The record, 13 novembre 1981, Supplément 1

U fl « s t 2-TOWNSHIPS WEEK-THE RECORD—FRIDAY, NOVEMBER 13, 1981 Country music roots reach to Nova Scotia’s past It occurred to me the other day that while country music is usually referred to as having its roots in the southern United States, the roots of country music can also be traced to the Atlantic provinces.For example, Cajun music, a style of country developed by the inhabitants of rural Louisiana, was originally performed by Acadians in Nova Scotia.It would take this entire column to list the country artists born in the Maritimes, but among them are Anne Murray, Carroll Baker, Joe Brown of The Family Brown, Wilf Carter, Don Messer, John Allan Cameron, Ralph Carlson, Eddie Kastman and, of course.Hank Snow, who sang country in Halifax long before he sang it in Nashville.At the Canadian Bluegrass Country music By DAVE ÏMULHOLLAND ==^=5= Association awards, held recently in Toronto, Mike O'Reilly of Cody was voted Entertainer of the Year; Roily LaPierre of Station Road won Best Fiddle Player; Denis LePage of Station Road won Best Banjo Player and Cross Country Grass walked off with Best Vocal Group, Best Bluegrass Band and the Album of the Year (Tribute to Bluegrass) categories.Congratulations to all the winners.Whiskey Jack joins Donna and Leroy as regulars on this season’s Tommy Hunter show, which was delayed in production because of last summer’s CBC technicians’ strike.Rumor has it that the cast of CTV’s Honky Tonk, starring Rompin' Ronnie Hawkins, may ride off into the sunset on their mechanical bull when the original 12 episodes have aired.Apparently weekly ratings are not what the network had hoped for.Guests on the show this month include Hoyt Axton, Barbi Benton, The Good Brothers, B.J.Thomas, Johnny Lee and Conway Twitty.Bobby Bare and his band, The Pulleybone, has just returned from 32 dates in Europe.After several years off the road, Porter Wagoner has reunited The W'agonmasters and is touring again.Charly McClain, who recently opened some concerts for Kenny Rogers, will have a leading role in an upcoming segment of the popular television show, Hart to Hart, starring Robert Wagner and Stephanie Powers.Jeannie C.Riley, who hasn't had a monster hit since 1968’s Harper Valley P.T.A., has signed a deal with MCA Records.Willie Nelson has cancelled most of his concerts until the beginning of 1982 at his doctor's request.Shooting for a new film has also been put off ’til next year.Gordon Lightfoot has signed a new long-term agreement with WEA Records.He’s been associated with the label for 12 years, and besides international success as a recording artist, his compositions have been recorded by Boh Dylan, Elvis Presley, Marty Robbins, Barbra Streisand and many others.The Rovers are touring western Canada this month with concerts in Regina, Edmonton, Calgary, Red Deer, Kelowna, Vancouver and Victoria., Mary Reeves has now opened the Jim Reeves Museum in Nashville, and reports are that it’s well worth taking the time to go through the building.A television special, Roy Acuff - 50 Years the king of Country Music, has been taped at the Grand Ole Opry.Featured duets include Grandpa Jones, Jim Ed Brown, Don Gibson and Kitty Wells.Tom T.Hall wrote a song for the show titled, A Tribute to Roy Acuff.As yet no air date has been announced.Baby Love crammed with realistic 60s detail “Baby Love" by Joyce Maynard (RANDOM HOUSE): $14.5», 244 pp.1 Another novel that attempts to capture the social complexities of the sixties, but with an ironic angle of attack, “Baby Love” is the first work of fiction for 27-year-old Joyce Maynard, a former reporter for the New York Times.Maynard’s title is perhaps a play on the Suprêmes’ Motown hit, but Baby Love focuses on the lives of a select group of New Englanders whose one common bond is that they are having, have just had, or are contemplating the consequences of having babies.Maynard selects a quartet of young women for whom babies have become the controlling influence in their lives.There is Sandy, who is eighteen and married to Mark, a garage mechanic, and for her, Mark Junior is her grip on life; Wanda has a child, Melissa, but can’t realize why the baby is so listless after she has struck it hard to stop if from crying; Tara’s baby Sunshine is all she has left after the child’s father has departed; and Jill feels that her body has been signalling clearly that she is about to join the little clique of mothers who sit outside the laundromat in small-town New Hampshire.Added to this infant-oriented whirl of young