28 — Wednesday, September 19, 1990 - North Shore News

film

Style over substance
works in Wild at Heart

Wild at Heart °*% (Samuel
Goldwyn Co.) Rated R {at the
Park & Tilford, Granville,
Oakridge, and Station Square
cinemas).

MATCH is struck and

the sound explodes.

When the screen fills
with an inferno, we know
some all-consuming passion
fraught with peril is about to
erupt. What else could we
expect in the world of David
Lynch?

In Lynch land, evil and violence
ferment under the surface of the
ordinary American dieam. The
landscape is dotted with strangely
compelling eccentrics and
psychotics.

Sure enough, in the first few
minutes, a knife-wielding hitman
named Billy Ray Lemon (Gregg

Dandridge) has his head cracked
open in Cape Fear, North
Carolina. Even though it was self
defence, Sailor Ripley (Nicholas
Cage) cools his heels in the Pee

TIM
BELL

film review

Dee Correctional Institute.

While most 18-year-olds
woulda’t wait a couple of years for
a killer, Lula Fortune (Laura Dern)
is more than just in love with Sail-
or. Her desire is molten.

Her martini swilling mother,
Marietta (Diane Ladd) hates him
with an equal passion. Partly
because she’s overprotective and
mostly because he knows her
darkest secret, she hires assassins.

After his release, Sailor dons his

snakeskin jacket and breaks parole

with his faithful “Peanut’’ riding
shotgun. Their journey up the
yellow brick road to California is
scattered with wreckage, Elvis love
ballads and killers in pursuit.

Even at the most grisly moments,
humor is planted front and centre.

Viewers of Lynch’s Twin Peaks will
be familiar with his quirky view:
point, but even those fans may be
put off by some of the coarser se-
quences. The dialogue is colorful,
sex scenes are gymnastic, and im-
ages ure unforgettable.

However, at about the haltway
mark, the focus shifts from the
leads. Sailor and Lula take a back
seat to Willem Datoe a snapele-
toothed Bobby Peru, a perfor.
Mance reminiscent of jack
Nicholson’s The Joker.

Still, like last year’s Batman, the
flashy style, overboard theatrics
and great music go a long way to
compensate for a thin story.

We're No Angels * (Paramount
Home Video) Rated R

A comedy that. starts with a
lashing, an execution and a
bloody escape? Are we having fun
yer?

Robert De Niro and Sean Penn
take their Jumps as cons on the
run posing as unlikely and
unbelievable priests. (They're ac-
cepted as theologians, but they
don‘t appear to be able to read a
book, never mind write one.)

Rent Nuns on the Run instead.

Zemel Long broke ground with pregnant pictures

From Page 27
which she inhaled a piece of
eraser at school.

Still speaking with a wheeze in
her voice, the 68-year-old
describes the experience of being
locked up in a sanatorium near
Kamloops as dismal and isolating.

“I spilled ink in my bed and
was always very messy by hospital
standards," she recalls in a com-
panion guide to her show. “The
matrons made sure that the per-
manently stained sheets were
always put back on my bed. The
food was terrible. | used to write
letters home on the thin, dried-out
pieces of meat which looked like
parchment.”

The guide also shows a
photograph of a young Zemel
Long propped upright in bed ina

room (that today serves as her
waterfront studio) in the house
that her parents built.

When she became pregnant in
1952 she was thrown into a
relapse of TB, and was admitted to
a Vancouver sanatorium where
she remained for the duration of
her pregnancy.

“L wanted to be pregnant,” she
says, looking up through dark,
thick-rimmed glasses, her silver
hair swept up neatly in a bun,

“and | knew the risks. The doctor
wanted me to have an abortion,
but | said that | did what 1 wanted
to do with my own body.”’

Showing Women Waiting 38
years after the birth of her child
“is like putting the unhappiness
of the time behind me. It’s like an
exorcism,’’ she says.

The paintings themselves — ex-
ecuted in a hard-edge style using
unostentatious colors with hardly a
hint of visible brushstroke —
were created out of Zemel Long’s
longing to recapture the experi-
ence of pregnancy that she has
always felt deprived of.

“| missed the feeling of being
huge — the elation when it’s over.
It's the series) a statement |
wanted to make about a period of
my life. U think artists relive things
that happen to them.”

In one painting, called Waiting
for Frances (which the artist notes
isn’t for sale), a woman (Zemel
Long) is sitting brooding by a win-
dowsill over an old-fashioned

radiator, hands under chin. With
sensitivity, she has captured the
woman's overwhelming sense of
loneliness.

Although the female nude has
long been a favorite subject of ar-
tists throughout art history, rarely
has the pregnant woman been
depicted.

Zemel Long was the first Cana-
dian artist who had enough
courage to show it.

“Women artists were embar-
rassed about pregnancy, so they
rarely approached the subject. Of
course men never painted preg-
nant women —- the Church
wanted virgin births. And today,
the doctors and scientists have
taken it (pregnancy) out of the
hands of midwives.”

with Women in Waiting, Zemel
Long has allowed us to look open-
ly at pregnancy and ail of its
psychalagical implications — the
tear, the apprehension, the
loneliness — at the same time, the
bliss and the joy.

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