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Show Page B2 Thursday, April 22, 1982 The Newspaper nUeell Wffiirflall by Rick Brough 'Porky's' Food fights and adolescent sex mean big dollars at the box office C?' 1 A Classic Recommended Good double-feature double-feature material Time-killer For masochists only 1 THE BEST WAY TO LOOK ATA SAAB IS FROM THE INSIDE OUT. There's not too much you can put on a sticker these days that other cars don't have. Disc brakes, rack-and-pinion steering, steer-ing, front-wheel drive. Even a turbo is not so unusual in a certain caliber car. The difference comes in the way those things work together. The way it feels to accelerate, for instance. To take a sharp curve. To stop. Obviously, the only way to discover dis-cover this difference is to take a test drive. Which explains why a Saab salesman's pitch needs little more than one sentence: "Let's go for a ride!' The most intelligent car ever built. Garfi Motor Center State at 600 South SLC, Utah 84111 Porky's According to news reports, one of the biggest money making films in the country right now is a picture called "Porky's", a raunchy sex comedy which is, nevertheless, never-theless, made with some skill. After all, it takes a training, and a certain savoir-faire to fall face-first into a bowl of chili, or drive a car backwards into a swamp. "Porky's" is enjoyable because the actors in their mid-20s bravely pretend they're teenagers, and they almost manage to convince you the gags haven't been done a dozen times already. However, anyone watching wat-ching it does not spend a great deal of time pondering its resemblance to the French commedia dell'arte, or analyzing ana-lyzing the themes of anarchic an-archic rebellion .against authority, or appreciating the visual composition in the girls' shower scene. For the first half hour, you're working to tell the heroes apart from each other. Honest! There are about five characters here who look like various versions ver-sions of Wally Cleaver. The plot lines begin to emerge in this tale of horny guys and gals at Florida's Angel Beach High School in 1954. The central character, Pee Wee (Dan Monahan) is in a perpetual state of hyperventilation in his quest ; to lose his virginity. Tim, the( til fUJI If&v 1831 ' iwV - 'v 'I I Mil1;, - Yr : w The Little Foxes by Lillian Hellman presented by Park City Performances Barbara Smith STARRING Steve Stanczyk Aysha Quinn Lloyd Steveni Dick dimming! Amy Finegan RictarJ Scott SanJra Cymet Van Martin tv i i i t " John Lehmer iJirected by JJon vJomes April 22-24, 29-30 and May 1; Curtain 8S00 P. Egyptian TLeafre, Main Street, Park City Ticket $4.60 member of PCP, $6 General AJminion. For reservation call 649-9371. resident redneck (Cyril O'Reilly), learns a lesson in tolerance after tangling with the school's only Jewish kid (Scott Colomby). And ace prankster Tommy (Wyatt Knight) engages in a running battle with the "brick outhouse", a female gym coach named Miss Balbricker (Nancy Parsons). Par-sons). The most important story here concerns the kids' efforts ef-forts to penetrate the inner sanctum of Porky's, a go-go joint and brothel located far in the Everglades, across the county line. Porky, we learn, is a nasty old boar who doesn't like city kids. He cleans their wallets, with the help of his brother, the crooked sheriff (Alex Karras) and beats up on anyone who gives him back talk. The kids' revenge on Porky is the final practical joke that caps two hours of gags with rotten eggs, teenage streakers, and peeking through holes into the girl's locker room. Sex and hi-jinks take up their entire lives, with apparently ap-parently no time left for education, sports or other extra-curricular activities. Indeed, the only class taught at Angel Beach high is gym. This introduces yet another plot, about the young coach (Boyd Gaines) who wonders why the cheerleading instructress (Kim Cattrall) is named "Lassie". Once he gets her alone in the equipment room, he finds out. Director Bob Clark, to his credit, avoids the sexual acrobatics and gets his laughs by watching the reactions reac-tions of the high schoolers who hear cattrall's coyote calls reverberate through the gym. In a similar vein, Clark has one scene that displays real comic craft. Coach Balbricker has glimpsed an intruder in her locker room, identifiable only by his genitalia. In a long single take, set in the principal's office, she demands a line-up, while the male staffers dissolve into helpless giggles first the assistant coaches, then the head coach, and finally the staid principal. To end the scene, Clark glides in on the beaming portrait of President Eisenhower. "Porky's" is, basically, a series of gags and scenes that repeat the same points over and over. (Pee Wee wants a girl, etc.). The most realistic performance is Kaki Hunter as Wendy, who has the dialogue and the moves down just right to play the hich-school tease. The movie's worst offense is its waste of talent. Director