characters is a very sixty-ish girl, Ann, who has left the Big Apple to settle near a rushing brook with her old Dolly Parton records and a feel for getting back to the land.Maynard stirs into this bizarre scenario a horror-story angle by introducing a psychopatic killer, institutionalized for a sex killing, who manages to make ?Cl a Music Chart NO.TITLE ARTIST LAST WEEK WEEKS ON 01.Arthur Christopher Cross 1 10 02.Start Me Up Rolling Stones 2 12 03.Night Owls Little River Band 5 10 04.Trying to Live my Life Bob Seger 7 9 05.For Your Eyes Only Sheena Easton 3 11 06.Every Little Thing She Does Police 8 8 07.When She was my Girl Four Tops 9 8 08.Private Eyes Hall and Oates 6 9 09.Step by Step Eddie Rabbitt 4 11 10.Friends of Mr.Cairo Jon and Vangellis 12 7 11 Hard to Say Dan Fogelberg 11 6 12.Super Freak Rick James 13 8 13.Share Your Love Kenny Rogers 15 8 14.We’re in this Love Together A1 Jarreau 14 9 15.I’ve Done Everything Rick Springfield 18 4 16 My Girl Chilliwack 20 7 17.Here I Am Air Supply 21 6 18 Physical Olivia Newton John 22 4 19.The Voice Moody Blues 10 12 20.Oh No Commodores 24 4 21.Say Goodbye to Hollywood Billy Joel 19 7 22.Promises in the Dark Pat Benetar 23 6 23.Waiting for a Girl Like You Foreigner 26 3 24.No Reply at All Genesis 27 5 25 She’s a Bad Mama Jama Carl Carlton 29 3 26.He's a Liar Bee Gees 16 8 27.Atlanta Lady Marty Balin 31 5 28 Desire Ronni Griffith 35 3 29 Sausalito Summer Night Diesel 32 3 30 Why do Fools Fall in Love Diana Ross 34 2 31.Beach Boys Medley Beach Boys 25 13 32.Enough is Enough Toronto 36 3 33 Young Turks Rod Stewart 39 2 34 Urgent Foreigner 17 12 35.Just Once Quincy Jones PL 1 36 Harden my Heart Quarter Flash PL 1 37.Waiting for the Hurricane Chris de Burg 40 2 38 Let’s Groove Earth Wind and Fire PL 1 39 Don’t Stop Believin' Journey PL 1 40 When she Dances Joey Scarbury PL 1 Kaleidoscope By RICHARD LONEY contact with an unsuspecting Ann, and whose arrival on the scene appears to hold the grisly promise of a ‘‘Hallowe’en’’-style butchery.Baby Love is rather soap-opera oriented, with quick cuts from one character focus to another -sometimes three vignettes on a single page - which creates a rather cinematic technique of rapidly changing scenes, but structurally tends to keep the novel from generating dramatic tension.Crammed with the realistic detail of the sixties, Baby Love if it is to be viewed as a sociological study of a decade in novel form, tells some frightening tales about the Flower Power generation and their offspring.The babies in Maynard’s fiction have very little love, despite the title, and the mothers are rendered into mostly pathetic, unassertive dupes of their young men - this, midst the decade that saw women’s rights finally achieve social status to rival civil rights.Baby Love is often grip-pingly real, and the parade of characters would make for a perfect TV special, as Sara Davidson’s Loose Change also did.The PRETENDERS II (SIRE-WEA) With Debbie Harry having abdicated as an integral part of Blondie, as revealed on their last group effort and her recent solo album, for a higher profile front-person’s role, the title of strongest female rocker within a group concept goes to Chrissie Hynde of the Pretenders.Even the eclectic-to-the-point-of-diffusion styles of Blondie could take a lesson or two from the Pretenders.They appear firmly committed to exploring rock concepts from within a musical framework that is akin to Fleetwood Mac’s American slant on similar themes.Hynde’s songs such as “Day After Day” have a hypnotic lead guitar riff driving them, with her genuinely attractive voice remaining as natural as Debbie Harry’s is always reaching for a cutesy effect.The English Fleetwood Macs are firmly a part of New Wave, without the excessive shock tactics of their mildly punk confreres -writer Chrissie Hynde can get her message across in “Jealous Dogs” without the overstated angst of a Marriane Faithful.The second Pretenders album is a captivating blend of Chrissie’s lyrics and capable voice and James Honey-man Scott's guitar textures that surround each tune with just the right amount of Chris Thomas’s veteran production techniques.The Pretenders may lead a lot of renegade New Wavers back into the pleasing sanctum of melody that Chrissie Hynde & The Pretenders operate out of with such listenable results on II.SILVER CONDOR (COLUMBIA) Five young Los Angelinos serve notice with their remarkable debut album that they will be a band to be reckoned with.Silver Condor have a group sound that is reminiscent of the Raspberries, and an ear for the