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About The daily Nebraskan. ([Lincoln, Neb.) 1901-current | View Entire Issue (June 11, 1990)
Arts & Entertainment Film offers originality, pleasing characters By Troy Falk Staff Reporter It’s clear from the opening credits that there’s something very original about “Cadillac Man.” The soundtrack opens with “(Opportunity Knocks But Once) Snatch it and Grab it,” sung by the witty '40s blues singer Julia Lee. A cemetery scene then comes into focus, with a funeral procession stalled by a hearse billow ing out black smoke. moyip - ^Preview i Joey O’Brien (Robin Williams) slops to help carry the casket to a truck and promises to cut the funeral director a deal on a new hearse. At the same lime he attempts to sell the widow a new car. Her response: “You arc a sleaze! You piece of scum!” And he is. O'Brien is a compulsive sales man and a compulsive womanizer. He can’t say “no” to a woman, because if he makes a woman happy, maybe later she will make him happy. O'Brien has some problems. He must sell 12 cars in one day or he will lose his job. His daughter has been hanging out with a boy all night. Hisex-wife (Pamela Reed) is demanding more money. His girlfriend Joy (Fran Drcschcr) is demanding a commitment from him, while his other girlfriend Lila (Lori Petty) wants him to spend more time w ith her. And if all that weren’t enough, the local loan shark wants his $20,(XX) loan paid off. Larry (Tim Robbins) has his own problems. He’s been laid off for a year and is convinced that his wife has been having an affair with one of the salesmen at the car lot. Naturally,O Briengctscaughl in the middle in his last chance to sell the 12 cars. Everything is going wrong at once for O’Brien, and just when it would seem that it can’t get worse, Larry enters the building. And what kind of entrance does he make? He comes in through the plate-glass window riding a motorcycle and firing an automatic weapon. Williams and Robbins work very well to gether. Don’t be surprised if they appear to gether in another movie. Their characters de velop an interesting, very funny relationship. At one point, with Robbins calling his adul terous wife a “lying bitch-whore,’’ Williams soothingly delivers the one-liner, “What kind of a foundation for a relationship is that?’’ Robbins’ character is not evil, he is just confused and depressed. His confusion is very evident from his entrance to the end of the movie. Writer Ken (Made in USA) Friedman and director Roger (No Way Out) Donaldson do a brilliant job of bringing the madness and insan ity of jealousy to light. “Cadillac Man,’’ playing at the Plaza 4 Theaters, 201 N. 12 St., and at the Edgewood .3 Theater, $6 and Hwy 2, is among the best movies out so far this summer. LA trio continues to impress critics, keeps from mainstream By John Payne Senior Hdttor Concrete Blonde “Bloodletting” I.R.S. Since emerging from the California side walks in 1986 with a remarkably good de but, Concrete Blonde has continued to impress critics, while somehow staying clear of mainstream notoriety. “Bloodletting” is the fourth release from the Los Angeles-based trio, and it is further proof that this band may just be the best-kept secret on the alternative circuit. _ _ Courtesy of I.R.S. With Iasi Summer’s “Free,” Concrete Blonde sounded very much as their name would suggest, tearing through the hard edged, milc-a-minutc pavement rock only touched upon wilh their ’86 single “Still in Hollywood.” “Bkxxileliing," though, seems to represent a return to the emotionally charged lyrics the band started out with. That may or may not have something to do with the restructuring of their member ship. The group is once again a trio, as they were when they debuted. Vocalist/song writer Johnette Napolitano is back on bass, with guitarist James Mankey and drummer Paul Thompson giving line backing. Napolitano, a songstress whose vocal strength brings to mind the likes of Chrissy Hyndc, has one of the better all-purpose voices around. Appeal like hers undoubt edly lies in an all too rare ability to deliver lyrics that create emotional landscapes. Side two’s “Tomorrow, Wendy,” throws in everything from Jesus to the Kennedys to tell an eerie, hopeless talc of human apathy: See BLONDE on 9 t_^ IHHill_— - 1—1 ■' w ■■' .*..*■■■ ■ Courtesy of Orion Pictures Robin Williams as Joey O'Brien and Fran Drescher as Joy Munchak star in Cadillac Man. Chickasaw Mudd Puppies offer debut: Morrison LP released By John Payne Senior l-xlnor “The Best of Van Morrison” Van Morrison Mercury Records Mercury has just released a splendid collec tion from ’70s icon Van Mornson, whose musical interests range from Blues to Gospel. Included in the release arc his legendary “Gloria,” “Domino,” and “Brown-eyed Girl.” Although his best material already can be found on previous LPs like “Tupelo Honey” and “Moondance,” this compilation is a nice addition to any Morrison anthology. S andout tunes such as ‘And it Stoned Me” and his soulful treatment of Joe Williams’ “Baby Please Don’t Go” make this 20-track release a must lor any Morrison fan. “White Dirt” C hickasaw Mudd Puppies Polygram Records Michael Stipe co-produced the debut re lease from this Athens, Georgia, twosome who create a mostly enjoyable hodgepodge of sounds. Described by guitarist Ben Reynolds as ‘ ‘ stomp music,” the Puppies sometimes sound like the Rainmakers with more twang. “Lookout” and “Frogmorc’ ’ kick around a Bo Diddlcy beat, as Brant Slay keeps the stomp going with his reverberating vocals. The Puppies’ frenzied approach takes a little time to get used to, no question. But after a few listenings, this sampling of psychedelic porch music runs as smooth as a John Deer. Courtesy of Polygram Records
