Page 12
Daily Nebraskan
Friday, September 20, 1985
Foreign
er outgrow,
When I was going to-high school,
only one thing was certain: Foreigner
would put out one album a year and
chalk up at least two hits from each
one.
Avoiding Foreigner in those days was
like avoiding acne. Those who managed
the feat would have to be from another
universe.
Chuck Lieurance
If we follow the roots of Foreigner
into the abyss of mid-1970s rock, we
find Spooky Tooth writhing in a mire of
gut-crunching hard rock bands with
silly pretentions to the blues from 1969
,Ji il l y y jj 3j3iOrinL
' 12th and 'P' St. 477-1234
to 1974. Exit lead Spooky-man Mick
Jones with strong ideas about what
could be done in the studio to make
hard rock radio-palatable.
After he assembled a couple of U.S.
and a couple of British journeymen
musicians, Jones masterminded For
eigner, which, on the surface in 1977,
looked like one-album wonders. None
of the musicians had had a habit of
sticking with their bands for long, and
the group lacked the sort of vivid group
Identity most listeners expect from
superstars.
The 1977 debut, "Foreigner," was
chock full of catchy hard rock. "Cold as
Ice," "Feels Like the First Time" and
"Long, Long Way From Home" filled up
three-eighths of the common AM radio
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SEPARATE ADMISSIONS $3 50 EACH
I D. REQ'D FOR (R) FILMS
NO PASSES-
hour that year, their reign threatened
only by acts like Boston and Kansas,
They were off to a good start.
But Foreigner didn't disappear. Until
my graduation in 1980, they churned
out the hits. "Hot Blooded," "Double
Vision," "Blue Morning, Blue Day" and
"Head Games" just would not let the
DJs forget Foreigner was out there,
whoever they were.
Foreigner didn't just make the same
hits over and over again like Rick
Springfield or Abba or Boston or so on.
The band actually seemed to grow up.
"Blue Morning, Blue Day" has an unde
niably killer hook that took more intui
tiveness to write than, say, "Hot
Blooded," and the production was
flawless.
As the years wore on, Foreigner
matured in leaps and bounds and their
popularity became more hard-earned.
The problem was that they no longer
wanted to appeal to pubesqents, but
their music was still marketed to that
audience.
"Urgent" jumped into adulthood with
gorgeous production, adventurous (for
a band of this ilk) songwriting and the
suddenly amazing vocals of Lou Gramm.
When I first heard "Waiting for a Girl
Like You," I was stunned to hear it was
Foreigner. Gramm has unbelieveable
range for a mainstream metal outfit
(see Journey for comparison), and his
voice slid with silky smoothness through
octaves that the previous singles hadn't
even hinted at.
Foreigner's latest release, "Agent
Provocateur" settles into the 1980s.
Foreigner even uses a "Louie Louie"
party riff on "Reaction to Action"
(their newest single) to give them
selves a little punk spunk. Flourishes
of synthesizer wash through the whole
album.
Foreigner conquered England as well
as the United States with "I Want to
Know What Love Is" last year, a hymn
like ballad that grows up painfully,
reflecting on all those things that
looked like love but weren't.
Foreigner will appear at the Omaha
Civic Auditorium on Sunday with, yes,
Joe Walsh. Foreigner will fly in right
after their performance in the Farm Aid
Concert in Champaign, 111. Farm Aid is
a benefit to aid the failing farm economy.
Tickets are $15 and still available
but are selling fast.
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'Certain Fury1 lacks humor,
offers abundance of garbage
By Tom Mockler
Staff Reporter
"Certain Fury," starring latum
O'Neill and Irene Cara, is trash.
This can be fairly well discerned
from the ad in the paper. We see two
girls on the run from the police, and
that is what we get, from beginning to
end. It is a pure action film, devoid of
any humor, humanity or enlightenment.
But I expected that.
Movie Review
At least, in this way, the film is
welcome relief you are never disap
pointed. You get exactly what you
expect.
The important thing in watching a
film like this is to go in and expect it to
be trash, and then when the film
outdoes itself, you can sit back and
laugh.
At the beginning of the film, O'Neill,
Cara and other "bad girls" are hauled
into a courtroom. Soon, the scene
erupts into violence. It turns out that a
couple of the girls have smuggled a
small arsenal of weapons into the room.
The judge, and just about everyone in
the room, gets blown away, rather
graphically.
The two stars then run out of the
courtroom and are chased by the police.
They end up in a storm sewer and are
nearly blown up by a sewer-gas explo
sion. After getting away, they take a cab to
a seamy section of town where O'Neill
has "connections." What town we
cannot tell parts were apparently
filmed in New York, Los Angeles and
Vancouver, Canada. I'm not making
this up.
