Image provided by: Clackamas Community College; Oregon City, OR
About The print. (Oregon City, Oregon) 1977-1989 | View Entire Issue (Feb. 13, 1980)
arts Playgoers Prepare to see rollicking comedy As February grows old, the opening of the College winter drama project draws nearer. This project is a play called “The Reluctant Debutante.” Joined with the completion of the project is enthusiasm, within cast and crew, as they prepare to display their work. Performances are scheduled for Feb. 28, 29 and March 1 at 8 p.m., and March 2 at 2:30 p.m. in McLoughlin Theater. Later, the cast will perform “The Reluctant Debutante” at the Coaster Theater in Cannon! Beach on March 20, 21 an! 22. This will be the seventh an] nual production at the Coastel Theater during spring vacation! Admission for “The Relucl tant Debutante” is $3 general CCC students with iderfl tification and senior citizens! with a Gold Card will be admit! ted free. Other students will ba charged $2. LOVE GAMES—Two women, Sheila (Lisa Kaser) and Mabel (Diana Bauer), connive to marry off their daughters—to the same man (left). Later, Mabel in troduces her daughter, Clarissa (Becky Steele), to David Bulloch (Rod Ragsdale), the pursued gentleman. “The Reluctant Debutante” was described as “fine family fun” by Roby Robinson, theater technician. Photos by Duffy Coffman. PhotoGray Extra lenses that change Critic likes to scream Tog’ flick lacks necessities By Tom Rhodes Of The Print Eyeglass to sunglass in ( less than 60 seconds PHOTOGRAY EXTRA lenses are the fastest changing, widest ranging photochromic lenses .ever made by Corning. Indoors, they re virtually clear. As you move outdoors.there's no need to reach for your sunglasses. PHOTOGRAY ■ EXTRA lenses change for you . . changing from eyeglass to sunglass in less than 60 seconds. They darken less on cloudy days, more on sunny days whervyou need a darker sunglass. When removed from sunlight, they will lighten 50 to 70% of the way back to the clear indoor stage in five minutes Discover the comfort, convenience, and fashion of PHOTOGRAY EXTRA lenses. Also available in bifocals and other multifocal forms. Willamette Optical Danielson’s Hilltop Shopping Center 358 Warner-Milne Road . Suite,G-102 655*8918 Every now and then, Hollywood releases a few low- budget thrillers. These “thrillers” are supposed to. scare the intelligence out of the audience. Although a good majority of these manipulative films are deservedly overlooked by the public eye, a few earn notice. A few years ago, a young director named John Carpen ter scored an enormous hit with his well-crafted thriller, “Halloween.” The film, now a cult favorite, was based on a simple plot. A young boy was caught stabbing his older sister and' was sent to a mental hospital. Eighteen years later, he escapes the hospital and is -headed home to kill again. With that simple plot, Carpen ter sent audiences screaming with his style and mixture of surprise and suspense. Since then, many people have anxiously waited for Car penter’s latest thriller, “The Fog.” Well, “The Fog” has (forgive me) finally rolled into Portland and the result is (forgive me, again) a rather hazy shocker. A coastal town is celebrating its centennial when it is attacked by ghosts hoping for revenge. Their (the ghosts’) ship was sunk by ancestors of the people now living in the town. Killed 100 years ago, the ghosts make their once-a-century ap pearance through the form of a light fog. Adrianne Barbeau heads the cast as the owner and DJ of the town radio station and mother of a child in danger of getting killed by the ghosts. Hal Holbrook, John Housman and Janet Leigh make appearan ces, also. What Carpenter creates is tremendous suspense. A knot ♦ is tied in the audience’s stomach, but there is never any chance to release the tension. What made “Halloween” so enjoyable to watch was the needed comic relief and, just as important, the chance for the audience to scream. Without these tension releasing mechanisms, the audience will tire of the event and want to leave. In “Halloween,” Carpenter gave the audience both, but in “The Fog,” he gives us neither. There is not one scream or laugh in the movie. Just straight tension without release. It was not an enjoyable experience. I left the Moreland Theatre feeling like crap. Technically, “The Fog” is well made. The sharp and-crisp editing has always done well for Carpenter, who composed a terrific musical score for the movie as well as writing and directing it. He has always had a strong visual feeling towards! his films. It is the audio portiB that gets him into trouble. His I screenplay is sub-par. The’ dialog always gets in the way ofl the movie. Carpenter spend! too much time explaining what ] is going on. If Carpenter made] a silent movie, I bet it would be I worthwhile to view. The actors fare better than! the script, if that’s possible. Bui it is pure “Night Gallery” style acting. What surprised me most about the movie was thatlit carries an “R” rating, Thera was no reason to give it such a rating. No blood, flesh, and' only a little foul language!!] suppose the only reason for the] rating was to keep the kiddies out. By no means is “The Fog’s a bad film, it is just not that] satisfying. No screams,.no laughs, means no relief. Andi no relief is no fun. Clackamas Community College I
