The Atlanta Constitution from Atlanta, Georgia • 38

PREVIEW D3 Friday, March 13, 1992 The Atlanta Journal The Atlanta Constitution If dancing were Olympic event, Ailey troupe would sweep golds i $mkh DANCE REVIEW DANCE CRITIC -V- A Alvin Ailey American Dance Theatre 8 tonight and Saturday; 3 p.m. Sunday. Fox Theatre, 660 Peachtree St N.E. 249-6400. are tauntingly macho, the women give back in kind.

There's no passivity, no submission in this dance of roaring hormones. Just one impossibly difficult and speedy lift, fling, wrapping-around-each-other hold after another. Performed to the clanging, rumbling, cacophonous score by Mio Morales, "Dance at the Gym" is so contemporary it makes MTV pale. another hard-edged Byrd-Morales work, is on tonight's program; "Gym" will be repeated Sunday.) "Hidden Rites," which Mr. Ailey composed during his ritualistic period in the early 70s, is no sweet little dance either.

It tells The Ailey troupe is back. And that is cause for whooping, hollering, stomping, whistling and howling like wolves just a few of the ways the opening-night audience of nearly 3,000 reacted Thursday at the Fox Theatre. Let's send the Alvin Ailey American Dance Theater to the closing ceremonies at the Barcelona Olympic Games. The world would come galloping to our Olympics just to' see these splendid artists do things with their flexible, fluid, magnificent bodies that athletes would blanch at In Donald Byrd's "Dance at the Gym," a world premiere this season, eight astonishing dancers aggressively pursue each other in the ultimate battle of the sexes. If the men SPECIAL Alvin Ailey troupe in "Revelations." of men and women of a different time and a different clime, but the erotic tension between the sexes is much the same.

If one sign of a masterpiece is that it never grows stale, and in fact reveals new pleasures upon each viewing, Mr. Ailey's "Revelations" consistently fills that requirement. From the poignant strains of "I Been Buked" to the joyous, got-to-move-with-it "Rocka My Soul in the Bosom of Abraham" the Ailey troupe's signature piece is an African-American treasure. The -dancers are too numerous to single out A single word applies to all. Terrific.

nm See Lon Chaney clowning around: By Steve Dollar STAFF WRITER Homey the Clown has ing on Lon Chaney in "He Who Gets Slapped" (1924). In it, the silent-film star dons yet another of his thousand faces as a bril-', liant scientist who becomes a circus clown when personal tragedy crushes his soul. Laughing on the outside, crying on the inside, Chaney falls for a tantalizing bareback rider (Norma Shearer), but only buys himself more grief as he plots an ultimate act of revenge against his rivals. The film, MGM's first, is the monthly feature of the Silent Film Society of Atlanta. It screens at 7:30 tonight in Building 77, Piedmont Hospital, 1968 Peachtree Road N.W.

$4. 231-1258. "JOURNEY" TO OSCAR: One of the ironies of the Academy Awards category for best for-? eign film is that, often, no one has heard of the winning movie and there is little chance to view it To correct matters, the George Ellis Film Society presents last year's foreign-language winner, "Journey of Hope" (1990), Xavier Roller's drama about a Turkish, family's, quest to illegally emigate to Swit-; zerland. The film screens at 8 p.m. Saturday at Cinevision, 1771 Tullie Circle N.W.

$5. 729-8487. Zukerman, ASO draw inspiration from each other In America, Dolores (Maruschka Detmers) is wooed by the soulful Nestor (Antonio Banderas). flamboV It misses the beat Continued from I behind in Havana. While Cesar) wants to conquer the world, Nestor would be content with theirj own little club.

I The movie is about their love for each other, for the music, for. whatever beautiful women come their way. It's a familiar show-: biz saga; if it had come out in the depade in which it's so artfully set, it might've been called "Two Guys From Havana." First-time director Arne Glimcher owner of a high-profile-New York art gallery (th Pace) and best pal of a high-pro-, file1. Hollywood power broker1 (Mike Ovitz) knows exactly what a movie like this should look and sound like. And sure enough, "The Mambo Kings" looks and sounds just like that dered with the utmost sensitivity and seductiveness.

The same held true of Mr. Zu-kerman's rendition of Vivaldi's "The Four Seasons" (1725). There was an abundance of dazzling pyrotechnics (he provided a textbook lesson in bowing, articulation and phrasing), but the wow factor was balanced by playing of exquisite delicacy; In the slow movements of "Spring" and "Winter," Mr. Zu-kerman's long lyric line proved worthy of an operatic diva. And the fast movements spilled over with vitality, personality and dramatic awareness.

