The Boston Globe from Boston, Massachusetts • 35

Boston Events Globe Thursday, February 7, 1374 Nude in Museum was alive, and kicking! tJt 1 i 1 7 lis si A MUUMOtMT MLEAM prwano VlL RVCIFUO.MSSePiCO m3 Joan Jonas in her performance "Organic Honey's Vertical Roll" at the Museum of Fine Arts. (Photo by Donald Preston) mi i il iiijj i appeared onstage dressed in the spangles of a sleazy cigarette girl. She bore a tea tray that was really a mirror. I thought of John Lennon's "We make her paint her face and dance." No doubt she intended to tions. "Every sin is a collaboration," Stephen Crane tells us.

Therefore, I feel obliged to identify her cohorts, who were Babette Mangolte, camera-operator, and assistant performer Suzanne Harris. At the Al Pacino transcends run of the mill 'Serpico' By Richard Burgin Globe Correspondent Joan Jonas loped n-state at the Bcston Mu- seum of Fine Arts Tuesday night completely nude. A terrible silence fell over the medium sized audience mostly students with a smattering of gray-beards and I braced mself for what seemed certain to be, if not a shocker at least something more dramatic than the pseudo-psychedelic title of her performance, "Organic Honey's Vertical EolL" I laughed. It was a stifled sound in that reverential hush; humor, I soon learned, was to play no part in the evening's Somber presentation. Ms.

Jonas stood there like a figure out of Andy Warhol's Garden of Eden. Her single prop was a small circular mirror which she rotated slowly around her body, as if she were discovering herself for the first time and was in considerable awe. Meanwhile her shadow and the rotating mirror were reflected in the background. For two minutes it was an arresting spectacle. Unfortunately she continued her ritual, slowly turning and much longer.

She was televised during her pilgrimage about the stage; and her image was shown in another mirror of sort, a TV screen, which acted as a counterpoint to the live performance, a distortion or different interpretation of it, and finally, as a commentary on the artist's preoccupation with various modes of seeing things. There was more than nudity, narcissism and the nobility of Joan Jonas's physique, however. At divers times during her hour-long video-live show she could be seen jumping up and down like a cheerleader, howling like a deserted dog, drawing connecting lines on a blackboard and ordering her assistant to set two tops spinning. This made me nostalgic for my childhood's Christmases in an age exorcism went -public. The performance was not without dialogue.

Ms. Jonas read a lesbian love-letter which, she made plain, had been addressed to her, then added a generous helping of saccharine verse. And she hammered at her mirror, although she was, alas, unable to break it. One other portion of her struggles with identity ought to be singled out To the tune of Montego Bay bistro Muzak, Ms. Jonas Opening 35 "136.2170 jutfe-p i shcwi uiit it nn rat i i.U hi 1 131 1.

SHOWN DAILY at 9:00 A.M.-1 ft 9:20 P.M. fUHSPtUAL STUDENT GROUP RATES CALL WS.DUNT0N At Lt2-2323 Clint EsstwoGd STEUE OUSTin wniT't rim I I Kyi ATTHIMOWT I 00-3-45-6 3Q 9 15 542-4600 21S TREMONT ST. 11 bra J0HM 'MrO' WAYNE lYlClil 426-2720 Mk -fir ENTER IjTfTRll IJ 1 -DRAGON" I BBIW mo Finally, his long, tortured, self-involved journey results in his testimony before the Knapp Commission, which led to the reformation of the New York Police Department. The movie ends with a line saying that Serpico lives now in Switzerland, the suggestion being as a marked man, a hero despised by those he exposed. Melodromatic efficiency is the mark of Lumet's directorial style.

The pace is quick even though the story is heavily repetitious, with one measure of cancelling another so inevitability rather than awestruck horror is the response given to the final disclosure of the drug traffic protection given by the police. The on-location camerawork by Arthur J. Ornitz has 1 ft i 1 ni. MUfl I 4 227-6676 11 (UU 55-1 III 11.15 M. 1 SHOWN DAILY at 10:03 A.M.-12:15-2:30 1 10:00 P.M.

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JAMES CAAN ia i "Serpico," at Tl Alley and the Cheri, is a good, standard piece of movie-making that is likely to be praised for more than it is because of its message. Its message is a reverberating blast at corruption, which would be welcome by moralists at all times but now, with Watergate staining the country's conscience, will be huzzahed by people who normally give morality selling-time only in Sunday sermons. Dedicated to belief in man's perfectability, "Ser-pico's" rage against kickback graft on the New York Police Force is loud, incessant and almost man-ical. It's a movie easy to applaud for the vigor of its statement but," except for the intense performance of Al Pacino as a rookie firebrand, it's a good job, not a great one. Adapted from Peter Maas's best-seller by Waldo Salt and Norman Wexler, and directed by Sidney Lumet, the script is a digest of Frank Serpico's 11 years with New York's "finest." and maybe with unconscious symbolism, Lumet begins with a patrol car's blue spinning siren blast.

