The Daily Tar Heel Thursday, January 30, 19867
week's Fame
6
TODAY
fiOrpheus'viill be shown at 7 and 9:30 p.m.
3 Uin the Union Auditorium.
A Stranger in Frog Pond will be performed
by the Pollywog Players through Friday at 7:30
p.m. and Saturday and Sunday at 2:30 p.m. at
Thompson Theatre in Raleigh. Call 737-2405 for
ticket information.
Return of the Comet is the current show at
the Morehead Planetarium. Call 962-1 248 for
more information.
Harold Bloom will speak on "Freud: The
Poetics of Frontier Concepts" at 8:15 p.m. in
East Duke Building at Duke.
Grace Hartigan will speak on "Thirty-five
Years of Painting" at 8 p.m. at the North Carolina
Museum of Art.
FRIDAY
-g The Brother from Another Planet will be
5 A shown at 4:30, 7, and 9:30 p.m., and at
midnight in the Union Auditorium. Call 962-2285
for ticket information.
Gates of Heaven will be shown at 8 p.m. at
the North Carolina Museum of Art. Call 833
1935 for more information.
The Dining Room will be performed by
PlayMakers Repertory Company through
Saturday at 8 p.m., Sunday at 2 p.m., and
Wednesday at 8 p.m. in Paul Green Theatre. Call
962-1 121 for ticket information.
Woody Herman and his Thundering Herd will
perform at 8 p.m. in Stewart Theatre at N.C.
State. Call 737-3104 for ticket information.
Mike Night sponsored by the Carolina Union
will begin at 8 p.m. in the Union's first floor,
lounge.
Laser Power is a new show at the Morehead
Planetarium. Call 962-1248 for more
information.
Joseph Lau will speak on recent Chinese
literary movements at 2 p.m. in Toy Lounge in
Dey Hall.
Jeanne Spurlock will speak on "Promotion of
Mental Health: Multiple Roles of Physicians"
at 4 p.m. in Berryhill Hall.
Tony Trischka and Skyline will perform at 9
p.m. at the ArtSchopl. Call 929-2896 for more
information.
Rod Dash will perform at Rhythm Alley. Call
929-8172 for more information.
SATURDAY
Klute will be shown at 7 and 9:30 p.m.
in
1
Xthe Union Auditorium
Ciompi Quartet will perform at 8:15 p.m. in
East Duke Building at Duke.
Five North Carolina Folk Artists will be
displayed through March 23 at the Ackland Art
Museum.
American Figurative Painting Since 1950 will
be displayed through April 27 at the North
Carolina Museum of Art.
Awareness Art Ensemble will perform at 9:30
p.m. at the ArtSchool. Call 929-2896 for more
information,
z The Graphic will perform at Rhythm Alley.
Call 929-8172 for more information.
SUNDAY
2 Polyester will be shown at 7 and 9:30 p.m.
and on Monday at 6 p.m. in the Union
Auditorium.
Marmaduke Miles, Barbara Rowan, and
Francis Whang, pianists, will perform at 8 p.m.
in Hill Hall Auditorium.
Durham Symphony will perform at 8 p.m. in
Durham Civic Center. Call 682-3836 for ticket
information..
Viewpoints, photography by Jane Hamborsky,
will be displayed through March 2 in the north
gallery of the Morehean Building.
ArtSchool Jazz Ensemble will perform at 7:30
p.m. at the ArtSchool. Call 929-2896 for more
information.
MONDAY
3 John Waters will speak on his career in
filmmaking at 8 p.m. in Memorial Hall. Call
962-1449 for ticket information.
Marian Smallegan and JoAnne Damon will
speak on "Depression in the Elderly" at 3:30 p.m.
in 104 Carrington Hall.
TUESDAY
4Sequentia will perform at 8 p.m. in Playmak
ers Theatre. Call 962-2224 for ticket
information.
WEDNESDAY
5Lar Lubovitch Dance Company will perform
at 8 p.m. in Memorial Hall. Call 962-1449
for ticket information.
MOVIES
Plaza I Out of Africa at 3:30 and 7:45.
Plaza W-Weatherby at 3, 5:15, 7:25 and 9:40
ends today. Murphy's Romance starts Friday 3,
5:10, 7:20 and 9:30.
Plaza in A Chorus Line at 3, 5:15, 7:30 and
9:45 ends today. Youngblood starts Friday at
3:15, 5:20, 7:25 and 9:30.
Varsity I The Journey of Natty Can at 2:10,
4:15, 7:10 and 9:15 ends today. Down and Out
in Beverly Hills starts Friday at 2:30, 4:30, 7:30
and 9:30.