catchy recording gimmicks found on early Beatle sessions that add a special flavour to their original songs.Primary writer is lead singer Joe Cerisano, though he collaborates with Earl Slick (lead, rhythm & slide guitars), or John Corey (guitars, keyboards & vocals), as well as with several other non-band-members, One of the latter efforts - “Carolina (Nobody’s Right, Nobody’s Wrong)” - begins as a tender ballad, and moves suite-like into cross-cadences and a prepetitive refrain that brings in the old Beatle hand-clap techniques, that were almost a fifth instrument on most of their songs.Keyboard player John Corey’s song “You Could Take My Heart Away” seems destined for most airplay as Silver Condor remains a relatively obscure, occasionally featured on FM, exciting new act.Silver Condor, as a band hailing from Music City, disproves the popular assessment that only schmaltz and L.A.slickness emanates from its studios.The Silver Condors have a great many similarities with the Silver Beatles, a favourable endorsement if there ever was one. TOWNSHIPS WEEK—THE RECORD—FRIDAY.NOVEMBER 13, 1981-3 Dylan dons new musical clothing for oldies By Donnelly It’s become fashionable to put down Bob Dylan.His conversion to Christianity has alienated more longtime fans and critics than his controversial move from acoustic folk to electric rock ever did.The ecriticism continues to roll in as Dylan rocks and reggaes in the concert halls of North America on his current tour.But, whatever his religious convictions, Dylan's recent concert at the Montreal Forum proved that his work still has more validity than most of the slick, heartless numbers pounding monotonously on the radio.Starting off with “Serve Somebody”, an upfront statement about his choices and ours, given the realities of life, Dylan did just that.He served us and he served what can only be called the forces of positivism and constructionism.No sermons, just a select taste from his bountiful store of enduring classics that span two decades, but with a new emphasis.Anyone who followed Dylan’s course over the years knew almost every song in the show, but few had heard them done this way before.Using three great female vocalists to advantage, he recycled familiar tunes (“I Want You”, “The Times They Are A-Changin’,” “Tambourine Man”, “Just Like A Woman”, “Girl From The North Country”, “Like A Rollin' Stone”, “Hard Rain”, and the list goes on), arranging them into something new.“Maggie’s Farm” became an out-and-out rocker.There was boogie, lots of reggae influence and a touch of gospel.Dylan did the old standard, “Let It Be Me” as a duet w’ith one of the vocalists.An admonishing, urgent, “When You Gonna Wake UP”, the sole tip of the hat to punk, brought the show to a cataclysmic finish.Looser than I’ve ever seen him, Dylan was warm and reached out to the audience.In encore, the whole entourage did “Blowin’ In The Wind”, then left Dylan alone with his fans for a couple of acoustic numbers — “It’s Alright Ma” and Dylan’s personal message to the appreciative and demanding audience, “It Ain’t Me Babe (it ain’t me you’re lookin’ for)” — before rejoining him for a jubilant “Knockin’ On Heaven’s Door” (from Pat Garrett And Billy The Kid), with the house lights up and everybody cheering.Dylan’s strained vocal delivery has softened with the years but the defiant lyrics are just as powerful and visionary today as when they burst upon a complacent America in the throes of war.Picasso, after changing the course of painting and sculpture, was put down for not coming up with more ground-breaking contributions in his later works.Similarly Dylan has been knocked for having nothing new to offer in recent years.But new isn’t always better.By treating us to his old stuff — often disguised in new musical clothing — Dylan made us listen to the words again.He reminded those who were around then that the world is as alienating as it was 15 years ago.And to a new generation he offered a history lesson that is no less relevant to their lives.The “Masters of War” are still at the controls and people are still bleeding.Our sights have merely become shorter and are turned inward.Dylan’s period of prolific production is, perhaps, over.But there’s a danger inherent in contemporary critical attitudes that dismiss ’old-time’ artists as passe and belittle those who still hear their calling.Not only is Dylan as relevant today but it’s important that kids who are constantly bombarded by the mind-dulling Police, AC-DC and the syrupy Christopher Cross get first-hand exposure to one of the great