Ser- Tonight! convey the idea of woman dehumanized by a male-imposed vision of female sensuality. It was, I thought, like most, of the evening, a singularly meaningless event though secretive enough to pico, thickly bearded, his face leaking blood, has been shot. There is a quick, graphic hospital scene, then a flashback to Serpico's graduation from police school. With occasional referrals to the hospital, where Serpico mends to partial deafness and paralysis, Lumet tracks the episodic story of Serpico's one-man assault against the corruption he finds in the force from the day he walks his first beat. The graft starts easy: a free meal in a greasy spoon exchanged for free parking for the owner.i It spirals from a $300 payoff, weekly kickbacks and, finally, with the police protecting pushers, to several hundred thousand dollars.

Serpico refuses to play the game. He finds a temporary relief in his own integrity. He relies on police friends and they worm false right before his eyes. Easy money is the rationalization for the day-in day-out viciousness of the job. No one knows, everyone does it, so who cares? Serpico goes to a supervisor who promises help in making the situation known but does nothing.

seeitagain.6 "ONE OF 8:15 ft 10:15 p.m. 1 "Kevin Mly, Bp (jggft TALL ft J- mTmaW-THE YEAR'S TEN BEST." I a HeralO Jfc 4 make us incapable of pinpointing its essential emptiness. Joan Joanas' performance is but another example of what the Seventies seem to be producing en masse: banal aberra KEVIN KELLY He asks for a job transfer, is sent to another precinct said to be "a 100 per cent" and discovers just another sewer. In the meantime, he's put down as a maverick in the department or, as one of his colleagues says, "Who can trust a cop that don't take money?" He's suspect because of his honesty. Beyond that, he's a weirdo.

As a plainsclo-thesman working the streets, he lets his hair and beard grow, adopts happy' gear, wears a floppy hat, a' pirate's loop in one ear. He lives in a Greenwich Village pad, has an English sheep dog and a parrot. He reads, studies Spanish, listens to classical music, goes to the ballet. More and more Serpico's life is disturbed by the evil within his work. He knows the situation must be acknowledged, then corrected, but he's defeated at almost every turn.

A girl he truly loves, leaves him, unable to bear his frustration and moral torment. JOSEPH E.LEVINE GEORGE SCOTT -a. iNICHULSm. THE DAY the DOLPHIN VMatoiWii AnAvcoEninsyPMuR THE YEAR'S TEN BEST" Boston Glob Sociity of Film Crttict end of it all I found myself drained. Laughter had left me long since.

Bring back the Marx Brothers' school of artistry. In these dreary but very serious days, nihilism at least should be comic. the right documentary look, from seedy police stations to the ominous dark or the city's mean streets. The score by Mikis Theodorakis is, I think disruptive, sounding to me and out of character. Greek-ish.

Anyway, "Serpico" is as commercial as a good-cop sage made for tv. While all of it is standard, Pacino's performance goes far, far beyond standardization. He proves, if proof still is needed after "The Panic in Needle Park" and "The Godfather," that he's a gifted actor. iqf whatever else I may say for or that shows the way. with courage and determination.

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It's Neil Diamond. It's a motion picture. I 1 with 40 Acclaimed Dancers A full Symphony Orchestra kl I IM1 tilt lfcT lit I Tonight, Friday. Saturday at 8 m. GISELLE Romantic lavorite starring Edri Toth Laura Young with Woylak Low-ski.

JEU DE CARTES World premiere set to Stravinsky music featuring Tony Catan-laro Sunday matinee at 2.30 m. ALLEGRO BRILLANTE Choreographed by George Palanchine featuring Laura Young and Robert Steel JEU OE CARTES TARANTELLA Pas de Deux starring Edra Toth end Woytek LowsVI BACH WITH JACQUES Boston premiere of newly choreographed work by Tibor Zana with Anamarie Sarazin and Tony Catanzaro "One of ite 10 best pictures cf the year!" OEM SHAUT HBC-TV Todtrr Show; NATIONAL $00 Of fffVffW, JOSiPH CflWlS, NttrrttW BOB SAL AGO', Wsffoir AOV fflUMKlS. WVOX WALTER SPENCE. WQA); UOHAfiO HARRIS. WCBS-TV.

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00. 1 8 00 10 00 pm JRUFFAUT'S PAY FOR KKHT la TheHallBartlettFilm Jonathan Livingston Seagull mW 200.400,600, 9 OO ft 10 00 p.m. "ONE OF THE YEAR'S TEN BEST" -John Koch, Herald Amtricar CLAUDE LELOUCH'S -Nauom obsew, Join the Cheering Crowd Tickets from $4.00 'StudentSenior Citizen price with I.D. All remaining tickets at MUSIC HALL BOX OFFICE Open 10 a.m. till Performance time Thursday thru Sunday For Information call the Boston Ballet at 542-3945 Hall Bartlett llCM iiaiiiuiiu EL TOPO'Si PUTNEY SW0PE SqI "iPfzll iSfe WTTFTFTl Won! ISit Su 2.

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