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Show The Daily Utah Chronicle, Thursday, December 2, Arts Five 1982 Creepshow gores audience with fun ' . 'i v "It's the most fun I ' by Brian Aggeler Chronicle staff you'll ever have being scared," say the ads for Creepshow, and they're right. For sheer, unpretentious entertainment value, Creepshow is one of the best shows to come along in years. A joint effort of director George A. Romero (Night of the Living Dead) and writer Stephen King (Carrie, The Shining), Creepshow is their homage to the great horror comic books which nurtured them and many others in their youth. Anyone who remembers the genre will feel a warm nostalgia at the ads for "X-ra- y specs" and the like which appear between the several separate stories in the movie, much as they did in the original magazines. Faithful to their inspiration, Romero and King do not make a parody of the comic book stories, nor do they try to give them more substance than they had. The result is the same blend of which made the absurdity, camp and original stories so charming. With this in mind, the actors seem to be having fun with their limited roles. Several enjoyable performances are turned in by Leslie Nielsen as a cheerful murderer whose victims return and by Adrienne Barbeau (my god, she can act) as a nagging wife to Hal Holbrook, a sheepish English professor driven to dispose of her. King also makes an amusing appearance as a hick who finds a meteor which grows on him. There's no Academy Award material here, but EG. Marshall should get a medal for bravery in his role as a deliriously evil missionaire who has a real problem with roaches. Creepshow, like any horror movie, is something for which you've got to be in the right mood. Yet what sets this horror er omnibus apart from the fare so popular at the theatres these days is its infectious good nature. The producers seem to be laughing at their handiwork and they expect the audience to laugh, albeit uneasily, along with them. Creepshow is a small picture whose only goal is that a good time be had by all. In this it is an enjoyable, if forgettable, success. F M L I Classes feed foreign film famine by Ken Prather and Sam Dunn Chronicle staff -- The recent closing of the Elks Theatre deprived Salt Lake s, of a good foreign and art film source. The Blue Mouse, the Utah Media Center, and the public libraries attempt to cater to the but unfortunately some important movie-goer- art-orient- works Academy Award winners, no less never come to Utah. However, the University's departments of theatre, languages, and comparative literature plan to fill the cultural void by bringing in many of those hard-to-g- et foreign and an films. almost-bclievabili- ty . . - mad-slash- SAC sets French film An apartment building in a Paris working class neighborhood, a murder and a love triangle are all elements that Jacques Prevert and Marcel Came have incorporated in the 1953 French film, L Jour Se Leve, which will be shown by the Language Student Advisory Committee Thursday and Friday evening at 7:30 in the English lounge at OSH. Le Jour Se Leve is an artistic rendering of a suspenseful psychological drama. After having committed a murder, Francois barricades himself in his apartment to a spend sleepless night evoking an avalanche of memories. old Soviet Film and Society The Russians have a long and distinguished film tradition stemming from early Soviet patronage, and exploitation of the celluloid art. Lenin considered the cinema the most important art form for good 'reason: The "truth" or "realism" of a photograph is hard to deny, film (a series of photographs) can be readily manipulated for ideological purposes, and the images and philosophical content of film are easily understood by the masses. Hence, the Soviet powers-that-subordinated the cinema to the purposes of the state in demanding "socialist realism," an art form which Leonid Brezhnev said "helps the Party and shapes the world view." be Surprisingly, some of the greatest works of the cinema have emerged from "socialist realism." Soviet film has triumphed without as well as within the Communist world. Indeed, Russians are much more film-goithan Americans. (Ticket are which under $1, prices usually may explain part of their zeal for movies.) In addition, government strictures on film style and content have relaxed recently, allowing some directors to move works of the beyond rigid "socialist realism," to Western-tinge- d Moscow in Does Tears a Not Believe and of stature style factory-gi- rl romance with similarities to An Unmarried Woman which examines women's and other social problems without total subservience to official party dogma Moscow Does Not Believe in Tears received the Oscar for the best foreign film of Utah premieres of Moscow Does Not Believe in Tears, and two excellent pieces, Slave of Love (1978) and Oblomov (1981). Following the screening of Moscow Does Not Believe in Tears, a Women's Resource panel discussion will be female three recent held, featuring emigres and an American feminist who has lived in the Soviet Union. The course also includes Soviet classics Alexander Nevsky, Ballad of a Soldier and Cranes are Flying. Center-sponsor- ed Russian professors Kevin McKenna and Gene Fitzgerald will examine film as a metaphor for a changing Soviet society. Professor Thomas Sobchak of the Department of Professor Thomas Sobchak of the Department of Comparative Literature will lecture on the artistic and technical aspects of the films. Course materials are suited for students of all interests, and all films are open, free of charge, to the general public. For more information, contact Dr. Kevin McKenna of the 9. Department of Languages, OSH 153, or phone 581-437- The Italian Cinema Spring quarter, the Department of Languages will offer a course on Italian film. The course examines changes in Italian society since Mussolini, as reflected in the works of Fellini, Pasolini and Bertolucci. For further information, contact Dr. Eugenio N. Frongia, director of Italian Studies, in OSH 154 A, 8. or call 581-581- The Best of Recent World Cinema 1981. Much of current foreign cinema never makes it to Salt Lake, but if professors William Siska and Thomas Sobchak have their way, that will change. In collaboration with the Utah Media Center, Siska and Sobchak will direct a University Film Studies program which will present a series of recent foreign films that would otherwise miss Utah entirely. One film will be shown on the second Thursday of each month, beginning in January as follows: Lola (Fassbinder) Jan. 13; Tragedy of a Ridiculous Man (Bertolucci) Feb. 10; Confidence (Szabo) March 10; Smash Palace (Roger Donaldson) April 14; Circle of Deceit (Schlondorff) May 12; The Nest (Armenau) June 9. The Department of Languages, together with the University Comparative Literature Program, will offer a course titled "Soviet Film and Society" winter quarter, which includes the Cost for all six films is a reasonable $18, and all films will be screened in OSH Auditorium. Call the Utah Media Center at for further details. ng 328-42- 01 CHICANO STUDIES and ENGLISH DEPARTMENT PRESENT Novelist Author of Bless Me, Ultima f Three French Hens (20 " -- 60 Off) Where can you buy three French hens for your true love before Christmas at prices? after-Christm- as Try our "Twelve Days of Christmas" Sale, December 8th-23r- d. You'll find 20-6- 0 off and more on almost everything in the store! Look for our December 8th Chronicle ad for more details. - THURSDAY, DECEMBER 2, 1982 7:00 P.M. to 9:00 P.M. Reading and Reception CARLSON HALL LOUNGE ALSO FRIDAY, DECEMBER 3, 1982 12 NOON Presentation ROOM 215 OSH |