Varsity 11 White Nights at 2, 4:30, 7, and
9:30 ends today. The Off icial Story starts Friday
at 2:10, 4:15, 7:10 and 9:15.
Varsity Lateshows Secret Honor and Pink
Flamingoes at 1 1:30 Friday and Saturday.
Carolina Blue Twice in a Lifetime at 2:30,
4:45, 7 and 9:30.
Carolina White My Chauffeur at 7 and 9:30
ends today. Jhe Eliminators starts Friday at 3,
5, 7 and 9; weekend shows at 7 and 9 only.
American Rabbit weekend matinees at 3 and 5.
Compiled by Elizabeth Ellen, arts editor.
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By ALAN MASON .
Staff Writer
Picture this. The scene is a grossly
masculine, well-furnished, oak-walled
study illuminated by desk lamp and
roaring fire. It is late evening. A
typically slouching, but remarkably fit
looking Richard M. Nixon enters the
room, pours himself a glass of Chivas
Regal on the rocks and sits at his desk.
He turns on the tape recorder. He
drinks. He begins to dictate.
As the alcohol takes effect, his
dictation turns into a passionate con
fession, a heartfelt admission. He
frantically paces the room, words
spouting from his mouth so fast that
some are unintelligible. He covers all
the big subjects of his life: the presid
ency, 1960, Pat, the mysterious "Com
mittee of 100," checkers, his mother,
Cambodia, Watergate.
Yes, of course he would get to that
last one. Robert Altman's Secret
Honor, a film that sheds new light on
the man who made a mockery of the
presidency, lets this half-fictional, half
factual Nixon tell us why Watergate
happened. He claims he manufactured
the break-in and the cover-up to save
America from four more years of
Vietnam. He calls it his "secret honor."
Altman subtitles his film "A Political
Myth," and Secret Honor is just that.
As the film states before the opening
credits, it is not a history lesson.
Originally written for the stage by
Donald Freed and Arnold M. Stone
(who also wrote the screenplay), it is
an examination of a man who has
become a symbol. And Altman, Freed
and Stone use this symbol to raise some
interesting questions. What drives men
like Nixon into political office? What
secrets do they possess that are never
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revealed? Who controls them? And
when they do wrong, are we, the
American voting public,, co
conspirators in treason? .
Maybe not, but Secret Honor is
largely a "What iP film. It does not
attempt to tell the story of Watergate,
nor is it an autobiography of Nixon.
But it is a portrait of a man, an opinion
of a man who, like many people, has
made his share of mistakes. At times
the film makes us pity Nixon, even have
sympathy for him. We are not asked
to forgive him, just to understand him.
The most credit for this tense, frantic
portrayal should go to Philip Baker
Hall, the virtual unknown who plays
Nixon. Hall's manic, energetic perfor
mance is an amazing feat. How he found
the stamina to play this character in this
way would be a lesson in motivation
for any actor. He does not look at all
like Nixon, but it doesn't matter; he
seems to be so into the character. He
has Nixon's mannerisms down so well
that we soon forget that acting is going
on here, and it appears that we are
spying on the real Nixon. When he
instructs his assistant "Roberto" to erase
his rantings and ravings, all of a sudden
it seems like 1973 again.
Hall's Nixon is a paranoid, tense,
confused man who gulps bourbon and
can't sit still or remain silent. As he
drinks he darts around the room,
grunting and snorting and laughing his
sinister laugh, garbling unfinished
sentences (does he ever finish his
sentences?) and absent-mindedly search
ing for words that seem to be on the
tip of his tongue. In one powerful
segment he expresses his bitter resent
ment of Henry Kissenger, cursing the
former Secretary 's portrait on the
wall: "They gave the "Nobel Peace prize
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Philip Baker Hall portraying Richard Nixon in 'Secret Honor'
to him and me they call the mad
bomber." He saves his worst profanity
for Eisenhower, Washington, and the
big business power brokers (the Com
mittee of 100) that he claims controlled
him all through the presidency.
Central to the theme of Secret Honor
is the theory that Nixon was actually
a hero to the American public because
he prevented the prolongation of the
Vietnam War. "I chose secret honor,"
he says, "and public shame."
Altman's direction is his best in years.
This film, .with .only one set and one
character, allows him to display his
technical talent. The film is so tightly
edited that it seems as if it were shot
in one take. Altman shot the film at
the University of Michigan where he
was a visiting professor, and he used
several student assistants, a feat that is
another example of his talent as an
innovator.
Altman's films are not always great
because he is not afraid to take chances,
but this time he is right on the mark.
Altman has created a film that is an
experience, and Hall has created a
character that will not be forgotten.
Secret Honor may be a political myth,
but it is no lie.
jrstassB ins
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