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Pittsburgh Post-Gazette from Pittsburgh, Pennsylvania • Page 21
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Pittsburgh Post-Gazette from Pittsburgh, Pennsylvania • Page 21

Pittsburgh, Pennsylvania
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21 PITTSBURGH POST-CAZETTE: Feb. 20, 1981 'Raging BulP packs cinematic wallop 'Rite of Spring is pulsating The ethnic and social background of the film reflects both men and seems unimpeacbably authentic. But even the street language seems exaggerated for effect. Audiences who think they've heard everything will be startled by the dialogue, hardly a line of which could be printed in most newspapers. All' of the performances have documentary-like veracity, especially Joe Peschi as Jake's manager-brother, who alone keeps the fighter's vicious temper under control. When they finally break in a harrowing scene, La Motta's self-destructive course seems set Peschi's striking and voluble performance is balanced by Cathy Moriarty's sullen, shallow beauty as La Motta's second wife. Looking like the young 'Lana Turner and talking like John Travolta in "Saturday Night Fever," she is unfailingly right. There is unquestionable ugliness in "Raging Bull," but there is astonishing power, too. It may shock you; it will definitely drain you. You won't soon forget it The film is rated for violence and language. Scorsese's references are filmic; literary values mean less to him. Thus, he includes little visual and verbal references to old movies like "The Postman Always Rings Twice" and "On the Waterfront," but be is careless about narrative details. We never learn, for example, what happened to La Motta's first wife or how long he was jailed; yet we are given the exact dates and locales of all his major fights as if they were historical events. Scorsese vacillates between extreme realism (occasionally using actual radio descriptions of La Motta fights) and surrealism (the blood flows in torrents, splattering ringsiders, washing down Jake's body, drenching the ropes during the fight when La Motta lost his title to Sugar Ray Robinson). Like Hal Ashby in "Coming Home," the director lays a carpet of old records' under most of the scenes, but he accompanies the fight scenes with elegiac classical music. In "Mean Streets," "Taxi Driver" and "New York, New York," Scorsese and De Niro have established a rare creative collaboration, one that reaches its peak in "Raging Bull." (Continued from Page 19) character ages, depending on which re- K)rt you read. Whatever the (acts, De iro's performance is clearly the front-runner for this year's best-actor Oscar. Some moviegoers, however, will wonder why major film-makers should be so attracted to such a seamy subject. But it suits the personal vision of Scorsese, allowing him once again to travel those mean streets that fascinate him. The darker side of life and human nature, and its violent manifestations, are his continuing concern. "Raging Bull" only heightens the intensity of that vision. Scorsese approaches his material with great originality. The boxing scenes, the most bloody yet, are highly stylized, using camera angles that make the ring look large enough for a basketball game, making the punches sound like small-arms explosions. When La Motta jealously watches his wife across a nightclub floor, the director employs slow-motion to record what he sees. In the middle of the slightly overexposed black-and-white film, a grainy and scratched home movie sequence in color covers the passage of several years and weddings. It is all masterful movie-making of a highly cinematic sort the Witch and Young Man. Carolyn Paddock (the Chosen One) was surprisingly uninhibited in her dance to the death. Ballet dominated the rest of the program. Guest artists Julie Cunningham and Alexander Agadzhanov offered "Le Corsaire" pas de -deux. Cunningham, clad in an exceptionally