Direc-tor Bob Clark began his career by making excellent, modestly-budgeted horror flicks. Keep an eye on the local show "Nightmare Theatre", and you might see his picture "Deathdream", which combined the "un-dead" "un-dead" plot with themes on the Vietnam vet and sterile American family life. This picture is inspired by "American Griffiti" and "Animal House", but doesn't have the overtones present in either of those pictures. "Graffiti", despite the old-time old-time rock 'n' roll and the adolescent gags, was set in 1962. It was about the last night of the 50s, before the innocents were sucked into more serious matters. "Animal House" forecast the battles of the 1960s, between bet-ween the straights and slobs, and it looked ahead with delicious irony to the future fates of the heroes (Bluto makes the United States Senate!). "Porky's" is entertaining. But it's food fights, pure and simple. mm ':i';-'''' '''W ' ir'' ' 'pp'''' Charlie Musselwhite and the Dynatones pnoto Dy Michael Spaulding Musselwhite band brings Chicago blues to the Cowboy Bar by Jay Meehan There is something special about the blues. Especially Chicago-style, that electric urbanized offshoot that evolved once the music left the fields of the south and traveled up the "big muddy" Mississippi River to the "Windy City. The basic structure of this music has remained mostly unchanged since the '40s when it was brought into national prominence by the likes of Howling Wolf and Muddy Waters. However, as the idiom has remained popular with the succeeding younger generations, genera-tions, the musicians who have picked up Chicago-style blues during the '50s, '60s, '70s and now the '80s have kept it very much alive by infusing it with the innovative innova-tive styles of the day. During four evenings last week, local music buffs were able to check up on the current state-of-the-art. Charlie Musselwhite and the Dynatones provided the fare from the stage of the Cowboy Bar, performing before wildly wild-ly enthusiastic and knowledgeable know-ledgeable blues afficianados Wednesday through Saturday Satur-day evenings. On their final evening, prior to heading for the East Coast to continue their tour, Charlie and the boys played almost every cut from their recent "Curtain Call" LP, along with a couple from "Stand Back," Mussel-white's Mussel-white's knockout mid-sixties album that featured Barry Goldberg and Harvy Man-del. Man-del. As with any fine combo, the Dynatones feature a super strong rhythm section. "Big Walter" Shuffelsworth handles the drumming chores, keeping time in a jazz-funk fashion with bassist bass-ist Steve Ehrman, one of the most talented "bottom-end" pickers to hit town in memory. The guitar work is the singular turf of one Rick Welter, and whether it be biting, soaring blues leads, fluid up-tempo bottleneck riffs a la Elmore James, or the steadiest of rhythms during a band-mate's break, he is a definitive crowd pleaser. Replacing saxophonist Reynoldo Arvizu on this tour April 22 Steve Korogi Jim Lea Susie Moench April 23 Amy Hamlin Glint Magee Jim Gilchrist Billy Moench Jim Whitney Mary Jane Bird Ruth Ann Fitzgerald Nan Mashack April 24 Stacey Sayers James Gilmartin Sherwin Baron April 25 Scott Jurgens Sherrie Pouquette April 26 Jean Piatt Scott Clothier Hank Verrone Patty Ashburner Joli Birrenkott Wendy Varney April 27 Mary Wilson AnnBoehm Kim Fluty RuthGezelius April 28 Jeannine Carofanello Herb Johnson was Jack (the Man), a tenor horni man whose blues-rock improvisations had the joint-a-jumpin'. Reynaldo, it seems, has decided that living in Fresno does not lend itself easily enough to working work-ing with an Oakland-based road band. Some of the evening's highlights included "Curtain Call Blast Off," an up-tempo boogie-shuffle rooted in the ensemble mode and "Walk Right In" a steppin'-blues which featured strong good-time good-time vocals from Charlie, Rick, Jack and Walter. For those in attendance who like their blues at its blue-est, Charlie and the Dynatones supplied plenty down-tempo .cry-in-your-cheap-wine-type tunes. It was during the likes of "Everybody Needs Somebody", Some-body", "I'm Going Home" and the now-classic instrumental instru-mental "Christo Redemtor" that Charlie truly demonstrated demon-strated his harmonica virtuosity. virtu-osity. The harp like the motorcycle, is much more difficult to perform on slowly. slow-ly. There is much less room for error when bending a few notes over 12-bars than when blowing at a faster pace. Musselwhite showed once again that he owns one of the fullest low-register techniques techni-ques around. It was an evening for dancers and listeners alike. Rick and Walter teamed up for some tasty harmony on the rocker "Tick Tock", Rick soloed with "This Little Voice", and Charlie boogied through "She Used to be Beautiful" and "Trouble No More". Bill Newland may have summed it up best a couple of days later when he opined: "That's the tightest three sets of music I've heard in Park City in years. |