By Derrick Henry CLASSICAL MUSIC CRITIC Pinchas Zukerman remains a musical enigma. A violinist of formidable technique and alluring tonal richness, the famed vir-; tuoso often plays with an aloofness that borders on disinterest and an all-purpose approach that suggests Vivaldi and Tchaikovsky were contemporaries. On other occasions, such as his sold-out appearance with the Atlanta Symphony Orchestra Thursday, he plays as if he were one of the greatest violinists before the public today. in turn seemed to stimulate him. Mozart's A major Violin Concerto, the last and finest of the, five he wrote in 1775 as a lad of 19, depends less on brilliance than on wit, elegance, tenderness Und spontaneity.

Mr. Zukerman brought all those qualities to1 I bear in a reading notable for its subtlety pf dynamic gradation and wealth of tone color. The outer movements were light and full of finesse; the slow movement worthy of the highest accolade Mozart accorded any performance: It flowed like oil. This was a romantic interpre- tation, to be sure, but one ren MUSIC REVIEW Atlanta Symphony Orchestra. Pinchas Zukerman, conductor and violin soloist Music by Mozart, Vivaldi and Marc Neikrug.

8 p.m. tonight; 2 p.m. and 8 p.m. Saturday. Symphony Hall, 1280 Peachtree Street N.E.

892-2414. Perhaps the difference this time was his dual role (in concertos by Vivaldi and Mozart) as soloist and conductor. That's hardly a conceit; rather, it's how concertos were generally performed in the 18th century. And Mr. Zukerman made it work.

He obviously inspired the ASO (strings in particular), and the orchestra movie. But Mr. Glimcher has no visceral connection to the material. He's hired all the right people from cinematographer Michael Ballhaus to salsa queen Celia Cruz but their good work can't disguise the movie's lack of personality and generic It's, the sort of film in which a Ok i 1 1 i so i i Mob-connected promoter snarls. More lew Hits And More Copies! "I "You have much to learn, Mambo King.

Pray God you learn it before the banana boat sails back toCuba!" is not said ironically. Mr. Assante, one of our most underappreciated actors, gives a delightfully showy and self-assured performance. He conveys the seductive too-much-ness of the Latin lover splendidly 0 4 011 SALE now! Up to $4.00 in Rebates! FREE Poster Olforl' FREE Dispenser Offer! Additional purchases ol Dixie Kitchen Cups andor Tiny Toon Adventures Real Fruit Snacks required. Details inside videocassette.

whether he's flirting from the bandstand in his sparkly tux or mamboing the libido out of his brother's shy girlfriend (Maruschka Detmers). 4t vv WW 41 Yi Wvtv I 'e' '-if- AMihi.4 -2- B0YZN THE HOOD Columba TH8IK Homt Van. DEAD AGAIN Paramount Homt VWio- TINY TOON ADVENTURES: HOW I SPENT MY VACATION TMteiMIWimwBrailno. CIM2 WimrHomtVrfM. FREDDY'S DEAD THE FINAL NIGHTMARE CNwUrwHomtVktH.

Columbia TnStar Horn Vktoo. Yet for all its irresistible music and smoky period nightclubs, "The Mambo Kings" never gets really hot, hot, hot. After a bit, yoii begin thinking Mr. Glimcher would've done a better job staging the movie's post-premiere party than the movie itself. However, there is one inspired sequence.

The brothers are spotted by Desi Arnaz (flatly played by Desi Jr.) and, through the magic of editing, they appear Love Lucy," trading quips with Lucille Ball. It's a delicious moment a triumph of technology, mood and nostalgia. trouble is, Lucy blows everyone else off the screen. 'Daughters': A masterful A i.i IT moodp lece I vt. 0Y SOLDIERS JUNGLE FEVER PROBLEM iutch eiMltwillilKlinluiy SWITCH OHBOVIM.

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from Dl their pasts as Africans and as captives as well as to the un-1 fulfilled promise of their future. "We are two people in one body," say's Nana. "The last of the old! 1 1 JnUi'iill i i and the first of the new." h'4 -v'i iff Moving at the languid pace of lip I fffj 1 fiVW Ill THE VANISHING CltMTiriDIHriDutlon. THE ROCKETEER eilWMinKCllipiHI. A KISS BEFORE DYING DOUBLE IMPACT eCobmMTriSlirHomiVttfM.

CStomOrouahomiViMo. DON'T TELL MQM THE BABYSITTER'S DEAD OHMVIMO. MORTAL THOUGHTS 0 MM THSIK Hm WN. AntDmgneiNI Fw a midsummer dream, "Daughters" forces you to enter its world, to take things on its terms. And while the ensemble cast is wonderful, you're likely to remember the light filtering through the Spanish moss, an African talisman bound to a Bible of the intricate lace hem of a Sunday-best dress rather than any of the characters' names.

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