Nicholson, cast impeccable in ‘Witches’
By Kevin Cowan
*5taff Reporter
"So. Women. Whaddyathink
— a mistake?"
—Jack Nicholson
“The Witches of Eastwick ”
A chauvinistic film that glorifies
the female body and soul. Sound
redundant? I would gamble that
there are not many actors that could
play the role that Jack Nicholson
played in the film, and still come off
as not being a complete misogynist.
Movie Review
Set in an obscure eastern sea
board niche, “The Witches of East
wick” sheds a new light on how and
why a homogenous village could
turn against those who don’t abide
by the mores of the staunch east
coast.
Cher, Michelle Pfiefer and Susan
Sarandon, star opposite Jack Nichol
son, as three women who, at one
point, were married. Deprived of
their husbands by the “three D’s”
(Death, Desertion and Divorce) the
i
trio evolves to rely on each other for
vital social support. The film takes
about 20 minutes to develop the
characters — the slowest part of
the movie. Then, on a rainy Thursday,
they sit, vodka martinis in hand,
and cackle and coryure about their
ideal male. Enter Malafecio (Jack
Nicholson). A quick tangent: Nichol
son does not play the devil proper as
the previews would lead you to
believe. Malafecio is a demon war
lock of sorts, not the antagonistic
almighty. Anyway, on with the in
cantation.
Upon the arrival of Malafecio, the
film takes off at an incredible pace.
Nicholson meets and seduces the
women, saying the words that each
long to hear and forms a family of, to
use the term loosely, witches. No
murmuring chants or devilish cere
monies, Malafecio isjust there all of
a sudden.
The three, now a full fledged
family and having all sorts of super
natural fun, take on a dark glow of
fulfillment.
One woman in the town, the
owner of the newspaper, is for rea
y
sons unknown, hypersensitive to
the "evil” that is being performed in
the iconic “old mansion on the
hill.” Thus begin the rumors.
The story is unique, though it’s
not what really makes the film a
spectacular work. The starring per
formers as well put on an impecable
performance, but that’s a given;
they’re all time-proven. No, the
things that make this film so tan
tilizing are the intricacies that dir
ector George Miller arranges on the
outskirts of the narrative: the
dialogue of the townspeople and the
sweeping, ethereal shot of this tiny
town that implys “pending doom.”
Though most important is Miller’s
representation of the “witches.” In
a larger city these three could pop
up in any suburban area.
And the plot. For those who are
tired of the never ending doom of
good and evil, where good always
wins, then the change of the basic
plot in the film will be a welcome
relief. I’m not going to say who wins,
but it’s not really “the good guys.”
"The Witches of Eastwick” is
showing at the Cooper Lincoln
Theater.
-■ I
Vega's second avoids sophomore jinx,
ranks her in Waits, Reed pantheon
By Chris McCubbin
Staff Reporter
Suzanne Vega, “Solitude Stand
ing” (A&M).
Bob Dylan, Leonard Cohen, Tom
Waits, Van Morrison, Lou Reed. In the
rock era only a handful of singer/song
writers stand out for their ability to
combine melodic and poetic genius
into tough tender and true songs that
will remain and be admired long after
the hits, and even the “classics,” have
faded away to cultural footnotes.
Record Review
With her second album, “Solitude
Standing,” Suzanne Vega has cemented
her place in this pantheon.
Side one and side two of “Solitude
Standing” split thematically.
Side one covers territory already
well-traveled by artists like Reed and
Waits. The material is strong enough to
bear the comparison but it lacks the
feeling of completely fresh idiosyncrasy
that Vega s best work always exudes.
Especially effective moments on side
one include “Luka,” the album’s first
single, a quietly harrowing portrait of
domestic violence and the two-part
“Ironbound/Fancy Poultry Parts” which
begins as an exquisitely detailed word
picture of the inner city and turns into
a funny and poignant metaphor for city
life.
On side two Vega turns her vision
inward, and it is here that she reaches
and surpasses the beauties and mean
ings of her first album.
Every song on side two vibrates with
level after level of meaning, by turns
haunting and hauntingly beautiful.
The mysterious title track deals with
the search for meaning in a life lived
alone. Also outstanding on this side is
“Gypsy,” an exquisitely simple love
song and one of Vega’s most authentic
folk tunes.
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