4The Daily Tar HeelTuesday, February 22, 1983
UNC grad expands business of staying fit
m
VAty
8 5
I. '
V
'r:'".
r
t 1
U
. ..v.vAW".-: ....
1r "
ft
. J i: tit?"-.
ill
N
V
DTHJeff Neuvitle
UNC senior Steve Streater manages a Shackelford Studio
. . .'former football player wants more men to get involved
By KATHY HOPPER
Staff Writer
Combining an interest in fitness and
meeting new people, Elizabeth Shackel
ford, a UNC graduate, created a part
time business that could financially sup
port her while she pursued a writing
career.
She began teaching in an old hallway at
Chapel Hill High School and gradually
expanded. She now has studios in Chapel
Hill, Durham and Raleigh. Today
Shackelford works in New York, but she
remains actively involved with the
studios.
After conferring with doctors and
sports experts, she devised a unique sys
tem using isokinetics. The method in
volves contracting a muscle and working
it in small range. This is followed by a
series of small deliberate stretches that
break down laciic acid and prevent later
soreness. The system is designed to im
prove flexibility, muscle tone and pro
mote relaxation.
The company greatly depends on col
lege students to operate it, which gives
students valuable managerial experience.
Twenty-four-year-old senior, and
former UNC football player, Steve
Streater works at the Durham studio in
Brightleaf Square. He began working
there last December.
"I've been managing the Durham
studio and looking after the money," he
said. Streater also manages the men's di
vision of Shackelford's studio. "I would
like more men to get involved," Streater
said.
Streater first went to the studio with his
teammates. "Most of the football players
went to the studio," he said.
Overall, Streater believes the job has
been beneficial. "I enjoy what I'm doing
now," he said. "It's a challenge and I
needed that."
Streater, who was paralyzed after a car
accident in August 1981, will travel to
Ohio next month to begin a new system
of treatment. He will take his final class
through correspondence.
"I've very excited," he said, "ready to
go."
Dr. Jerrold Petrofsky, the director of
the Biomedical Engineering lab at Wright
State University, has developed a com
puter system that will make it possible to
direct one foot in front of the other. Dr.
Petrofsky was recently featured on 60
Minutes. f
Streater's optimistic attitude enabled
him to be selected thirteenth out of
55,000 applicants for Petrofsky's treat
ment. Shackelford Studios are helping to
pay for Streater's expensive treatment.
Another student who works at the
Shackelford Studios is Laure Redmond, a
junior English major. She first became
interested in the studio during her fresh
man year. .
"I got a free introductory class," she
said. "I liked it. It hurt, but it was fun."
Redmond began teaching in May 198 1 .
She believes her job has given her
valuable preparation for a career.
"The job is perfect for me, as it incor
porates my interests in the area of fitness
and beauty as well as my desire to go into
the area of management, specifically ij a
finance-related field," she said. j-
Sissie Twiggs, a junior pre-law major,
also teaches at the studio. .
"I've gotten to meet so many people,"
she said. "It gives you a sense of self
confidence to teach because you are re
sponsible for a group of people."
The Elizabeth Shackelford Exercise
Studio in Chapel Hill recently moved
from Kroger Plaza to 501 Wt Franklin St.
to make the studio more accessible to
students.
'Veronika Voss fails
in view and perspective
By STEVE CARR
Staff Writer
Veronika Voss is a failure not in
its power to entertain or stimulate
thought; it is a failure in viewpoint
and perspective.
Technically, the black and white
photography and design is as every bit
a virtuoso work as Rainer Werner
Fassbinder's earlier 'film Lola. The
hard, harsh whites succeed as a sym
bol of bleak sterility, national
weakness and impotence, while the
lush blacks take on an aura and glow
of remembrance.
Review
As homage and allegory, Voss suc
ceeds to some extent as a deliberate
tribute to such auteur directors as
Bergman and Godard and even some
of the members of the American film
noir pantheon. It is easy to forget that
Fassbinder's seemingly patent plots
are really borrowed from a cinema
past. A mysterious woman, a simple
man. Men lured, fascinated. Both are
humiliated and both suffer.
