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Insane Zappa freaks
isteners in latest LP
Review by
Tim Sindelar
Frank Zappa, the insane
genius that brought zaniness to
rock music five years ago,
finally had his movie, 200
Motels, released.
And the soundtrack
contains all the wierdness one
expects from this master of
insanity, who has continued to
freak-out listeners from that
first album, Freak-Out, to
appearances on the Dick Cavett
Show, can you imagine the
surprise of the typical
middle-aged insomniac tuning
in Cavett a little over a month
ago and seeing these incredible
wierdos belting out some crazy
song in German?
Along the way, Zappa has
produced some incredible
music in almost every genre
from raunchy rock and roll to
some inspired jazz.
Unfortunately, in the
soundtrack of 200 Motets,
Zappa has submerged his
musical creativity beneath a
heavy layer of absurdity.
200 Motels is a soundtrack,
and as such presents a unique
experience in listening. Perhaps
it is necessary to see a movie to
truly appreciate the
soundtrack.
However, in Uncle Meat, the
Mothers produced music that
was reputed to be a soundtrack
(the film was never finished)
and yet was a genuinely
enjoyable product itself. 200
Motels fails to reach this level.
The music is an extensive
collage of rock and roll,
standard Hollywood movie
music, nice rock jazz, and
comedy and pornographic
bits.
Zappa's wierd humor and
satire pervade the album-from
"This Town Is a Sealed Tuna
Fish Sandwich" to "Little
Green Scratchy Sweaters and
Courduory Ponce."
All this is not to say the
album is bad. It's definitely a
gas to listen to and represents
some of Zappa's best work at
blending various styles (while
stealing from everyone from
Eric Dolphy to Danny and the
Juniors). But don't expect the
sweet music that Zappa
produced on Uncle Meat and
Hot Rats.
Tough cop triumphs again
Review by
Bill Wallis
Of the eight or ten best films of 1971, at
least three are studies of violence and those
obsessed with criminal or personal violence.
In Straw Dogs. Sam Peckinpaugh creates an
intimate, threatening atmosphere of violence
in a small English village where murder and
rape really surprise no one. The French
Connection studies a vice squad's struggles
to prevent a huge heroin shipment to the
New York City underworld.
Dirty Harry, now showing at Cinema I, is
a spell-binding, hard-hitting, psycho-killer,
anti-establishment, cop story. It is the best
of its genre, a classic study of criminal
behavior and police methodology.
These three films make very dark and
pessimistic statements about the nature of
man and his modern society. Law
enforcement is the surface issue: What is the
law now? What kind of men become
criminals? And why? What kind of men
become cops? And why?
The director and actor's answers come on
various levels with varying intensity, but all
make one thing dear; man is a violent animal
who when civilization no longer requires
that he commit murder (or any other crime)
to survive in his home society (Southeast
Asia, for the young American Male, is
another matter), he kills and maims the
weak and innocent of his own race or
another.
The plot of Dirty Harry sounds
deceptively simple: a super-cop (Clint
Eastwood) and his assistant (Reni Santori)
track down a super-killer. (In actuality this
criminal, the famous Scorpio killer of San
Francisco, was never caught by police. He
has retired.) The trail is strewn with mangled
bodies of young girls, policemen and
children.
In actuality this film, with its excellent
camera work, good acting, succinct script,
effective music score and brilliant pacing
creates a clean, fast-moving and logically-built
tension which finally diminishes only with
the closing film credits.
As with all such films, problems of
dramatic logic are present: The killer only
kills "because he likes it."
As usual, modern law enforcement is seen
as inadequate, despite the help of modern
technology, to deal with the deranged
criminal mind other than on its own terms:
as warriors in the arena of the underworld,
struggling with primitive weapons to bash or
blow each other's brains out.
In Dirty Harry the various methods of
stalking the criminal are fully explored.
Scene after scene of thrilling suspense passes
quickly. A grade-school bus becomes a
terror-charged box of tension. At midnight a
great municipal stadium contains a perverted
gladiator event, but with no audience.
J
HAVE YOU GIVT.??
MUCH THOUGHT TO
WHAT YOU'LL
E DOltiG
tomorrow?
Finding a job
mat gives you
satisfaction isn't
easy today. Not in
a world as con
fusing and com
plex as ours.
But the Paul
ist finds a fre
quent joy in his
own way of life
and values that are
lasting.
As a Paulist be
may counsel a run
away youth, listen to
the problems of a
senior citizen, or
ganize a Home
Mass or conduct!
a forum on nar
cotics. Because Paulists have al
ways been pioneers in communi
cations, be may communicate
through the printed word or
through mass media snch as
radio, films or television.
Whatever tool be chooses, the
Paulist gets his "message
through.
Can you think of any other
life that will provide more inner
satisfaction for yon?
For snore information about
the Paulist priesthood write to:
Rev. Daal4 C. Campbell,
CL&P-Vocatioa Director. 1
YJL I q a ft n rsss to cr WV I
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8f ft
AS
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CORRECTION
2 Super Chefs
for 89
good through
Sunday, Jan. 30
Qcfep'
Cinema 1: "Dirty Harry" 1:18.
3:19. 5:20. 7:21.9:23
Cinema 2: "Carnal Knowledge"
1:00. 2:45. 4:30. 6:15. 8:00. 9:45
Cooper: "Ryan's Daughter" 8:00
Joyo: "Billy Jack" 7:00. 9:00
Nebraska: "Callow" and
"Chandler" 1 :00. 4:18. 7:39
State: "Song of th South" 1 :00.
3:05.5:10.7:15.9:20
Stuart: "Somttimti a Great
Notion" 1:33. 3:33. 5:33. 7:33,
9:33
Vanity: "Man in ttta wildernen."
1:24. 3:21. 5:18. 7:15. 9:14
Lgsvo tho
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iru 1
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PAGE 6
THE DAILY NEBRASKAN
FRIDAY, JANUARY 28, 1972
I