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TIME: Almanac 1995
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TIME Almanac 1995.iso
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1995-02-24
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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>