C I N E M A
Two reviews: Eastwood's latest
the
Just as
movie
Tightrope ex
p l o r e s
through jux
taposition the
psyches ofcop
and criminal, we at the Friday
Edition have juxtaposed the
views of two of our reviewers.
Who would have expected
Clint Eastwood’s latest crime
drama Tightrope to be a
thoughtful exploration of the
myth he helped create 10 years
ago? Writer-director Richard
Tuggle for one; producer-star
Eastwood for another.
Tuggle and Eastwood satisfy
the generic demands for this
thriller while providing more
than a touch of introspection
and a healthy psychological
perspective. The story concerns
one Wes Block, a Dirty Harry
type cop in New Orleans hun
ting down a prostitute killer.
Block is tough, gruff and speaks
very little, but the similarities
between him and Harry end
there.
Block is divorced and bring
ing up two daughters on his
own. He's also lonely, and finds
consolation in a most unhealthy
way — he pays social calls on
“ladies of the evening.” Some
of his late-night companions
later become the killer’s
victims.
Tuggle blurs the distinction
between the good Block and the
killer he's tracking with some
very clever, and very scary,
linkages. At one point Block in
dulges in a little kinky night
time “fun”; he later finds the
handcuffs he used that night at
the scene of the woman’s brutal
murder. Do Block's adventures
in sexual domination mean he
hates women, and if so what is
the difference between the
murderer and Block himself?
Tightrope is Tuggle’s debut
as a director, and there are some
rough edges: a few bad lines,
some murky details, an
obligatory climactic chase that
is far less interesting than the
rest of the film. Yet overall this
probe into the darker side of
machismo comes up a winner
on two levels. As an action film
it’s duly tense and gripping,
and as a psychological thriller
it’s more than a little disturb
ing. As it should be.
Sean Axmaker
The hype sounded good.
Clint Eastwood exposing a
darker side of his Dirty Harry
character, blurring the values
and clear-cut principles that
had proven so successful in the
past; a film that would
underscore the fundamental
similarities between a cop and a
criminal, and operate as much
on a psychological level as a
physical one.
Even better. Tightrope lived
up to its own hype. The promis
ed goods were delivered, but so
many little things were sacrific
ed (like plausibility, for exam
ple) that I found the film’s faults
more entertaining than its story.
Chief among many weak
points in Tightrope is the
endless list of unanswered
questions it leaves with the au
dience. Some of my favorites
are why don’t any of the police
Eastwood’s new film probes the darker side of machismo in ex
ploring the disturbing likenesses of cop and criminal.
recognize Wes Block’s tie,
which the killer has left with
one of his victims?
Why is the police lab expert
so good at finding traces of the
murderer on the dead pro
stitutes, yet unable to detect any
signs at all of Block's recent
visits with the same women?
How does the killer manage
to get into securely-locked
homes without alerting the peo
ple within?
Other flawed areas include
visual and spoken cliches, red
herrings and a very weak
(characteristically speaking)
killer. He appears at the beginn
ing and we clearly see his face,
yet he sports a mask for the rest
of the picture. What serves as
the film’s climax is the killer’s
obligatory unmasking by —
that’s right — you-know-who.
I have a theory: This flick,
which runs almost two hours,
was originally twice as long,
then edited down to its present
length. Unfortunately, the
wrong two hours were released.
Kevin Frank
—
Critic’s choice: weekend films
In addition to the studio releases, a number of older,
oustanding films are playing on and around campus this
weekend. The most bizarre would have to be Detour, a dark,
nihilistic film noir from the ’50s and a personal favorite of
mine. It plays Sunday at 8 p m. in 150 Geology,
Another classic is Bergman’s beautiful Wild Strawberries,
a bittersweet tale of an old man reliving his memories and
missed opportunities, It's playing Saturday at 7 and 9 p.m. in
150 Geology. However, if old black and white pictures aren’t
your speed, the Who “rockumentary, ” The Kids Are Alright,
plays late-night at the Bijou Friday and Saturday.
We Pay To
Help You!
There is no other way. We need
plasma and we will pay to get it -
$25.00 a week for 2 donations.
Without plasma we could not make
the life saving products you need.
Learn more about why we pay.
Contact: Hyland Plasma Center, 683-3953
Giving Comes From The Heart
Now Open Saturday Mornings
Hyland Plasma Center 40 E. 10th. Eugene
Subscribe Now
TO THE CLASSIEST
THEATRE SEASON IN TOWN!
UO STUDENTS SAVE 46%
- 5 PLAYS FOR ONLY $14!
EXCURSION FARE
A major new work by Dennis
Smith is intriguing and absorb
ing drama!
OPENS OCT. 18
1984-85 SEASON
HEDDA GABLER
This classic tale by Ibsen
features one of the most
mysterious women in theatrical
literature!
OPENS NOV. 15
DANCE ’85
The annual dance concert by
members of the Oregon Reper
tory Dancers, this is always a
popular event!
OPENS JAN. 24
TARTUFFE
Moliere’s outrageously funny play deals with
religious hypocrisy, and is considered by
many to be Moliere’s best!
OPENS FEB. 28
ROMEO AND JULIET
This timeless tale of tragic love will be stylishly
presented with elaborate costumes, innovative set
design, and the best of everything University Theatre
has to offer. As with our most recent Shakespearean
production, this one is sure to sell-out early.
OPENS MAY 16
_
HOW TO BUY SEASON TICKETS
After you register for Fall classes, just bring your validated
Student I.D. Card to the Robinson Theatre Box Office located in
Villard Hall. You can choose the dates you’d like to see each pro
duction as well as the seats you’d like to sit in for the season.
Over 12,000 UO students bought tickets to University Theatre
productions last year, and those who purchased SEASON
TICKETS had the best seats! CALL 686-4191 for more
information.