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IMPACT
A Resume
from:
300 EMU
686-5511
V
poppi/
GREEK TAVERNA
Greek Peasant Food,
Wine and Spirit
675 East 13th • Eugene, Oregon • 343 0846
Closed Tuesdays Tables outside
Tables outside
LIBRARY:
PROJECT OC
SENIOR CLASS GIVING
The fourth annual fundraising ef
fort continues its target on
graduating seniors, in a senior class
giving effort.
The money collected goes into
an endowment fund, used to buy
periodicals and computerized
catalogue and research system for
the library.
Seniors, you will be contacted
Sunday, May 12 for your
contributions.
For more information on con
tributing or volunteering for Library:
Project ’85 contact Elissa Pankratz
at 686-5555.
emerald read the emerald read the emerald read the emerald
this has been a subliminal suggestion
od Tf'l_J_rJ.'x!_
CINEMA
Flick depicts more than music
The Talking
Heads ’83-'84
tour was the
ideal subject
for a concert
film. A ge
nuine perfor
mance that combined concept,
showmanship and spectacle
under the guiding hand of
singer/songwriter David Byrne,
it was more than merely a
concert.
Jonathan Demme has
preserved the experience of the
show in his concert film “Stop
Making Sense,” an electric,
exciting record of a fabulous
tour. .
Though pieced together from
three different December ’83
shows in Hollywood, the film
is a near seamless document of
the Head’s show. Opening on
the empty stage where David
i
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Byrne walks out with a rhythm
guitar and a tape deck and
launches into an acoustic ver
sion of “Psycho Killer,” the
stage slowly fills as stage
technicians push equipment
out and band members wander
on.
By the seventh song the
band is complete, the back cur
tain drops and the second por
tion of the concept concert
begins, employing rear screen
projection, bizarre
choreography, interesting
lighting and a few odd gim
micks (those familiar with the
previews will remember the
big suit).
Director Demme follows the
antics and actions of band
leader Byrne but doesn’t slight
the rest of the band. On the
contrary, the energy of the
show comes largely from the
rest of the Heads — a close-up
of keyboardist Bernie Worrell
concentrating over a solo,
numerous cut-aways to the
eternally animated bassist Tina
Weymouth, and packed frames
where back-up singers Edna
Holt and Lynn Mabry add a
steady stream of enthusiasm
and fun. Byrne is the focus,
but not to the exclusion of the
band as a whole.
“Stop Making Sense” tries
to recreate the concert ex
perience as a film experience.
Demme gives the camera the
audience’s roving eye and it
looks everywhere (though it
has a better vantage point than
an audience member). The
nuts and bolts of the concert
aren’t avoided to play up the
gloss and that is a plus, since
the performance itself is a
study in putting on
performance.
The kabuki-like technicians,
dressed in black and pushing
equipment around onstage dur
ing the performances, are ac
cepted as an integral part of
the performance. When, near
the end of the film, one of the
techs walks on carrying a
small spotlight to create the
gargantuan shadows that fall
on the backdrop the camera
doesn’t avoid him, but simply
places him in the mise-en
scene just as if he belonged.
It’s these details that make
“Stop Making Sense” such a
wonderful movie. The filmgo
ing audience may not get the
immediacy that the concert
goers receive, but we get a
privileged peek at the
subtleties of the performance.
The editing and
cinematography are sharp but
not flashy, stylish but not ob
vious. Demme shows good
sense in how to present a con
cert without overwhelming it.
The result is a marvelous,
invigorating film that doesn’t
pretend to be better than the
concert. It’s exactly what a
good concert film should be.
Sean Axmaker
Looking for
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