Monday, October 18, 1982
i
Daily Nebraskan
Page 1 1
Diana Ross sparkles
in a superlative show
By Jeff Goodwin
A lot of superlatives come to mind in trying to describe
the Diana Ross concert Friday nightjat the Bob Devaney
Sports Center.
"Great," "terrific," "wonderful," and "excellent" are
just a few, but the truth is no word in the English
language correctly describes how good it was.
Hie concert began a half hour late, but no one seemed
to mind as Ross gave the crowd almost two hours of
scintillating entertainment.
She started the show with "Ain't No Mountain High
Enough" and the show soared from that point on.
Sensually clad in a sequined evening dress, she dis
played her versatility by performing a number of songs.
ranging from her current single, "I Want Muscles," (which
Concert Review
enticed a couple of men out of the audience to get up on
stage and show their mucles) to several hits from her
Supreme days.
Ross added to the crowd's enthusiam by twice going
into the audience, once to get members of the audience
to sing with her on "Reach Out and Touch," and another '
time to get some to dance.
They weren't bad, either, especially the woman in the
top hat and tails. (People were spiffed up at this concert,
folks.)
The show had a certain degree of sexuality, most
notably in "I Want Muscles," a blatantly sexist song. But
that's probably inevitable, given the beauty of Ross. Any
way, no one seemed to mind.
One of the crowd's favorite parts of the show was
Ross' medley of Supremes hits, including "Reflections"
"Baby Love" and "Stop in the Name of Love."
After playing for nearly an hour, Ross concluded the
first set with "Ain't Nobody's Business," from the
movie "Lady Sings the fJlues."
The second set of the evening was highlighted by
funky versions of "Upside Down" and "Why Do Fools
Fall In Love?" IW wasn't up to Elvis standards, but that
shouldn't be held against her.
She ended the program with "Ain't No Mountain High
Enough" and the theme from the movie "Mahogany."
Hie crowd brought her back for two encores, the last
being "Endless Love."
The concert was a professional operation all the way
around from the light show to the band to the star
performer.
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Film studies sisters9 affection, division
By Eric Peterson
The new German film
directed by Margarethe Von
Trotta is a lovely; reflec
tive look at what it means
to be Martha in the old
story. You know the one,
who very much resembles -physically
as well as men
tally - the sister she needed
and drove to suicide. Maria
begins the process all, over
again, paying for the new
woman's schooling, pushing
her to make something of
?) Movie
ffi-5-3-- Review
Maria is left alone again,
and you begin to feel her
desperation. She has drawn
on two sisters for the
feeling which she couldn't
herself risk, It's then that
Maria takers out Anna's
diary to look over again,
then writes - as the ca
mera leads us into a forest
Anna lingered in - that
she has wanted to go
there. i want to be both
Maria and Anna."
I really loved the ending.
It is much too simple to
say that Maria ha'd been
simply a horrible, frigid
person before then. She
mostly has been - but
you can't indulge in either
extreme alone, as Ann did
in her aesthetic death or
Maria does in her dead
life. The balance of happi
ness insists on both reason
and feeling, on being both
Maria and Anna.
where Mary takes in the
words of Christ while Mar
tha resentfully sets the
table for supper. In the
film "The Sisters, or The
Balance of Happiness," the
third in the University Pro
gram Council Foreign Film
Series', a similar division
occurs between sisters. The
film shows tonight at 7
and 9 p.m. at Sheldon
Film Theater.
There is a wonderful
scene where the sisters are
little girls are put on lip
stick and giggle amid an
endless play of mirrors: For
sister Anna, it remains a
flashback. Her present rea
lity is a living fear, an
increasing inability to live
up to what sister Maria
wants.
Maria, never able to
warm to sister, mother or
lover, goes for comfort to
her pristine office building.
There she-gets a roommate,
herself. But the roommate
finds the diary in which
Anna wrote her last words
of fear and hate, and she
comprehends the kind of
bell jar she's come under.
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