Cftn«- C^r> ysy 1
o r ifw a d j o i n i n g o n e n » a n d I o l < h
d o h a v e t h e i r p ro b lem * » .
*otn<'body c o n v i n c e s th e m
t i r u t i t ’ s b< l t d
to ta l-c a b o u t
t h e p r o b l e m s t h a n k e e p th« m
c o r k e d i n s i d e , a n d w o rd h a s
K O tt.c n a r o u n d a l t e i n« a t l y a
g e n e r a t i o n t h a t D o lly i s ju s t
m ay b e t i n b e s t l i s t « in i y o u
c o u ld in ia fiin .
. rriaw ay k i d s ,
a b u s l v « p a r e n t s , d e p t« • •■« !
w id o w s . . . " t r c rib I <■> .it« t r o u b h s "
D o ily s a y s , an d sh e l i s t e n s so
w e l l t h . i t p e o p l e com« r i g h t n u t
a n d t e l l t h e m s e l v e . th» t r u t h .
D o l l y s a y s m o st f o l k s a l r e a d y
know w h at t h e y hav« t o «lo t o
m ake th in g s b e t t e r ,
She ju s t
a
l
o
n
g
w
i
t
h
th«sit
w
h ile
- ■
t h e y e x p l a i n i t t o tu e m s e 1 vt s .
A nyw ay, t h i s p a r t i c u l a r
g o v e rn m e n t ty p e d i d n 't say any
m o it
about
tin good o f t h e
cotntnuni t v , o r t l i t V i s i t o r ’ s
I n t o r m at i o n C e n t e r .
Sur< ,
t h e r e w as a h u b u b - - t h r u *
a r e som e f o l k s h e r e who g e t
h u n g r y l o r m o re m o n e y , b u t
t h e y ’ r e f o l k s who a l w a y s h a v e
m o re t h a n e n o u g h t o g e t l y .
S o , th e h u b u b d i« d dow n, and
a c o u p l e o l m o n th s L i t e r , h o l l y
g o t a l i t t l e s u r p r i s e a t tlie
P ost ( J f i c e .
Now t h e r e ' s a v e r y f a n c y
c e r t i f i c a t e in a v e ry n ic e
f r a m e o n t h e w a l l by t h e phon«
I n t h e R a in b o w .
D o lly i s th e
D ir e c to r u t th e S t a t e ’ s D e p a r
t m e n t o f P e a c e a n d Goo«l k i l l .
A nd h e r o f f i c e w a s f u n d e d w i t h
j u s t en o u g h to buy a sn u g
l i t t l e t h r e e b e« tro o m h o u s e j u s t
a b i t p a s t t h e v i« ‘w p o l n t t h a t
D o l l y ' d b e e n s a y i n g w o u ld m ake
a w o n d e rfu l " s a f e h o u se" fo r
p e o p l e w ho c o u l d n ' t o r s h o u l d ’ n t
go hom e.
A nd t i i a t ’ s t i l l s m o n t h ’ s
s n a p s h o t fr o m C a m e ra B l u f f .
Margi Curtis
COLD TURKEY b CLOWNS
N ov cun.e the region of the yearly
cycle which prompts those </ us with
shirt term amnesia to make the
proverbial New Years Resolution
January I st that magical day which
holds itself out to the forever mnu
cent as the grand beginning
a clean
slate a fresh start the promise of
(setter days more self control and an
absolute reversal of Murphy s Laws
When I am tem pled to indulge in
some form
resolving at this time ci
year a New Years party I attended
several years ago comes to mind
It was a really fun party w ith lots
of lively banter and everyone getting
rather loose as is the custom on New
Years Eve Throughout the evening I
found myself in deep conversation
three separate limes with a person
confiding in a somewhat pleasant
drunkenness but nonetheless sincere
honesty their New Years Resolution,
to me All Ihree U4d me separately
that they were once and fur all going
Io quit smoking The It 1A1 on their
(ace* reminded me </ a student who
is trying to impress the teacher with
the right answer They each vowed
to smoke their last ixsc at midnight
and then QULO TURKEY I tried to
cifer cheering parental coach like
words (o them and if I could have I
would have made tile if tasks easier
This all luok place in a small town
where everyone sees everyone at
intervals if only in the gi utery store
So il was not two weeks befire I
came upon each i t my stalwart Q 4 1)
TURKEY friends Each time I sen
lured to ask the outcome of their New
Years resolutions the rcsulis were as
follows One had lasted two days one
had lasted one and one half days and
one had forgixten tlsey had ever
meniioned it
I This i t course having nothing to do
with alcohol I None it them had any
plans to begin again and I sensed the
magic i t a New Year had somehow
dissipated
The question looms What does
motivate people to change? And how
can we use I he natural cycles of the
calendar or environment to give us
the inspiration we need to combat
daily tedium and human inertia?
