ctober 26, 1981 Page 9 Grand Funk returns: sh.ould they · have bothered? Marianne Faithful gets depressed

by Mary ~aiser Grand Funk/ Grand Funk Lins Marianne Faithfull/Dangerous Aquain­ We're An American Band, besides being a taD(~es great album, also featured, on the inside of Ever since she was given a chance to have its cover, a photograph of the band. Not just her lyrics recorded, Marianne Faithfull has any photograph, but one that depicted them laying around in a barn wearing, for the most part, sly grins, long hair, and small American flags on sticks. That's all. The inside sleeve of Grand Funk Lives also has a band portrait, but in this one they are clothed in the latest apparel for are all more wistfully contemplative rather terrorists, gathered around an imposing than angry. Both the lyrics and melodies black militant truck, just having shot a fresh show a tolerance not displayed before. round of white spray paint onto its side. In almost as if Faithfull has lost her former addition to this small transition, Grand aggressiveness. Funk has initiated a change in musical style "Eye Communication" opens with a phnto courtesy of Archaeology as well. quirky, tense beat that foreshadows and Portlcello wreck site. Out of a cargo which On this album, Grand Funk has evolved pulls together the feeling of tension built out only 27 remain. into BLAND Funk. Most of the tracks are of frustration that is the main undercurrent le older, traditional, more humanities­ mediocre. with only a few really appealing of the song. Faithfull sings of the impatience 'iented professors were taken aback by the moments. In place of the melodic guitar and brought on by not being able to express )Unger upstart's aggressive use of the latest organ webs they wove so skillfully in the past oneself without eye communication, caused ientific research methods and reliance on are a few slick tricks on guitar and fading­ in turn by the use of the telephone. The odern technology. They were alarmed by into-the-background keyboard arrange­ Marianne Falthfull problem here is complicated by a lover's e introduction of computers and modern ments. quarrel and its inevitable misunderstanding. lysics into a field that had heretofore been A good example of this energy-devoid proven to be frighteningly sincere. Her songs On the more sorrowful side is "So Sad". The ,minated by scholars of language and art. playing is "Queen Bee". which opens with deal with the darker, more hidden aspects of images presented in this track are The press has contributed in its own way the sound of a finger being slid down the human emotions. "Why D'Ya Do It" off her reminescent of one of those movies set in a the demeaning of underwater archaeol- fretboard of a guitar (an overused standard). 1979 release Broken English, is a clear exam­ dark, stormy seaside town. Steve Winwood ~, according to Dr. Eiseman. The Read­ The best cut is a cover of The Animal's, ple. With strong language and her hurt-filled adds a delicate piano arrangement, s Guide to Periodical Literature listed the "We Gotta Get Outta This Place". Mark vocals, Faithfull forcefully sings a wop}an's producing notes and chords as if he were on me articles under "Treasure Hunting" as Farner. lead vocalist. possesses the ' range accusations against her wayward lover. tiptoes. Faithfull herself does not sound like ley did under "Archaeology, University." needed to deliver the nuances of the song, However .there is no tnick comparable to -Mick Jagger's female counterpart as she nd, in 1979, Time ran an article on self­ and together with the rest of the band is able "Why D'Ya Do It" or "Broken English",on usually does. The whole effect is one of 'oclaimed treasure hunter Burt Weber and to endear it with its original infectiousness. Faithfull's latest. The songs presented here meloncholy. s excavation of the 17th century Spanish CONTINUED ON PAGE 10 De Niro' hits local theaters

lu Grossbard hasn't made many films. He Grossbard takes it easy to an extent. The subplot that arfirst made me squirm (love does most of his work on film doesn't have the energy it could have between the hard nosed cop and the exwhore Broadway. He is never really had, but the pacing that is there isn't wrong. turned madam), but they play their scenes thought of as a film director He keeps the plot moving at moderate speed. together so well, with such a realistic because the type of film he does Everything is very low key with dak images freshness, that their scenes together wind up make is over the head of the and pale colors which gives the film a being the best in the film (and make us average movie goer and movie somwhat subdued texture. hunger for more.) mogul. His films.are not cut and Robert DeNiro, to whom we are growing The screenplay by John Gregory Dunne dried and spelled out for you, you accustomed to seeing in unsympathetic and Joan Didion, adapted from Dunne's are required to think, and how roles, goes against the grain and plays a book, is sharply funny and sly. Superb many movies that require a little priest. An despite the fact that tHere are none cinematography, a first-rate supporting cast brain power are successful? of the usual "DeNiro fireworks" that we are and top-notch production values all accustomed to seeing, he gives an excellent combine to make True Confessions one of performance just the same. It is both mellow the year's finest. and subtle and illustrates further what a New York. New York is not so much a really extraordinary actor he is. film as it is an experience. It is uncannily Robert Duvall, who is every perceptive and occasionally breathtaking inch the actor that his co­ with music that floored me with delight and star is, gives his standard amazement. fine-tuned performance Director Martin Scorcesse started filming in a role that fits him like New York, New Yark six years ago with sequined skin. He has the only the framework of a script to guide him. more flamboyant role He allowed the starts, the writers, and Robert De Nlro play. Mon.lgnor De.mond and he gives the film its himself to shape the story as they went Spellacy In Tru. Conf.n/on•. verve and rhythm. He along. For the most part it is 'borrowed' and Rose Gregario (Mrs. from the pages of Doris Day's released five years ago. Audiences were Grossbard) get in­ autobiography. deliberatly led to believe that this would be volved in a Two people, a band singer and a saxo­ the return to the grand, glorious, MGM - cliched phonist, fall in love but find their relation­ like musical of yore. But when United ship cannot withstand tne pressures of their Artists saw the completed film, they had a respective careers. liza Minnelli plays the negative reaction. They ordered Scorcesse to big band singer who becomes a movie star edit 20 minutes out of the film and then and Robert DeNiro is refused to promote it to the public and later, the saxophonist for the Academy Awards. Only now, with the deleted footage restored, are we able to see the film Scorcesse intended to make. The acting in New York, New York gives the film its throbbing vitality. Standing who pursues center stage is Robert De Niro, giving still her, marries her and another four star performance in a . eventually leaves demanding role. De Niro, like Spencer her when his ego Tracy, envelopes himself with his roles so cannot tolerate her success. throughly that it appears we are not seeing Scorcesse is the real star of this film. He the actor play the character, we see only the puts realistic characters with realistic character. He is simply amazing. emotions against artificial ·1940's studio Liza Minneli, whom many believe to be backgrounds to give this film a somewhat second only to Jolson on the concert stage, abstract style that sharply contrasts with has never really received her due as a screen Hollywood's film making conceptions. actress. She needs to be used with This is probably the main reason why New meticulous care and several of her directors manee In MarUJrScorlesse's not-qulte-a-muslcal New York, New York York, New York failed when it was first CONTINUED ON PAGEIQ.