poets of our time.For two decades, Dylan did with his musical poetry what the best of New Wave cinema is doing today — recording the devastation, the rootlessness and despair of life in images that remain imprinted on the mind.That he is still able to evoke those images on stage and sing with conviction about hope and love makes his show not an anachronism but a reaffirmation of the goals and aspirations that lit up a more optimistic era.It’s important to renew acquaintance with old heroes, the artists who created a language and gave voice to gut feelings.If we write them off because they don’t espouse the ‘nouvelle vague’ then we reject our own history and are condemned to repeat the mistakes.U de S presents recital of Indian classical dances SHERBROOKE — Vasantha Krishman is an accomplished ex-ponent of Bharathanatyam and Mohini Attam — the classical dances of India.She has performed extensively on the stage in India and abroad, particularly in Montreal where she is very well known.Her dance programs are a regular feature at Man and His World every year.In addition, Vasantha has been invited to dance by a number of cultural organizations almost year-round.Starting her dance training at an early age of six, Vasantha Krishman perfected the difficult style of Bharatanatyam under the guidance of her guru smt.Kalamandalam Kalyani Kutti Annual.Her training is typical of Kalakshetra, which is a renowned school of classical dance in Tamilnadu, India.In addition to her busy schedules of dance programs, Vasantha Krishman finds time to teach young Canadians in Montreal this ancient art of the orient.Vasantha will be giving a recital of Bharata Natyam, on Saturday, Nov.21 at 7:30p.m.at Faculté des Sciences de Teducation, Université de Sherbrooke.For tickets and information please contact: Tel.: 565-0862, 562-0617.Bob Dylan.defiant lyrics just as powerful.Movie opens question COLUMBUS, Ohio ( AP) — The leather tent said in the Bible to have to stood over the ark of the covenant really existed, and that means the golden box holding the Ten Commandments might also have been real, a biblical scholar contends.“Obviously if the tent was real it lends credence to the fact that the ark was real,” said Richard Friedman, a professor of Hebrew and literature at the University of California at San Diego.Friedman said although he doesn’t know whether Moses built the tent, the structure stood inside Solomon's Temple at Jerusalem until the temple was burned down by the Babylonians in 587 BC.The story of the ark was showcased in the summer's box office hit Raiders of the Lost Ark which was about a search for the ark by rival archeologists.1981-1982 42nd Season THE SHERBROOKE SYMPHONY ORCHESTRA 1st CONCERT — SATURDAY, NOV.14 — 8:30 p.m.Overture to "The Silken Ladder" (G.Rossini) - Esquisse ( François Morel) - Concertino grosso (Claude Champagne) -BALLADE for PIANO and ORCHESTRA (G.Fauré) with JACINTHE COUTURE Overture to Colas et Colinette (G.Ridout) - Symphony No.41 in C "Jupiter" (W.A.Mozart) Guest soloist JACINTHE COUTURE pianist Conductor BRIAN J.ELLARD TICKETS - Adults: 8 $ 65 or more: 6,50 $ - Students: 4 $ On sale at le Centre culturel or through BILLETEL (with credit card) : 565-5430 or longdistance: 1-800-567-5799 SEASON TICKETS STILL AVAILABLE for the 3 concerts: Nov.14- Feb.20 -April 24 Adults: 18$ -65 or more: 14,50$- Students: 9$ ^ Phone: 565 4693 P.Q.Box 1022, Sherbrooke JlH 5L3 4 TOWNSHIPS WEEK.THE RECORD—FRIDAY, NOVEMBER 13, 19B1 The New Cinema directors.Marguerite Duras, France; Jim Jarmusch, Eric Mitchell, U.S.and Marcel Haroun, France.' jm mmm1 New Cinema festival defies characterization The sax player as killer in Subway Riders by Amos Poe.films that “are within the festival’s By Nelly Young Another film festival has come and gone in Montieal.But the 10th International Festival of New Cinema is not just another film festival.In fact, it’s the only forum in North America devoted exclusively to ‘new cinema', a convenient catch phrase for independently produced movies which are not easily categorized, Seventy-five were shown during the 10-day event.They came from New York, California, France, Belgium, the Netherlands, England, Germany, Switzerland, Spain, Italy and as far away as Australia and Japan.Some had never before been shown on this continent.A special selection of punk films was clearly the most appealing aspect of this year’s festival.Early spectators united patiently, often in the rain in long queues, to see the underground surface in Montreal.The New York New Wave films were the most provocative