frilly costume, was out of her league technically, while Agadzhanov performed with professional aplomb. George Balanchine's "Pas de Dix" suffered from unattractive, floppy tutus for the women and fast tempi on the recording, which interfered with the phrasing in the girls' variations. Peter Degnan was in better shape than he has been recently and fared well in his solo. Only Kristin Schleich captured the essence of the piece, a smoldering blend of ethnic and classical ballet. She made an excellent debut in the ballerina role, with a sharp musical sensibility and assured technique. Douglas Bentz showed artistic growth as he developed more facets of the preacher's personality in a repeat of his spell-binding gospel jazz production "Oh Happy Day." He could, however, delete the busy lighting, the mirror ball, and the addition of converts from the audience. A cheery, athletic "Russian Promenade" completes the program which will run through Sunday. By Jane Vranish Igor Stravinsky's "Rite of Spring" was the focal point of the American Dance Ensemble's latest performance at the Pittsburgh Playhouse last night. The work embodied Nicolas Petrov's grandiose vision dozens of pulsating bodies flinging themselves to the throbbing rhythms Post'Gazette review of the Stravinsky score. Here was an opportu-nity for great masses of circular movement, pounding feet, and flailing arms. Petrov employed them all to a generally better effect than I had remembered. Several moments achieved an exciting blend of the primal forces of music and dance. However, it was still objectionable that Petrov directly quoted Maurice Bejart's original version with the men bouncing off each other's chests. This made the originality of the rest of the production suspect. The earth-toned macrame costumes and lighting added to the general effect of the production. This particular cast had a better grasp of the rhythmic complexities of the choreography than previous productions, although there were still apparent mistakes. Among the soloists, Kathleen Mallon and Peter Degnan exerted considerable force as 1 7C ww urn mi. mi soowmc unm 1 iUH 4HOH0ft FIRST WAIINU SHOW ONLY 6 Paul Ncwnwt FT. APACHE. THE BRONX (1) ltdrl 7:10 I tAUUt UK A UAAMAUJ I lumuni awv lunmiuw Jan tn4, Dlly Potion 9 TO 5 (PG) Ti TM 4 hS Jack Ummon in TRIBUTE (PG) Today ot 7:15 9:35 ityiWJMJtfA AT MIDNIGHT Goldie Hawn at PRIVATE BENJAMIN (R) rmtmwm 617-1334 ACADEMY WARD NOMINATIONS i yy 1 1 Lily Tomlln Clint Eastwood INT WHICH WAT TOO CAN (ft) I THE INCREDIBLE SHRINKING WOMAN (PG) If 7:45 I it NINE TO FIVE 2 00 4 00 6 00 OOt 1000 PG UaT MS rag THE COMPETITION horth Todiy at 1:45, 7:19, 9:40 I 11:09 THE DEVIL AND MAX DEVLIN KM8ESWOOOST.355-0I04 Mi H.6H. mat ioupm.ipoi win TRIBUTE MOUTH Toaiy it 1:45, 7:19, 9:50 I 12:05 looil TESS i7 151 (PO) CHATHAM CENTER261-100 RAGING BULL 210 SIXTH ST.28I-13I3 1 i i oo. 5 30. 7M) i 1010 ii STIR CRAZY wtsTHOTH Todiy il 1:30, 7:49, 10:00 12:09 FOBT APACHeTtHE BRONX At 1 30. 3 40. i 45, 7 SO 10 00 IP) ALTERED STATES MY BLOODY VALENTINE I 101 SIXTH ST.28 1-4356 4356 At 2 00. 4 00, 6 00 8 00 4 10 00 (1 cast wesr xoufNTixlir 1:30, 9:00, 19:10 I 12:10) STIR CRAZY At 7-30 A 9:45 PM. Ha07 KHIBES AVE.682-2334 FORT APACHE wfsthohth east Tdiy il 1:09, 7:30, 9:50 i 12:00 KAGEMUSHA A-7 15 4 10 00 PM (PGl RESURRECTION A7 45945PM (PG THE INCREDIBLE SHRINKING WOMAN Tdiy at 2:09, 9:09, 10:00 11:45 THE COMPETITION Al7 40 (PGl JAZZ SINGER pg Todiy 1:15, 7:59, 19:10 i 12:15 Jack lemmon in TRIBUTE At 7 30 1 9:45 (PG) DEST PICTURE DEST DIRECTOR toberr Bedford DEST ACTRESS Mary Tyler Moore DEST SUPPORTING ACTOR Timothy Hurron, Judd Hirsch BEST SCREENPLAY ADAPTATION Alvin Sargent Paramount Pictures Presents Wildwood Enterprises Production "Ordinary People" Donald Sutherland Mory Tyler Moore Judd Hirsch Timothy Hutton Music Adapted by Marvin Homlisch 5824 KW ADD AVE. 42 1-7900 1 ALTERED STATES Today it 1:99, 7:49, 19:99 I 336 HfTH AVE47 1 -7400 400 6 00 