyl, if you look real
carefully, you can see good ol' Sheena. A
little tattered, a few more holes in her
loincloth, but she's still dancing. '
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Test Preparation Specialists
information. Please Call.
to Work at
Meeting: Sept: 1 or Sept. 2
206 Student Union
Stop by Room 102
Campus Y for