Perhaps it is unfair to reduce a
movie to such bare essentials, especial
ly one by Fassbinder which purposely
uses phony everything to convey a
much deeper meaning. Veronika Voss
is based on the real-life story of Ger
man actress Sybille Schmitz, who
worked right through the Third Reich
and then drifted off into postwar ob
scurity. She is the true star spong
ing off on everyone and refusing to
acknowledge her own self-
disintegration. Her charactor evokes
the blind, leeching idealism that was
sweeping across Germany during the
'30s.
The twist in Veronika is that she is
not such a clear-cut example of any
thing. It becomes more apparent that
she is almost missing something. She
depends on a cold, clinical neurologist
to quench her morphine addiction.
The rational neurologist in turn holds
Veronika captive. It is almost as if the
two are inseparable.
The failure in this film lies in its in
ability to acknowledge the presence of
a human being beyond a mere rep
resentation of a part of a human be
ing. When looked at as a whole,
Veronika may be seen as somewhat of
a success. It seems to be a portrait of a
person desperately at odds with itself.
But because the characters are so sin
gularly and even obviously drawn, the
movie seems devoid of any sort of
compassion or humanity for its
characters.
Since the characters are rather sim
ply drawn, the acting does not do
much to improve on it. Rosel Zech
plays Veronika as a sort of crazed
Dionysian seductress. She is, of course
the most engrossing character of the
film. The other characters seem to be
either plot elements to be regulated
against Voss or mechanisms to more
the story along.
Perhaps Veronika can be con
sidered a success as a record of a direc
tor's changing vision. It is too bad that
Fassbinder couldn't have stuck
around a little longer to realize the
parts are just as important as the
whole.
Meryl Streep adds emotion to insensitive 'Sophies Choice9
By FRANK BRUM
Editorial Writer
First things first. With Sophie's Choice, Meryl
Streep has found her perfect role. And she runs
with it.
As Sophie, the beautiful and mysterious Polish
woman who has survived the horrors of a concen
tration camp to immigrate to America, Streep adds
an important new dimension to her acting. Always
Review
a master of the more technical aspects of perfor
mance attention to a character's subtle affecta
tions, replication of a character's expected vocal
inflections and speech patterns Streep in
previous performances lacked a certain warmth
and accessibility.
This, however, is not true of the actress portrait
of Sophie. Not surprisingly, Streep's Polish accent
and the often hilarious way in which she stumbles
through her imperfect English could not be more
convincing. The pleasant and very impressive sur
prise rests with the emotional attachment to
Sophie which Streep cultivates in the viewer.
Streep's triumph is, unfortunately, marred by
the terribly disappointing quality of the film.
While Streep's portrait of Sophie is an intimate
one, director Alan J. Pakula has given Sophie's
Choice an annoyingly detached tone and a fre
quently incoherent structure.
The viewer first sees Sophie through the eyes of
narrator Stingo, an aspiring writer who comes to
Brooklyn in the '40s. Stingo becomes entranced
with the relationship between Sophie and the
tempestuous, self-destructive Nathan. These two
gradually reveal themselves and their secrets to the
bewildered, infatuated Stingo, who is trying to
understand and come to grips with Sophie's undy
ing loyalty and Nathan's terrifying mood swings.
What is supposed to propel the story and sustain
the viewer's interest is the realization, as the film
draws nearer to the close of its lengthy two-and-a-half
hours, that Sophie and Nathan have lied
about many incidents in their pasts. The lies must
then be stripped away, and the viewer must finally
see the poignant truth about Sophie and Nathan
and the evolution of their relationship.
Poignancy, however, is rarely achieved in
Sophie's Choice. Pakula simply doesn't allow the
audience to get close enough to his characters. As
Sophie and Nathan and Stingo throw small parties
in their boarding house rooms, the camera peers
out at them from dark corners, or remains still as it
photographs the trio from across a large room.
The tedium of ihe film's structure also generates
an emotional distance. Stingo's narration is purple
prose at its sappiest, and his voice, better suited for
lullabies, bares an unfortunate similarity to Burl
Ives' voice. Pakula employs the narration to tie to
gether all the loose ends of the film's structure,
which relies heavily upon often confusing flash
backs which melodramatically illustrate the
mysteries of the characters' pasts. . ,
The entire film is melodramatic. The characters
speak in soliloquies, and the elevated quality of
Stingo and Nathan's language renders much of the
conversation unbelievable. Besides, the film is so
static at least half of the film's action takes
place within the walls of the Brooklyn boarding
house that the long pauses in dialogue and
vapid staring to which all of the characters seem
prone make Sophie's Choice downright boring at
times.
