King Diamond disappoints
with songs of Inquisition
By Michael Deeds
Senior Editor
King Diamond
“The Eye”
Roadracer Records
For some odd reason, King Dia
mond always has surrounded himself
with good musicians. Why such art
ists are attracted to blatantly Satanic/
conceptual/pseudo-gothic garble
remains a mystery.
The King’s First successful band,
Mercy ful Fate, was probably the best
songwise. However, his solo releases
have managed to carve competent
musical visions, too.
“The Eye,” hyped by Roadracer as
the King’s most biting release yet
because of its subject matter, is really
nothing new from the master of opera
metal.
A dark, laughable trip into the
macabre, “The Eye” features good
old King screaming in his incessant
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falsetto, growling in a real scary bari
tone and cranking up those echo knobs
on the mixing board.
“The Eye” is a concept album,
based on stories of the French Inqui
sition. THIS is why the album is so
dangerous, according to Roadracer,
because all of the terrible lyrics are
based on reality and Christianity —
making them irrefutable by PMRC
types.
The stars of the songs are intro
duced on the album sleeve with die
phrase, “All of the following charac
ters are real and from that period of
time.”
The creepy cast includes Nicholas
de la Reymie, “Head Investigator of
the Christian Burning Court,” Made
leine Bavent, an “18-year old French
nun who entered the convent at Louvi
ers in 1625, after having been se
duced by a priest,” and Father Mathu
rin Picard, “Chaplain of the convent
at Louviers from 1628 to his death in
1642. Among his sick insane deeds,
he managed to rape Madeleine Bav
ent.”
[Now we re an scarcu. /\nu mici
King Diamond has established his
historical competence with this list
ing, he proceeds to sing. Here your
fear grows — fear that you may bust
out laughing. If you haven’t heard
him yet, the LP may be worth the buy
just to hear such idiotic screeches.
Guitarist Andy La Rocque plays
the standard Diamond rhythms, then
flies over them with standard metal
method solos. And Pete Blakk does
his guitar stuff respectably.
The two combine on “Insanity,” a
pleasant little instrumental that has
nothing to do with its title. But musi
cally, “The Eye” is disappointing.
Both guitarists are excellent musi
cians; these tunes just seem a little
uninspired. “Eye of the Witch” and
“Bum” are usual King killers, while
“Two Little Girls,” features nice or
chestral-style arranging while the
Diamond sings in his silly falsetto
again.
But overall, as happens in many a
concept album, the songs melt to
gether not only lyrically, but musi
cally. The keyboards and heavily
echoed singing get old real quick,
though King Diamond’s raw vocals
certainly wouldn’t be a pleasurable
alternative. Again, the band may appeal
to people into moody, gothic metal.
But from a musical standpoint, these
vocals combined with such over
dramatic lyrics ruin anything positive
here.
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Clint Eastwood poses in front of a bull elephant in “White Hunter, Black Heart.”
White
Continued from Page 9
force to be reckoned with, but his
fixation of shooting an elephant is
not in his area of strength, fie ironi
cally refers to this act as a sin, and
in his convoluted logic, it is some
thing he absolutely must do. His
aggressive nature mixed with his
tremendous drive leads him to
believe any situation expendable,
including the film project, until he
gets his way.
Pete Verill becomes a victim of
Wilson’s obsessions while trying
to finish the revisions of the script
prior to the arrival of the actors and
the film crew. Wilson taiks of
simplicity and honesty in writing;
he makes references to Ernest
Hemingway’s life and writing style,
and how an artist’s life is important
to his work. He is subtly demand
ing of Verill, while focusing his
own ambitions on the safari.
Verill confronts Wilson at one
point, claiming Wilson to be “ei
ther crazy or the most egocentric
son-of-a-bitch I know.”
The filmmaker is not completely
ruthless and heartless, though. He
tends to side-step everyone and
everything during the course of his
own ambitions, yet his strong moral
convictions often outweigh his
immediate goals. While having
dinner with Verill and another
woman, Wilson confronts the
woman who makes racist remarks
concerning Jews and the Holocaust.
Vcrill is a Jew and he warns her,
with a smile, yet she refuses to
believe him and continues. Wilson
interrupts her and tells her a story
of a similar situation with a woman
who made similar remarks. He tells
hei that the other woman was as
beautiful as she, yet when she fin
ished her remarks about Jews, he
told her that she was “the ugliest
goddamn bitch I’veeverseen. And
you — well, you know the rest.”
Verill later tells Wilson, concern
ing the woman: “Sorry, John, I
know you wanted to get laid.”
Wilson replys, “That’s all right,
Pete, you can’t help it if you’re a
dike.”
Later Wilson confronts an Eng
lish employee of the film company
who is beating a black servant for
spilling a drink on him. Wilson
takes the man outside and attempts
to show him what it’s like to be in
that situation, and ends up being
badly beaten himself. Here, Wilson
is shown to be undermined by the
indestructible nature he believes
he has. It is a!! ? part of his obses
sion and the turn of events that he
cannot and will not control as he
nears his chance to shoot his ele
phant.
“White Hunter, Black Heart,”
directed and produced by Eastwood,
was filmed on location in Zim
babwe, Africa and boasts beautiful
cinematography as well as impres
sive performances by Fahey and
Eastwood. Unlike Eastwood’s
tough-guy image as an actor, his
character in the film has a flippant
and charming air about him. He’s a
charismatic and volatile person
whose interpretation by Eastwood
is significant and impressive.
Wilson is based loosely on
filmmaker Huston, with writer Vi
crtcl placing himself and his expe
riences directly into the character
of Pete Verill. Yet “White Hunter”
is not simply about the filming of
“The African Queen.” It is not about
Humphrey Bogart and Katherine
Hepburn — the actors and actresses
in the film. It’s about a film direc
tor with a powerful obsession that
alienated those who worked with
him, and the deadly cost of that
obsession.
“White Hunter” is an original
screenplay that has remained dor
mant for 30 years until Eastwood
acquired it and moved it quickly
into production. As unlikely as it
might seem, the same man who is
famous for his brutal characters
shows a delicate and highly inter
pretive affection as director of the
film and as its lead character. His
portrayal of Wilson is impressive
and believable. Eastwood proves
his ability outside the realm of
violent cop movies, and impresses
with his directing abilities.
“White Hunter, Black Heart” is
showing at the Stuart Theatre, 13th
and P streets.
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