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page 12
daily nebraskan
Wednesday, march 9, 1977
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if
eroman 'Scenes'
beginning tonight
During the spring of 1973, Swedish television broad
cast a passionate and brilliantly performed study of mar
riage and interpersonal relationships written and directed
by Ingmar Bergman.
Entitled Scenes from a Marriage, the six successive
programs had a tremendous impact ou the entire popula
tion of Sweden. Nearly everything stood still on the Wed
nesday nights when the programs were broadcast and the
Swedish parliament even passed new divorce laws to
accommodate the changes brought about by the broad-'
casts.
The original six -part series will be shown on Nebraska
ETV beginning tonight at 9. The program will be seen
on five succeeding Wednesdays at 9 p jn.
Unlike the edited theatre versions, the- ETV version
will be as Bergman originally conceived the series for Swe
dish television.
Scenes from a Marriage stars Liv Ullmann and Erland
Josephson as a couple named Marianne and Johan, with
Bibi Andersson and Jan Malmsjo appearing as their
friends. The series takes place over a ten-year period in the
couple's lives.
Scenes from a Marriage is primarily a two-character
drama. The dialogue is compelling as it concentrates on
the soul-searching of two adults not quite certain what
went wrong with their marriage.
One by one, episode by episode, Bergman strips away
the layers of marital pretense, leading the viewer through
an engrossing progression on conflicts and celebrations
which encompass a wide range of emotions.
The film was honored with numerous awards including
Best Film, Best Actress (Ullmann), Best Screenplay and
Best Supporting Actress (Andersson).
Bergman is quoted as saying it took him three months
to film the piece, four months to write it, and a lifetime
to experience it.
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Photo courtesy of the Public 0.i-dci 2yil
The uncut version of Ingmar Bergman's Scenes from a Marriage stars Erland Josephson and Liv Ullmann as hus
band and wife.
arts and en
'When Gabriel borrows, consider it a compliment'
By Douglas R. Weil
Peter GabrielPeer Gabriel Atco SD 36-147
When Genesis released its 1974 two-record master
piece The Lamb Lies Down on Broadway, creative leader,
vocalist and showman Peter Gabriel and his Genesis asso
ciates finally realized the level of excellence that cults of
critics and fans had been predicting ever since the band's
debut album was released in 1969.
During the five-year struggle Genesis established, step-by-step,
a distinctive style in the cluttered and littered
domain of art rock music.
However, before the group had a chance to build on
the success of The Lamb Lies Down on Broadway and the
subsequent concert tour, Gabriel announced that he was
leaving Genesis to pursue his own individual music pro
jects. Though many saw Gabriel's parting as the death knell
for Genesis just as many looked eagerly for a sample of
Gabriel in a self-directed musical environment.
While for many the 18-month wait was a difficult time
(Gabriel claims he spent his time making babies), the
anxiety should be calmed by the genius and skill found on
the tracks of Gabriel's first individual effort, Peter Gabriel.
Teaming with producer Bob Ezrin (Alice Cooper and
Lou Reed) and musicians Robert Fripp (former King
Crimson guitarist), Larry Fast (Synergy and Nektar) and
a collection of former Alice Cooper sidemen, Gabriel
found a cohesive gathering of musical talent to provide
the backdrop for his debut work.
Gabriel and band deliver in grand style and leads one to
the rather astounding conclusion that Peter Gabriel
may be the first purely progressive album of the 1970s.
Although many will be tempted to level the charge that
Gabriel is a thief, he is an eclectic thief and one that's
smart enough not to hang around one neighborhood
too long.
Personally, I don't look at Gabriel as a thief, for sev
eral reasons. , Gabriel advances and brightens music
through his choice of material. 'Vhen he borrows, the re
sult is a compliment. . .
The album opens in an almost too predictable fashion
with "Moribund the Burgermeister" -and looked like
he was headed on a scavenger hunt through the art-rock
graveyard.
1 : H
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Photo courtesy of ATCO Records.
Peter Gabriel flavors some of his music with a touch
of rock and draws a parallel between rock and blues.
In the end "Moribund the Burgermeister" and espec
ially Gabriel's vocals on the "I . . . will . . . find . . . out"
chorus, stimulate images of a singing bearded gnome plod
ding through a misty musical forest, Shades of Ralph
Bashki and Walt Disney.
Gabriel moves on to the light-hearted, heavily vocal,
acoustic-based, "Solsbury Hill." Here the pace is set down
by what is surely one of the most masterfully used rhy
thm sections in music today. This all balances nicely as
Gabriel sets the scene:
''Oimbin' up on Solsbury Hill,
I could see the city light.
Wind was blowin', time stood still
Eagle flew out of the night.
He was something to observe, .."
Came in close I heard a voice,
Standing, stretching every nerve
Had to listen-had no choice. . '
could not believe the information,
Just have to trust my imagination,
My heart goin' boom, boom, boom,"
From here, Gabriel takes on a full-tilt, hot-blooded
rock V roll pace on the electric, "Modern Love".
While "Modern Love? gives Gabriel little maneuver
ing room, "Excuse Me" is specifically the style of music
suited to Gabriel's eccentric talents. Featuring a barber
shop harmony, perky xylophone backing and an unusual
tuba solo, Gabriel's "Excuse Me" stacks up neatly with
anything in vaudeville rock today.
Easily the album's classiest cut is the hot and nasty
blues tune Waiting for the Big One." Anchored by
polished piano, bass, drums and the classic blues lead
guitar, "Waiting for the Big One" is a Gabriel tribute to
the blues.
Though the song is predominately a big ballsv blues
excursion, Gabriel flavors the music with just an occasion
al touch of rock.
"Waiting for the Big One" segues nicely into "Down
the Dolce Vita", a song that once again makes several
minor shifts in style. Though difficult to categorize,
suffice it to say that it ranks as one of the album's better
moments.
On "Down the Dolce Vita" the London Symphony
Orchestra performs and for the first time in recent me
mory an orchestra appears to be tickled pink to play with
a rock artist. In fact, the band that backs Gabriel on the
album requested that they become permanent members of
Gabriel's backing squad. He agreed so the band will be
appearing with Gabriel on a VS. concert tour.
If you have a chance to see Gabriel in the coming
months, dont miss it. If his concerts hold up as well as
the material on the debut album, Gabriel and band could
be the musical show to provide the major thrills of 1977.
DBOSS Mh
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- MARCH 9
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