International animated works now displayed
TOURNEE from Page 10
six-second variations on the common
leader configuration. In this limited
formal, the animators unleash bizarre
ingenuity.
The film won a Grand Prize at the
Cannes Film Festival.
The most anticipated film of the
Tournee is Italian Bruno Bo/.zctto’s
“Baeus.” Bozzctto’s film “Allegro
non Troppo” is one of the master
pieces of the medium, a “Fantasia”
parody that nearly surpasses that
Disney classic for its m ixture of music
and animation. “Baeus” is a bitter
sweet love story that just happens to
be about an insect. It is a charming
successor to “Allegro.”
There is enough variety of tone,
texture and mood in the Tournee to
keep every cel of the 95-minute pro
gram hypnotic and fascinating. The
simple comedy of George Carlin’s
“DrawingOn My Mind” segues beau
tifully into the haunting “folk” talc
from New Zealand, “The Frog, the
Dog and the Devil.” There is a com
mon spirit of imagination and artistic
eagerness that make one film How
perfectly into the next.
The most surprising entry in the
Tournee is the computer animation in
the films “Red’s Dream” and “Luxo
Jr.” Both films arc made by the Pixar
Company, which was formerly part ol
the Lucasfilm empire. Normally the
problem with computer art and ani
mation has been a certain lifeless
quality. The computer may vivify an
image, but often that image seems to
be a zombie. Not so with these two
films, where the images are poignant
and funny, capable of eliciting more
than a technological catharsis.
The Tournee runs from tonight
until Sunday with shows at 7 and 9
p.m.
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^ Courtesy of Expanded Entertainment
A scene from ‘The Frog, The Dog and The Devil,’ now playing at the Sheldon Film Theatre.
Cause continues on new camper lr
REVIEW BOARD from Page 11
Courtesy RCA Records
with its beautifully discordantchorus,
and the album’s one dyed in the wool
masterstroke, “Get Started, Start a
Fire” arc spit out with true Parker
vitriole. They may be hewn from
standard riffs but their potency is
.. ~ .. ■ ■■■■■■■■
undeniable.
The problem with “Mona Lisa’s
Sister” is its dreadfully weak mid
section. His lyric-writing on songs
like “The Girl Isn’t Ready .’’“I’m Just
Your Man ’and“Success”is woefully
weak. Parker’s band, including pub
rock legend Brinsley Schwartz on
guitar, plays every song as if it had
bite, but its a charade.
Parker would like to gel started and
“Mona Lisa’s Sister” is a great warm
up exercise, but he just can’t get past
the calisthenics and get to the main
event. Before he can convince us he’s
got a fire in him, he needs to convince
himself.
— Charles Lieurance
Camper Van Beethoven “Our Be
loved Revolutionary Sweetheart”
Virgin Records
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There arc bands, there arc musi
cians, there are singers. And then
there’s Camper Van Beethoven.
“Revolutionary Sweetheart" is the
Camper’s fifth album, and now
they’ve narrowed the unit down to a
constant five members (as opposed to
the dozens of loosely connected, in
terweaving communes of hippies that
walked in and out of sessions for the
first three albums).
While one may bemoan the inevi
table loss of schizoid spontaneity and
avani-cxpcnmcntalism that might
bring, the band’s resulting cohesion
has brought the formidable creative
talents of David Lowery and Jonathon
Segal into clearer focus and greater
prominence.
X/rvalict/liiriz'it’l/miilaricl I /ui/i***V
and guitarist/anything that makes
strange sounds-ist Segal were always
the driving forces behind the band,
but now they seem to have taken
charge a bit more openly. Whereas
before Camper Van Beethoven was
openly and outright “weird,” now it’s
more of a subtle weirdness, a la latc
’70s Talking Heads.
“Eye of Fatima, part 1,” the open
ing track, is vintage Camper. With all
the hit-making power and urgency of
the Smithereens’ best singles and told
with Lowery’s typical deadpan,
'See REVIEW BOARD on 13