O'Neill's boyfriend of sorts is a real
bad boy. His pad is some hellhole
turned pornographic film studio. Even
tually, he kicks out O'Neill and tries to
rape Cara.
Cara escapes and our two stars meet
up again for more thrills and chills. You
get the picture.
One of the more surprising develop
ments is the sudden appearance of
Peter Fonda, who also happens to know
O'Neill for some reason.
Fonda plays some sort of underworld
character, and turns in a decent per
formance. Irene Cara also turns in a
decent performance. And although
Tatum O'Neill is not really bad, I can't
say she has really matured as an
actress since she first appeared in
"Paper Moon" a decade ago.
This all brings up the inevitable
question: Why did such well-known
talents do this awful movie? The obvious
answer is money, and although I don't
have any facts at my fingertips, it is
safe to assume $500,000 a piece might
have done the trick.
I find it hard to believe any of them
thought this film would advance their
career. But it is also unlikely any of
them live in the poorhouse, either.
Still, it is interesting to see Tatum in
her first film since she started living
with John McEnroe.
Everyone lives happily ever after in
this film, too. Sort of.
Actually, an interesting thought
began to run through my mind halfway
into the movie: The film is a metaphor
for the decay of contemporary society.
We're treated to shots of bums roaming
the streets, garbage blowing down the
alley and abandoned shops, gas stations
and factories. All of these discarded
relics of recent civilization have been
replaced with human scavengers.
You begin to get the feeling that
society is decaying beneath your very
feet, and if you aren't careful, you
could fall through the cracks, just like
the film's stars.
In the end, even though the film
seemingly attempts nothing and in
that sense cannot be considered a
failure it is still a bad film that
cannot be recommended for anyone
except connoisseurs of kitsch.
Tryouts set for 'Charlotte's Web;'
November play dates scheduled
Auditions for "Charlotte's Web," the
first 1985-86 season production of
Theater Arts for Youth, the Lincoln
Community Playhouse Children's
Theatre, will be held at the Playhouse,
2500 S. 56th St. The closed auditions
will be Sept. 23 and Sept. 24 at 7 p.m.
"Charlotte's Web" is adapted by
Joseph Robinette from the E. B. White
book. It is the tale of a barnyard
friendship between Wilber, the "ter
rific" pig, and the magnificent spider,
Charlotte.
Director for the production is Lenette
Nelson Schwinn with scenic design by
Lee Schoonover and costume design by
Lynn Ridge.
A total of 20 roles are available for
the production. Three to seven adult
females, three to four adult males, one
to six girls between ages 9 and 18, two
to four boys between ages 9 and 18 and
three voice-only roles are needed.
'Special skills for the roles include
gymnastics and animal characteriza
tions. Scripts are available for 24-hour
check-out with a $3 refundable deposit.
(EVERY SUNDAY
)
2 Sof tshell
Tacos
for J.S9
not including tax
Only At
1 1 TO South St. & 831 N. 48th St.
Scripts can be checked out at the
Playhouse Box Office Monday through
Friday from 10 a.m. to 4 p.m. until Sept.
20.
Production dates for "Charlotte's
Web" are Nov. 8 and Nov. 14 to 17.
"Charlotte's Web" is produced with
arrangement by the Dramatic Publish
ing Company and with the support of
the Nebraska Arts Council. "
Festival presents
classic Westerns
Western films from the past 45 years
will be shown Saturday and Sunday and
Sept. 28 and 29. Western Film Roundup
'85 is a festival sponsored by Joslyh Art
Museum in Omaha in conjunction with
River City Roundup.
The schedule is:
i Saturday "Red River," 12:30
p.m.; "Stagecoach," 3:30 p.m.; "The
Grey Fox," 6 p.m.
Sunday "Destry Rides Again," 1
p.m.; "The Lone Ranger," 3:30 p.m.;
"Little Big Man," 6 p.m.
Sept 28 - "Rio Bravo," 12:30 p.m.;
"The Searchers," 3:30 p.m.; "The Good,
The Bad And The Ugly," 6 p.m.
Sept. 29 "Ride The High
Country," 1 p.m.; "Cattle Annie And
Little Britches," 3:30 p.m.; "Barbarosa,"
6 p.m.
Filmgoers displaying River City
Roundup buttons will be admitted free
to each show. Regular admission for
each show is $2 for adults and $ 1.50 for
Joslyn members, students, children
and senior citizens.
For. the 6 p.m. shows, patrons must
use Joslyn's north entrance.
