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<text id=92TT0574>
<title>
Mar. 16, 1992: Critics' Voices
</title>
<history>
TIME--The Weekly Newsmagazine--1992
Mar. 16, 1992 Jay Leno
</history>
<article>
<source>Time Magazine</source>
<hdr>
CRITICS' VOICES, Page 10
</hdr><body>
<p>MOVIES
</p>
<p> HEAR MY SONG. This Anglo-Irish hit, about a nightclub
manager (Adrian Dunbar) who hopes to lure a retired Irish tenor
(played with well-calculated reserve by Ned Beatty) from exile
for one last concert, has for a time a jaunty, quirky air. But
director Peter Chelsom allows eccentricity to deteriorate into
cuteness.
</p>
<p> KAFKA. In his first film since sex, lies, and videotape,
Steven Soderbergh serves up a flimsy whodunit starring Kafka
(played by Jeremy Irons, the male Meryl). It's a film-school
movie, with devices lifted from The Third Man: vertiginous
staircases, malevolence glistening off the cobblestones, a
madman's drool caught in the Prague moonlight. As someone
murmurs, "All a bit much, don't you think?" Yes, pity--and not
nearly enough.
</p>
<p> THIS IS MY LIFE. "And my mother wants to be a stand-up
comic." In Nora Ephron's adorable yet unsentimental comedy,
Dottie Ingels (Julie Kavner) is an up-to-date Stella Dallas: an
Everymom whose greatest responsibility is to live for herself.
</p>
<p>MUSIC
</p>
<p> JOHN PIZZARELLI: ALL OF ME (Novus/RCA). Smooth,
well-groomed versions of standards, with Pizzarelli (son of
sure-handed jazz guitarist Bucky) providing some nimble chording
and easygoing vocals. He sings a little like a Sesame Street
Chet Baker, but his gently swinging ways still send tunes like
the title track out under full sail.
</p>
<p>BOOKS
</p>
<p> OUTERBRIDGE REACH by Robert Stone (Ticknor & Fields;
$21.95). Owen Browne, a fortyish American male, plunges into an
improbable sailboat race around the globe. The hero's wife and
a cynical documentary filmmaker observe Owen's quest with
different interests in mind. The conclusion is shattering and
not to be forgotten.
</p>
<p> RISING SUN by Michael Crichton (Knopf; $22). Japan-bashing
has never been more exquisitely calibrated for best-sellerdom.
There is a whodunit at the heart of this commercial thriller,
but the identity of the bad guys is never in any doubt. Lay out
some plastic for this novel before publishers' row becomes a
subsidiary of Sony.
</p>
<p> THE SHERIFF OF NOTTINGHAM by Richard Kluger (Viking; $23).
Robin Hood has only a minor role in this novel of 13th century
England. The Sheriff, maligned by history and Hollywood, is
shown to be a dutiful official confronting personal and moral
dilemmas and the origins of constitutional government. A real
parchment turner, richly imagined and beautifully written.
</p>
<p>TELEVISION
</p>
<p> THE DENNIS MILLER SHOW (syndicated, weeknights). The
former Saturday Night Live newscaster has made a surprisingly
smooth transition to the talk-show couch. Miller's esoteric
references (from Stephen Sondheim to Herman Melville) are
sometimes too self-conscious, but he's hip, intelligent and--a rarity on TV--authentically curious.
</p>
<p> NIGHTMARE CAFE (NBC, Fridays, 10 p.m. EST). At a
supernatural all-night diner, passersby relive key events from
their past. TV could certainly use a Twilight Zone for the '90s,
but this tacky, poorly acted horror-fantasy series from Wes
Craven (A Nightmare on Elm Street) will make no one forget Rod
Serling.
</p>
<p>THEATER
</p>
<p> SIGHT UNSEEN. A trendy artist revisits the woman who first
inspired him and tries to steal the sole memento of that time,
a portrait of her. Writer Donald Margulies weaves a glittering
web of satire about the art scene, the media, the exploitative
side of creativity and rueful romance. This off-Broadway succes
d'estime has vaulted to a commercial run.
</p>
<p> CONRACK. Novelist Pat Conroy (Prince of Tides) has helped
turn his autobiographical tale, The Water Is Wide, about a
young white teacher and rural black pupils, into a sweet Jon
Voight movie and, now, a poignant musical at Washington's Ford's
Theater.
</p>
<p>ETCETERA
</p>
<p> MERCE CUNNINGHAM DANCE COMPANY. Now 72, Cunningham has
been making modern choreography for 50 fiercely independent
years. His dance seasons at Manhattan's City Center Theater are
an aficionado's delight. This time, as usual, he mixes new
works (three of them) and welcome revivals (like the 1981
Channels/Inserts). March 17-29.
</p>
<p> THROUGH THE GARDEN GATE: THE WORLD OF BEATRIX POTTER,
Cleveland Museum of Natural History. Childhood would be a fallow
field without the carrot patches and flopsy bunnies of this
great storyteller. But Peter and his friends weren't Potter's
only creations, and the show also delves into a trove of her
naturalistic sketches. Kids will love the accompanying tea
parties and interactive video games. Through May 4.
</p>
<p>THIRD-DEGREE BYRNE
</p>
<p> What is the sound of one Head talking? Check out David
Byrne. Since leaving Talking Heads, the brainiest rock band of
the '80s, to go solo, Byrne has found his muse in the
unexpected: an album of Latin salsa (1989's Rei Momo) and a
mystical orchestral soundscape (last year's The Forest). Now
Byrne has transplanted his rock roots into fertile tropical
soil. In UH-OH (Luaka Bop), released last week, jangling
electric-guitar riffs alternate with piquant Caribbean rhythms,
often in the same song, while Byrne aims his quirky intelligence
at sex-change operations, domestic discord and even the Deity:
"Well God can turn the world around/ And he can push it in the
dirt/ And he can tear it all apart/ He don't care who'all gets
hurt/ Oh, something ain't right." The mix is intoxicating--a
dark elixir candy-coated with buoyant melodies and lyrics that
smile even as they bite. At once scathing and funny, swinging
and strange, UH-OH is Little Creatures with dancing feet.
</p>
<p>By TIME'S Reviewers. Compiled by Georgia Harbison.
</p>
</body></article>
</text>