booiooopm ii ORDINARY PEOPLE wowtm Todiy ot V.45, 7.19, 9:49 I 11:55 Ail teati 1 50 at ail timet RESURRECTION At 7 30 9 30 PM (PGl Screenplay by Alvin Sargent Produced by Ronald l.Schwary A Paramount Pcture Directed by Robert Redtord 1 1 danced with admirable XjlSCllS exactitude and vitality. Paquita staged by Alexandra Danilova and Frederic Franklin MAR. 13 14 (mat and 15 (mat) Romeo Juliet (Berlioz) "another triumph" LesSylphides picture perfect in its sylph-like movements. MAR. 26 (Th. 28 (mat 29 (mat) Group Discounts Tickets: Heinz Hall and Kaufmann's or call 281-0360 and charge it Mon. Fri. 9 9. Sat. Sun. 9-4. All lean 5 1 50 at all timet SEEMS LIKE OLD TIMES At 8 00 4 10 0QP (PG) I WITWCTB Qwr MCMUUlX Dy Puirxx POur I wait mm wmwi THE DEVIL MAX DEVLIN cr Todiy it 9:30 i mt UNCCKN AVE.766-I2S4I Ail teats SI 50 ot oil timet RESURRECTION AI730S 9 30PM IPG1 CHESWICK. CALAXY MY BLOODY VALENTINE i wtsr Todiy it 1:45, 7:45, 9:45 11:45 1 All wots 1 50 at all time, THE ELEPHANT MAN At 7. 30 4945PM IPGI Chtswick Bridgtvillt Rd. i Roblntoa Twp. Brt ntwod T. 3AWSON PARK 487-4433) SHOWCASE NORTH. SHOWCASE WEST WHITEHALL NINE TO FIVE At 7 45 IPGI RAGING BULL mVf? CHECK THEATRE DIRECTORIES FOR SHOW TIMES I Mcknight o.367-5880 i a ir.vv RAGING BULL At 7 30 4 9:45 (PI MY BLOODY VALENTINE it! THE DEVIL AND MAX DEVLIN At 7 45 1 9 50 IPGI MtKNIGHT HO. 364-3900 2 AG ADEM AWARD NOMINATIONS STII CRAZY At7 9 40PM. MY BLOODY VALENTINE At8 00 (PI ELEPHANT MAN IPG) Paul Newman FORT APACHE, THE BRONX At 7 30 4 IK rr RESURRECTION At 7 45 4 9 45 PM (PGl 111 J. UN llll Ml I 1HLIHMIUIW.1 4 Aft Best Picttire Best THE DEVIL AND MAX DEVLIN At 7 30 4 9:30 (PGl THE DEVIL AND MAX DEVLIN A17 30 4 9 30PM IPGI DONALDSON CK.941-B 1 1 I mmm. JUtUm' i Director ROMAN POLANSKI THE COMPETITION At 7 45 4 1000PM IPG) 1) L. lemmon tn TRIBUTE At 7 30 4 9 45 PG1 MI. LEBANON 343-7300 SEEMS LIKE OLD TIMES At 7 30 4 9 30PM IPGI DOEMONT, 561-1066 I a TESS At 7 154 10 30P (PG) ISOUTH HILLS MAIL 835-7700 I BBHBSEIBnEMB JJ 1 11 If I "One of the very beM film of the st-ason. A lovely, lyrkal. unexpectedly delicate mtie. Nastaia Kinski is altouether ravishing." Vlj.lm NW lKh TIK( "Impeccable craftsmanship. A rigorously classical, beautiful film." Di.Mi SftH-n. NtUsUtll. THE DEVIL AND MAX DEVLIN At 7:30 4 9 30 P.M. IPG) LMONBOE VILLE, MY BLOODY VALENTINE At 8 00 4 10 00 PM 'PI SEEMS LIKE OLD TIMES At 7 40 4 9 40 (PG) STIR CRAZY At 7 45 4 9 45 (P.) NINE TO FIVE At 7 30 4 9:45 (PG) At timely today a the day it wu written. MY BLOODY VALENTINE At 8 00 4 9 45 PM R) RESURRECTION At 7 45 4 9 45 IPG) STIR CRAZY At 7 30 4 9 45P.M TESS At7 154 (PG) mum mm ONROVILLE MALt372 6145 TM Enooeement One AH Man 1 .50 RESURRECTION At 7 45 4 9 45 (PG) rty tlfAt 'f AON I vV i(. yj f'TZfy I 7:59. 19:10 lit 1:45. 7 19. 9 49 I 1J 1:45. 7:19, 9.49 r1 1 1 THE DEVIL AND MAX DEVLIN AI7 30 4 9 30PM IPGI Ol I MBIA l'KTl'KErRkENT A ROMAN POLANSKI FILM "TESS" NASTASSIA KINSKI PETER FIRTH LEIGH LAWSON hrii.mi.avby GERARD BRACH ROMAN POLANSKI JOHN BROWNJOHN HA'tllON THK MIVI.I. "Tttr THtd RHtR ILLtV HV THOMAS HARIV rHtmx.RAPHtPHY GEOFFREY UNSWORTHbsc i GHISLAIN CLOQUET. am. i rRoiH-cTitiN ntMi.NtR PIERRE GUFFROY cosTL'Mks itMi by ANTHONY POWELL ml sic PHILIPPE SARDE txKVTivt proolc tR PIERRE GRUNSTEIN tcvpRiMM-ctRTIMOTHY BURRILL AMKiATt rRoPLttR JEAN-PIERRE RASSAM i RtDLttiBY CLAUDE BERRI niRtcTtnHv ROMAN POLANSKI All ugh ft 50 at oH time SEEMS LIKE OLD TIMES At7 9 30PM (PGl ffNNHIiSK0fCT8 TT 1-1300; "SEKA IS MAGNIFICENT. THE ULTIMATE TURN CINEMA "DAZZLING. HOT EXOTISM!" I Hxt'tOs i Hi nn ti.t 1 1 in.t ilrtill th. 1 9 tth ihi l'rlM rro.n ft Mrtr lfrwaia Jt lt.m .1 Jr 4 r.loKO uJHitMIW Mwsroji Panavision mioos1" UIW 0Mt(0 ou wO' It ATD10 "HOT. SEXY WITH A TOUCH Of CLASS!" -DAVIDSON STARTS TODAY! ThattTtmtrBirrjh! Hini Af 7:15 10:30 P.M. f' 9J Sout. Htll Moll 3-770O Kj A 7 15 10-30 Ej Wowe.ll Mtl 37J-61S At 7:15 a 10:30 P.M. I

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