though California and Australia made an interesting bid.Many of the directors were on hand to answer point-blank questions about their works.Jim Jarmusch, a 28-year-old NUY film school drop-out showed his mesmerizing Permanent Vacation, a film based loosely on the extraordinary life of Chris Parker, who portrays his own screen alter-ego — a lean, longnecked wayward punk on his way to nowhere.Typical of the new generation of independent wiz-kid filmmakers, Jarmusch not only directed and edited but wrote the screenplay and composed the music for Permanent Vacation.Its eery neo-realism, spare, to-the-point language, hypnotic jazz and avant-garde score had an irresistible pull.Infused with a drifting, no-action pace.Vacation does not even pretend to have a story but makes haphazard encounters the meat of the movie.An aimless Wandering Jew of the atomic age, 16-year-old Aloysious Parker rejects the normal’ workaday life because it has nothing to offer him.Although Jarmusch provides no answers and makes no judgments.Vacation challenges the viewer’s own motivations and life ambitions.Awarded the Josef Von Sternberg Prize at the 1980 Mannheim Festival, Permanent Vacation is an example of experimental film at its best.It meets high visual and production standards, a rarity in New Wave films.Made on an amazingly paltry $12,000 budget in only three weeks, Vacation is an astonishing achievement for Jarmusch.A far cry from the commercial Hollywood mainstream on which we’ve all been weaned, experimental films demand a lot from the viewer.You can’t sit back passively waiting to be entertained.Even when entertainment is an objective, it’s served up in unconventional form and you can’t apply conventional standards to it.Subway Riders, by ex-news photographer Amos Poe (hailed as “New York City’s best filmmaker” in Andy Warhol’s Interview magazine), is a case in point.Although laced with the moody suspense of a macabre whodunnit, Riders is a film about obsessions ind frustrations, about nightlife Iwellers in the naked city scrab-)ling into another day.A whore passes a loitering bum and we are prepared for a typical hassling or pan handling scene.Instead the drab outcast spouts street poetry as eloquent in its simplicity and directness as anything by the Last Poets.His fleeting appearance is as central to Riders as the main characters and the lives they lead.By contrast, Eric Mitchell’s highly-touted U.S.A.Underground seemed pretty mainstream, for all its camp decor and vacant punk stance.Probably the biggest attraction was Nick's Movie-Lightning Over Water, in which one of Germany’s major new directors.Wim Wenders (now living in the U.S.), makes an uncompromising dramatic documentary about his idol, Nicholas Ray.Ray, the Hollywood director best known for Rebel Without A Cause, was slowly and painfully dying of, but not surrendering to, cancer and his eloquent collaboration in this film, which was completed after his death, is an illuminating postscript.Lack of financial resources has a lot to do with the poor technical quality prevalent in the festival films.Many had a garbled or muddy sound track and visual images that were blurred or askew.But getting the message across supercedes all else.Some filmmakers virtually flaunt a grainy picture or cluttered sound in punk defiance of acceptable movie norms.Sometimes this works.But, in Bored, an extreme example, the bombardment is relentless and the content does not make up for all the flaws — especially first thing in the morning on an empty stomach.Though it often seemed that way, punk was not the only style in evidence.Established figures like Jacques Rivette and especially Marguerite Duras made a big spash.But the grande dame (best known as the writer of Alain Resnais’s Hiroshima Mon Amour) had put me to sleep at Toronto’s Festival of Festivals so I didnt’ take in her two entries here.Agatha is a narration between two figures subtitled.