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- <text id=93TT1220>
- <title>
- Mar. 22, 1993: Reviews:Short Takes
- </title>
- <history>
- TIME--The Weekly Newsmagazine--1993
- Mar. 22, 1993 Can Animals Think
- </history>
- <article>
- <source>Time Magazine</source>
- <hdr>
- REVIEWS, Page 79
- SHORT TAKES
- </hdr>
- <body>
- <p>CINEMA
- </p>
- <p> Rambling Through The Ratholes
- </p>
- <p> Has Britain been overrun by rodents lately, or is it just
- British movies? In Truly, Madly, Deeply, Juliet Stevenson spent
- a lot of time in bed with large, scruffy rats. The vermin abound
- too in RIFF-RAFF, a rambling comedy from director Ken Loach.
- Stevie (Robert Carlyle), an ex-con finding construction work in
- London, falls in love with a pretty girleen (Emer McCourt) who
- wants to be a saloon singer. If this sounds like the plot of The
- Crying Game, don't blame scripter Bill Jesse; Riff-Raff was made
- a year before Neil Jordan's gender bender. Loach's film is a
- hymn to blue-collar, multiracial mateyness, and you needn't
- plow through the thickly accented dialogue (subtitled for
- American ears) to guess his social agenda. The overlords of
- capitalism are Riff-Raff's real rats.
- </p>
- <p> VIDEO
- </p>
- <p> Sci-Fi Enigma
- </p>
- <p> As David Bowie's spaceship crash-lands in New Mexico at
- the beginning of THE MAN WHO FELL TO EARTH, so does director
- Nicolas Roeg's splendidly enigmatic sci-fi parable invade our
- subconscious, making a great, strange racket. It is a tribute
- to Bowie's eldritch skill and Roeg's eerie artistry that we feel
- immediately all the main character's displacement, fear and
- wonder in his new world. This laser disc (Voyager/The Criterion
- Collection) marks the first uncut presentation of the original
- wide-screen format for U.S. home video. Also on the disc:
- interviews with Roeg, Bowie and co-star Buck Henry. They offer
- no solutions to the film's mysteries, which is just as well.
- Figuring out The Man would be like unraveling a dream.
- </p>
- <p> BOOKS
- </p>
- <p> Death in the Sands
- </p>
- <p> Michael Kelly's deft, impressionistic reporting in
- MARTYRS' DAY (Random House; $23) of a journey around the Gulf
- War's edges is a useful reminder of what went on. Just before
- the shooting started, his travelogue of Baghdad ("unusually ugly
- lampposts") has the flip quality of a travel piece. In Amman,
- Jordan, violently pro-Saddam, the streets "hummed with a mean
- joy. At last somebody was killing Jews." In Tel Aviv, he
- discovers women who deck their gas-mask kits in velvet. After
- the 100-hour land war, incinerated Iraqi corpses burn off the
- vapors of his irony; in liberated Kuwait City, he tracks through
- apartments fouled by soldiers' dung. Back in postwar Baghdad:
- bullyboys, profiteers and "the total degradation of a people."
- </p>
- <p> CABARET
- </p>
- <p> A Tuneful Happy Anniversary
- </p>
- <p> No Broadway musical has influenced the form more than
- Oklahoma!, which integrated songs and dances into narrative. Its
- debut 50 years ago this month launched the partnership of
- Richard Rodgers and Oscar Hammerstein, who went on to Carousel,
- South Pacific, The King and I and The Sound of Music. Their
- words and music are lovingly recalled in A GRAND NIGHT FOR
- SINGING, a revue at New York City's premier cabaret, Rainbow &
- Stars. The show is one of hundreds of ways the anniversary is
- being marked--from productions, concerts, CDs and books to a
- museum show of set designs in New York City; a gathering of
- original Oklahoma! cast members in New Haven, Connecticut; and
- the release of a U.S. stamp in, aptly, Oklahoma City.
- </p>
- <p> THEATER
- </p>
- <p> Free Fall
- </p>
- <p> When a good straight play is turned into a musical, the
- basic question is whether music adds anything. In the case of
- Arthur Kopit's WINGS, a 1978 succes d'estime about a former
- pilot and air-show wing walker whose mind has been frazzled by
- a stroke, the answer is an emphatic yes--sometimes. In the new
- version off-Broadway, Jeffrey Lunden's score provides
- evocatively dissonant metaphors for what is going on inside the
- afflicted woman's head. But when Arthur Perlman's book and
- lyrics guide her into banal emotional bonds with a therapist and
- fellow patients, the sentimentality seems out of character for
- the tough, fearless old woman so vividly acted by Linda
- Stephens.
- </p>
-
- </body>
- </article>
- </text>
-
-