Friday, April8 1933
Daily Ncbraskan
Newman, Lange, 'Gandhi'
seen as the 'best' choices
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Entertainment
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By Stcc Abariotes
and Jeff Goodwin
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This coming Monday night, the 1983
Academy Awards will be presented,
together with all the bias, political and
otherwise, that are so much a part of
this glamorous spectacle. In the end, who
indeed receives the Oscars?
Despite much of the rumored sancti
mony associated with chosing the winners
in the most prestigious of Hollywood
ceremonies, we feel obligated to hand
down some predictions of our own. These
predictions should provide potential
viewers with a feeling for what is taking
place during this glamorous, glittery
rite, this night of sparkling nights, .this
West Coast stellar observance complete
with lots of tinsel, lavish lovers in limou
sines lining the boulevard, movie stars
waiting to step before the spotlights and
the inevitable recognition by thousands
in the crowd, with millions more watching
on TV. Icons dressed in black tux, low
cuts, high slits and celluloid celebration
with flaming seduction on the twinkling
mezzanine.
This could very well be the year of the
maverick. Look for Paul Newman and
Jessica Lance to swipe the Oscars for
Best Actor' and Actress. Meryl Strccp
is the favorite, however Lange's port
rayal of Frances Farmer was astonish
ingly close to home and both Lange and
Hollywood were obliged to take a good
look into the mirror and the past.
Because of complicated underlying
reasons, Dustin Hoffman (Tootsie) and
Ben Kingsley (Gandhi) should cancel
each other out, allowing Newman to
receive the award for Best Actor. His
role as the bungling lawyer in "The Ver
dict" went directly opposite to his screen
persona. He should get the Oscar for taking
chances with his image, his age (57), and
for never having won before (though he
previously has oeen nominated). In the
end, it is between Newman and Kingsley.
Watch for "Gandhi" or "E.T." to
receive the Oscar for Best Picture. Both
films touched millions of people and made
millions as well. The message of "Gandhi"
should prevail, though "Tootsie" and
"E.T.," as films, carry as much weight.
With any luck, "E.T." will not win.
John Uthgow ("The World Accord
ing to Garp'v) and Lou Cosset ("An
Officer and a Gentleman") will fight it
out for Best Supporting Actor. Kim
Stanley ("Frances") and Glenn Close ("The
World According to Garp") are the Iront
runners for Best Supporting Actress.
Whichever film receives Best Picture,
Best Director should follow. Best original
Screenplay will go to either Larry Gelbart
and Murray Schisgal ("Tootsie") or John
Biiley ("Gandhi"). Jost Vacano ("Das
Boot") should get the award for Best
Cinematography, although it could very
well go to Billy Williams and Ronnie
Taylor ("Gandhi"). Both films were
well photographed, despite the crowd
control problems of '"Gandhi" and the
cramped spaces of "Das Boot." The
Oscar for Best Editing will most likely
be awarded to Hannes Nikel for "Das
Boot," but with some competition front
Peter Zinner, who cut "An Officer And
A Gentleman."
These arc our predictions on some of
the most popular categories, all of the
others being no less important. Some
people think that the Academy Awards
are meaningless. Others argue that they
are representative of the highest creative
and artistic merit for filmmaking. In many
instances, there is competition between
performances and films that excel in dif
ferent ways. At any, rate, predicting the
Academy Awards this year proves to be
no less difficult.
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'Tootsie," "E.T." photos courtesy of the Stuart Theater, Kingsley courtesy ot Columbia Pictures and Newman courtes of 20th Century Kox.
Oscar Nominee: From left, Ben Kingsley stars in "Gandhi"; from "E.T.," Justin Henry as Elliot; Jessica Lange in a scene from "Tootsie"-and Paul Newman from
'The Verdict." . '
journey excites large crowd
with elaborate lighting, video
By Randy Wymore
A near sell-out crowd of approxi
mately 14,000 sat through a pulsating
two-hour performance by the five-man
San Francisco band Journey Wednes
day night at the Bob Devaney Sports
Center.
The high-tech group used a spacious
stage, elaborate lighting and a closed
circuit video system to bring the crowd
to a thunderous frenzy by the time the
show was over.
When the lights went down at 8 30
pjn., the video screen above the stage
showed the doorway of the hall leading
from the band's dressing room and the
band members running toward the
stage. The video system added a definite
dramatic effect to the show, giving the
audience the feeling of watching the
show on TV and being there live at the
same time. Shots of Neal Schon's guitar
solos, Jonathan Cain's keyboarding,
Steve Smith's drumming, Ross Vallory's
bass work and Steve Perry's singing gave
the crowd the chance to witness the
intricacies of a concert that are usually
viewed by people in the front rows.
The evening's set included 20 songs
- almost everything that Journey has
made even remotely popular along
with megahits like "Who's Crying
Now," "Don't Stop Believing" and
"Stone In Love" from the Escape
album. And, of course, almost
everything from their newest album,
Frontiers.
Solos by Cain, Schon and Smith as
well as Perry's energetic and piercing
vocals were somewhat marred by a
slightly muddy sound system.
By the time the show had gone
full circle - from the opener, "Chain
Reaction" to "Don't Fight It" at the end
of the second encore - the crowd had
witnessed one of the most elaborately
staged music shows ever.
The opening act for Journey was,
in its own right, just as good as the
headliners.
Bryan Adams and his band did more
than their share of warming up the
audience with a hot 45 -minute set.
When I reviewed the latest Adams
album - Cuts Like A Knife - I closed
with skepticism as to how his music
would come across live. It should only
be. a matter of time before Adams
himself is headlining shows.
All in all, the evening was well worth
the $13 50 price, for tickets, and
justified' tolerating the over-zealous
Sports Complex ushers and the small
group of people outside wielding
signs warning that the time to repent
is now, and passing out religious pro
paganda to those waiting to get through
the doors.
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