“Les lectures illimitées” and Yann Andrea termed L'homme Atlantique "writing on the black screen” (literally! ).But Duras is definitely in vogue and her ’films’ were extremely well-attended.A new permanent section called "Reflets du cinema d’ici” was objectives but fail to meet its general entry regulations,” this Quebec presence probably offset any opposition from the notorious nationalist association of Quebec filmmakers which has made a ritual of protest at the annual World Film Festival for the last three years.Because of the growing importance of video in today’s mass communications, the Festival, in collaboration with five Quebec video production outfits, brought together a variety of video works.These could be seen on monitors outside the screening theatres on a continuous basis.What distinguishes much of the new cinema from around the world is the experimental approach to a whole spectrum of subjects, particularly social, cultural, political, aesthetic and personal concerns.Many of the films are self-indulgent, marginal, obscure, misguided.Some are downright duds.But, if you stick with it, enough rough diamonds glitter in the rubble, exciting the senses and stimulating the intellect.Last year’s attendance at the International Festival of New Cinema was 5,000.This year it tripled to 15,000.More and more, society’s ‘auteurs’ are relinquishing the pen for the camera and they’ll be turning up in force next year to make their personal statements about a rapidly changing universe.If you want to keep on top of it, be there too.% Eric Mitchell's Underground U.S.A.A real Family gift ' special r'T'njÉMËiyi.: mcuzzi PRICE on unit * in stock Whirlpool baths inaugurated this year, ostensibly R to celebrate 10 successful festival né years.Promoting recent Quebec Offer your family the pleasures and comfort that you get with a Whirlpool Bath J.G.BEAUCHEMIN Open Saturdays ’til noon 40 Lomas, Sherbrooke 562-2024 TOWNSHIPS WEEK—THE RECORD- FRIDAY, NOVEMBER 13, lHàl-â Ellmaurer: Workman is worth his wages By Merritt Clifton SUTTON — Highwater painter Otto Ellmaurer doesn't work cheap, but the workman, unlike many shown at Arts Sutton, is usually worth his wages.15 years a commercial illustrator with Space Research Incorporated, and before that a newspaper photographer, Ellmaurer turned to painting full time after SRC went bankrupt.His Arts Sutton exhibition, open 10 a.m.to 6 p.m.this weekend and next, is his first major one-man showing.As an amateur painter, Ellmaurer enjoyed several small-scale one-man show's in Montreal, but those, he explains, were for fun.“Now I have to make a living," he grins.Most of EUmaurer’s work is colorful, decorative, neither pretending to special distinction nor selling the viewer’s taste and intelligence short.Ellmaurer is admittedly a commercial painter, yet not a panderer, rarely dipping into the sentimental or offering less than his best effort.Despite his age, upwards of 50, he is also a ‘young’ painter, still experimenting with both style and medium, displaying no sign of settling into a steady routine.His drawing is strong on composition, weak with specific forms.This weakness appears primarily in his landscapes.For instance, Missisquoi’, one of a series of oils depicting the scenery around the former Space Research plant between High Water and North Troy.Color, balance, scenic accuracy - all hold up, until on very close inspection one notes the trees, whose branches puff more like clouds than actual foliage.It’s a small detail, the kind most potential customers will never see, but also the kind distinguishing an Ellmaurer from an uncompromising Mary Martin.Ellmaurer’s prices appear based strictly upon the size of the painting.His smaller works, however, are more often his best.Among the landscapes, ‘St.Benoit Du Lac’ is an appealing postcard view, yet Morning Mist’ is a better bargain.This comparison also leads into comparing techniques in the two, hung one above the other.‘St.Benoit Du Lac’ employs a conventional method, acrylics on masonite, producing a bright picture that unfortunately falls flat at very close range.‘Morning Mist’ features acrylics on particle board.The varied surface lends depth.One suspects from this willingness to change a proven successful formula that Ellmaurer’s most distinctive work is still before him, that he may yet become a painter of some significance when he finds the exact mediums best suiting his talents.Ellmaurer’s abstracts deserve as much attention as his representational work.Many are unoriginal, overpriced, even downright sloppy, such as ‘Genesis’, which suffers mainly from being just plain too large.But nestled next to it are ‘Cluster’, apt to interest lightshow fans, and Interchange’, calling to mind nighttime freeways and in-tergalactic warfare.