Wednesday, September 22, 1982
Daily Nebraskan
Page 9
"Cutter's Way" . .
Continued from Page 8
This is the kind of dialogue that seems to have been
chipped out of ice: the lines ring so true we swear we've
heard them before. They have the feeling of permanence
that Bogey s lines used to have. They are nostalgic in their
emotion without falling over the edge.
When Cutter faces up to the situation that develops,
he curbs his characteristically high level of drinking
When Bone asks why, he says, "It's the everyday routine
that drives me to drink. Tragedy I take straight." This
really is great stuff, folks.
As I said, there are assumptions to be made. The
murder victim's sister jumps into the situation a bit
too cheerfully and then jumps right back out again.
Jack Nitzsche's music is very appropriate, using a
zither to catch the bittersweet character of the lives being
portrayed. Jeffrey Alan Fiskin's screenplay, adapted from
Newton Thronburg's novel, is full of clean, cutting lines,
The Wall9. . .
Continued from Page 8
"The Wall" is the most feeling, com
pelling and moving expression of post-war-come-rock-star
gloom ever presented. It's
bloody, and it might be depressing, but
somehow the human spirit lives on. From
one brick to another, I'll leave with some
lyrics from "The Wall":
of humor and pathos.
But within these shortcomings is also the beauty that
characterizes an art object such as this one. It's a micro
cosm that works according to its own laws. If it can be
accepted on its own terms, it can be appreciated and
admired.
Central to this flawed microcosm is Alex Cutter,
waging his own war against integrity and his awareness
of his place in the spectrum of things. He can't play
the pitiful war vet, and he's not very good at being the
bite-the-bullet type, either.
Speaking to Bone about the war, Cutter plots the
progression of the mind and maps out the levels on
which the film works. He says they move from "I hate
the United States of America" to 'There is no God"
to "I'm hungry," from ideology to spirit to pure,
gut feeling. It comes down to one man, perhaps drowning
in his own symbolism, fighting one war, paying one price.
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