I remember a resolution 1 made
when I was suleen ah one ghnous
n ar before my life gig serious on me
told everyone I was going to tie
come a clown and |cnn the circus
when I turned eighteen At least it
made them laugh Twenty years
later that memory surfaces and I am
left wondering who that person was
Yet somethings deep inside me have
not changed 1 wanted and still do to
make people happy I realize even
mrw this i! still possible
Anything is at some level possible
and at some level we are all clowns in
a huge complicated arcus So if I
resolve anything it is to be a better
clown this year than last year and to
pay mure attention to the vide shows
Dance and Remembrance
111 ( m r t i I !•«•«•«>
• kn«w before | dialed he» numhrr
lhal lo have » fiwxl (O fl'ffu tK )»
• ilh M r,»ro , leading woman di
rector about her new film. fA)»;
An. it would be good to draw *
ditlm rtion between a feminine
perspective and a femmiti one
South of the border (and some
lime» here). I be latter term reao-
naie» with separatist connoia
lions " I prefer lo say my Mm
presenls the fem inine aide of
things'’ Marla Novaro quickly
answered referring to her story
about a Me«Ko ( ily telephone
operator and ifon/An contest
champion who take? off lo Vera
cruz in tearch of her dance
partner
Semantics a«ide, for a la tin
American woman to complete a
feature him. receive acclaim at
( annet. and ace that mo»ie re
leased in commercial theater» at
home it a true rarity. even in the
‘* h Novaro'« second feature ha»
been heralded a« nothing le«» lhan
a national phenomenon — there
• a , n ’t a respectable paper in
Me»KO lhat didn'l have »ome
thing positive to say about Dam
dn when it opened there in late
June and local audience turnout
put» the him in competition with
the Holt »wood import» that domi
nate M encan screen, Novaro
teem» to be handling her «ucce»»
with aplomb When I reached her
in her hometown of Me»rco City,
where the wag taking a hcief break
between trip« to festival, in Italy
and New York. Navoro sounded
neither fatigued nor daunted by
having lo amwer quesltons about
her movie for the umpteenth
lime In fact, »be like» to hang
around theater« where fMnzAn is
plating to watch the retponte and
talk to her audience
In the course of our converts
lion. Novaro esplamed how her
politic« and film m a k in g had
evolved in the decade »mce »he
began her career ai a member of
the ( me Muyer collective There
• a« a period in the 10». »he not
ed. when many women filmmak
er» in Meaico, including her»elf.
taw it «, their mission to render
the lives of urban working-data
women as tale» of unparalleled
heroism Thu led lo several hagio-
graphic documentaries about
wamsiresses. prostitutes, and oth
er Me»ico City female lumpen
"But limes have changed.” she
»aid, "and I'm not interested in
mystifying women, but rather in
eiplonng how we live I want lo
deal »uh the contradict »on» we
face in life and in ourselves "
The world of the w/oncr de
bailr (dance hall», turned out to
be the perfect place lo eiplore
those coniiadit lions Novaro and
her sisier Beatriz researched the
script they cowrote by immersing
ihem»el«rt in that nostalgia laden
world found throughout Menco.
where a largely working-class cli-
Director M aria Novaro
l K S I j-A l L R JC H
R E L IE E 'IlL E S
A Party io r A (.'hange
INTEKJOR/EXTEWOK DECORATION
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enleie regularly pthers lo display
dance steps that have remained
unchanged for generations Ac
cording lo Novaro. she was pur
pose I y looking foe a popular cul
tural space neeped in tradition—
lo show how much latitude and
comptesity could he found if the
rigid surface were scratched So
from inside those dance halls No
varo shows how modern women
despite their independence stiff
long al limes for ihe chivalry of
the pail
N ovaro'« protagonisl Julia
(Marta ffoyo). loves following the
romantic, traditional rules of mas
culine and feminine behavior thal
Ihe donz««n dictates Outside the
dance hall, however, she is a tin
gle m other oL an .adolescent
daughter, and manages her inde
pendence and her social life with
»killed restraint Her dance part
ner it only a dance partner, not a
(over, maintaining a practical split
between art and life
Julia's In p to look for her part
ner. who's disappeared mytlen
ously— lbe first lime she's trav
eled alone in her life— lakes her
into a female-centered universe
lhat allows her lo look at herself
and her own desire Those she be
friends along Ihe way are No-
varo'a m in td e c o n tlru c iio n i of
clatstc female aiereotypes Doha
Ti (Carmen Salinas), Ihe motherly
hotel manager. Chocolate (Blanca
Guerra), the warm hearted prosti
tute. and Susy (Tito Vasconcelos),
Ihe sym pathetic transvestite
When the prostitute tries lo figure
out if she know» who Julia', look
ing for by a,king how quickly he
get, an erection, you know thi,
i»n'l ju»l any Meiican movie And
when Suty in drag gives Julia a
makeover and then plead, with
her to leach her how to dance like
a woman, nol like a man. it', clear
Novaro it subverting grnder roles
not just for her character, hut for
Me«rcan cinema
To provide a backdrop foe Ju
lia'a adventure, Novaro zeroe, in
on vestige, of Meacan popular
culture of the '40s and '50s. lin
gering on photograph, ol Ihe mov
ie «tai,, sentimental ballad, and
dance music and even ihe graphic
de»ign that are identified wiih her
country'» last goldrn agr The ,up
porting character, who itrve a,
Julia', confidani, are invariably
connected wiih that past— the res
taurant where her dance partner
worked is a veritable shrine lo
famous unger, and actors of old
Doha l i warhle, Ionia la Nrgia
song, in her room And Susy
base, her onstage character, on
tropical bombshell, like ( armen
Miianda and I a fongolele
"M y sisier and I con,inn le d
the Mm around ihe idea of nosial
gia ” reflected Novaro “ Not «mt
ply a nostalgia for ihe heyday of
Ihe dance hall, and Ihe music, but
for a M e tr o lhat is being lost —
th a n k , to Ihe p ro c e s , of
Americanization we are undeigo-
mg I believe that it's Me,ico. and
a pnde for »hal i, M e ic a n lhal
must be defended
“ Foe ihe women in the Mm.
there i, also a nostalgia for a lime
when they might have fell protect
ed. for the romanticism of dial
culture
the donzdn dancers
have a saying— lhat in life, a, in
Ihe rfunzdn. the man lead, and ihe
woman follow, It may be lhal
way in the dance, bui no longer in
life ”
C om< jo»* ub a» « « erafl • n m a g t
■
lo hend lo our countrG« k a d e rv
Pavilion
4 IS •
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haiuTifiil wmb
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