‘Interchange’ is nothing more or less than a small masterpiece, making the most of Ellmaurer’s strengths, exhibiting none of his shortcomings.The subject is limited to what he does very well.Many of Ellmaurer’s abstracts are done using a spraycan and various found objects.This method grew out of simple leaf imprints made with sprays.Some of these are also on display - properly so, because while many amateurs do the same things, Ellmaurer does them with particular brilliance.Hounding out the Arts Sutton exhibit, in a corner most casual viewers may miss, are four of his commercial illustrations depicting various Space Research projects -particularly several different versions of gun-launched satellites that unfortunately never got off the ground.One hopes Ellmaurer’s new career will go much farther."S-Sv, f .; « T f mmm mmé» .: ¦ ¦¦ r;-• '' 6—TOWNSHIPS WEEK-THE RECORD-FRIDAY, NOVEMBER 13, 1981 Lelouch film as confusing as reality Band Leader James Caan leads a street celebration In Paris on D-Day.‘r By Donnelly Kes Uns Et Les Autres is an extremely ambitious film.Two generations of families, isolated in Russia, Germany, France and the U.S., are cavalcaded through “45 years of blood, tears, depression and hope”, in the words of director Claude Lelouch, to impart the message that the path to happiness is studded with agonizing stumbling blocks.It would have been difficult enough for Lelouch to follow the lives of individuals and, at the beginning, it seems as if this is indeed what he has in mind.But, fixing his camera on the four couples, Lelouch soon broadens the focus to include friends, then offspring and their generation of friends.All are woven into the story until it begins to burst at the seams.With a huge cast of characters and the same actors and actresses playing parent and child, you need all your wits about you just to sort out who’s who and what’s w'hat.All the major characters are connected in some way with music.The Russian is a ballet dancer, the German, a conductor, the American, a big band leader, and the French couple are both orchestra musicians.Tackling the cataclysmic events of this century through his chosen protagonists, Lelouch does succeed in moving us.We feel the influence of history on the individuals as we watch the tragedy of war take its toll.But when he tries to transfer the aroused interest and empathy to a new wave of characters in mid- stream, that’s when he begins to lose the audience.Lavish music and dance production numbers are an effective device to cover up the holes which separate the increasingly episodic events.The most involving tale concerns the two Jewish musicians from Paris (Nicole Garcia and Robert Hossein), who are loaded into a cattlecar headed for a concentration camp after the Nazi invasion of France.In anguish, the couple drop their infant son through a hole in the car while the train is stopped at a railway station within French boundaries.A bicyclist finds the infant, destroys the accompanying note so he can keep the money with no one being the wiser, and brings the child to a priest in another town.The mother survives the death camps and spends the rest of her life in search of her son.This thread and several others running through Les Uns Et Les Autres are tied neatly enough in a grande finale that brings all of the new and the surviving original protagonists together for a spectacular International Red Cross benefit gala held at the site of the Eiffel Tower.Movie-goers who were first turned on to the Bolero in to’ will find the Ravel composition as captivating here.In addition to the international languages of music and dance, Lelouch seeks to convey a realistic picture by having his characters speak in their own tongue.Consequently, there’s plenty of English, not only in the American sequences, but in France where the James Caan and Geraldina Chaplin characters end up.(The French have no political hang-ups about talking American).As well as English and French, we hear Russian and German, sup- plemented, in each case, by subtitles.When Les Uns Et Les Autres premiered at the World Film Festival this autumn, early on a Sunday morning, throngs were turned away and the aisles were clogged with humanity.While Lelouch’s movie does not deserve such indiscriminant adulation, it does have its moments.Les Uns et Les Atures is as confusing and tantalizing as reality, which is probably what Lelouch intended.Director Claude Lelouch Instructs Robert Hossen In Les Uns et Les Autres.n, n ::: i ff 5th month in Montreal IF YOU DON'T GO TO THE MOVIES-YOU WON'T SEE 14 Y1AR5 of the LUST Ai7\/\ from the creators of JAWS and STAR WARS starring HARRISON FORD KAREN ALLEN screenplay by LAWRENCE KASDAN story by GEORGE LUCAS and PHILIP KAUFMAN directed by STEVEN SPIELBERG 0 Plus a short subject Fi iday Satuiday and week days 7 00 - 9 30 Sunday 2 00 - 4 30 • 7 00* 9 30 Cinéma CAPITOL 59 King est SBS-OTM TOWNSHIPS WEEK-THE RECORD-FRIDAY, NOVEMBER 13, 1981-7 AÏ%v.r^T* *'**'*