There's little humor or frivolity to be found any
where in Pakula's work. So serious about the pro
ject's finer details, he loses all sense of entertain
ment. For instance, having his actors speak in Ger
man and Polish during the concentration camp
flashbacks is an admirable touch, but the use of
subtitles only tends to make the viewer feel even
more distant from the story.
The only reason to see Sophie's Choice is to
marvel over Meryl Streep's finest performance.
She portrays Sophie in all stages of development
from a young secretary in Poland to a bitter yet
courageous holocaust victim to an American
fighting to regain her sense of integrity with a
seemingly effortless skill of which few modern ac
tresses would be capable. And against all of direc-.
tor Pakula's distracting obstacles, Streep trium
phantly makes the viewer truly care for Sophie.
Streep deserves better than the tedious melodrama
of Sophie's Choice. ,
Italian Restaurant
announces it's
All Day Tuesday Special!
ALL THE SPAGHETTI YOU CAN EAT!
with our delicious meat sauce,
baked bread and salad
beverage not included 11:30 a.m.-10 p.m.
near Harris Teeter in 11:30 a.m.-10 p.m. Mon.-Thurs.
new section of Kroger Plaza 11:30 a.m.-10:30 p.m. Fri.-Sat.
929-9693 4 p.m.-10 p.m. Sun.
. ii 'Ji r
3
(aro? far? uK7r'rm
Give to the American Cancer Society.
THIS SPACE CONTRIBUTED AS A PUBLIC SERVICE.
District 1 9 run-off set for toddy
A run-off election for the District 19 Chateau apartments, Labet apartments,
seat on the Campus Governing Council Sue Ann Court and Pineknoll apartments,
will be held today between Lisa Gittelman
and Stephen Harris. Students can vote at the Union,
District 19 includes Tarheel Manor Y-Court, Scuttlebutt, Hamilton, Wilson
apartments, Brookshire apartments, and Rosenau polling sites. .
QOOQQOOOOOOOOOOOQOOOOOQOOOOOOOS
eeoGoooQCQCf
V SS'SW. Ill .III II Hi III V- II .1111 II II l V5Sv t
1982-83 JOHN CALVIN McNAIR LECTURE
MODERN COSMOGONY &
BIBLICAL CREATION
A Lecture by
DR. OWEN GINGERICH
Astrophysicist at the Smithsonian Astrophysical Observatory
Professor of Astronomy & History of Science at Harvard University
February 22, 1983
8:00 pm Hamilton Hall
Sponsored by the Univ. Committee on Established Lectures
Fantastic savings on walkover Bucks!
$2095
walkover
White Bucks
03WfS,-r;
walkover
Buck Oxfords
f walkover
Dirty Bucks
$2995
$2995
yiryiT
NAME BRAND SPORTSWEAR
flbov Baskln Rebbins on Franklin St
92-1801
KM
4
' i t 1 :
il I ? J :i
? t :
i i
- A '
: ' Hf 3
111!
DATE: Wed., Feb. 23 TIME: 10 am-3 pm
PLACE: STudsmr stores
ONE DAY ONLY! DCMrnMtionl.ny
ACC Tournament Special
ATLANTA, GA
March 11, 12, 13
Howard Johnson's Northeast
I-85 at North Druid Hills Road, N.E.
10 minutes from Omni
(404) 636-8631
Howard Johnson's Northwest
I-75 at Northside Drive, N.W.
10 minutes from Omni
(404)351-6500
Howard Johnson's South
I-75 at Atlanta Stadium
5 minutes from Omni
(404) 683-8665
Days Inn
I-20 at Wesley Chapel Road
10 minutes from Omni
(404)288-7110
Comfort InnDivision of Quality Inn
120 North Avenue, Downtown
5 minutes from Omni
(404)881-6788
Offer Good With Advance Reservations Only