PAGE 12 by Dave Watson Having enjoyed David Bowie’s B.C.- Place show | looked forward to seeing his concert in the comparatively intimate coliseum, the small- est hall on his eight month world tour. The Coliseum was_ trans- formed into a huge T.V. studio, with ten cameras scat- ered throughout the crowd and on the stage. Four banks of coloured spotlights were directed all over the audience, backing up Terry David Mull- igan’s statement.that we were to be part of the show. A remote controlled boom cam- low (sometimes very low) over the floor aud- ience’s heads for individual A. huge, stubby satin crescent moon was suspended from the raft- era swung shots. (Hi Mom). CFS: The opening act, Toronto’s Rough Trade featuring Carol Pope; played a powerful half hour set including All Touch, Decadance, and High School THE OTHER PRESS Confidential. | saw enough of them to want to take in their full show, although a smaller hall would suit them better. Bowie’s concert consisted of two hour long sets, with a half hour intermission., The show began dramatically with Bow- ie singing with his back to the crowd, then turning around to deafening applause. The light- ing was theatrical (especially on the small Coliseum stage) and the effects that were created reminded me of noth- Sin : | Revlections _A-PBS PRESENTATION @ | SUNDAYS AT 6:30.4.m. ON | GOOD MORNING! TODAY'S QUESTION FOR OUR PANEL IS: "HOW CONSCIOUS IS THE WORKING CLASS OF ITS HISTORICAL MISSION P" WELL, SYLVIA, IGNORING FOR THE MOMENT THE FACT THAT AGREES ON EXACTLY WHO PROBABLY NONE OF US THE WORKING CLASS IS, MY CANDID ANSWER IS: “SOMEWHAT ". N BRIEF, CERTAIN SECTORS ARE, AND OTHERS AREN'T. Vim NOT $0 SURE | AGREE. IN) FACT VM UNCLEAR AS TO WHETHER THIS SO-CALLED MI 1S HISTORICALLY DETERMINED OR A QUASI- NAMELY, ISN/T THERE A SOCIAL CONTRADICTION AT }. WORK WHICH IS DEEPER THAN CLASS? OBVIOUSLY THE DIFFERENCE BETWEEN PEOPLE WITH BLUE EYES AND THOSE WiTH BROWN ! NOW, KVE ALWAYS FELT LIKE PEOPLE WITH BLUE EYES WERE SHALLOW-— LIKE | COULD SEE RIGHT THRU THEIR HEADS! bag NEXT WEEK: "ADORNO ON ASTROLOGY" —WHIM OR PARADIGM ? ©1979 Dar Winner? ing less than the first Star Trek movie. Bowie acted along with all his songs, bringing additional meaning to his brill- iant lyrics. The whole band was as animated as possible, especially the back up singers, Frank and George Sims who ran all about the stage in spiffy suits counterpointing Bowie’s actions. The crowd danced on their seats throughout such Bowie classic s as China Girl, Rebel rebel and Young Americans and my favourite from both shows The Velvet Under- ground’s White Light/White Heat, capped by a blistering by Dave Watson Muddy River is a subtitled Japanese film and a 1981 Academy Award nominee marking the directorial debut of Koehi Oguri. Set in 1956 against the postwar transition- al period before Japan’s tech- nological and economic boom the film examines the inno- cence of childhood. The river which gives the film its title serves aS a metaphor for childhood, beginning pure and then muddying as the adult world intrudes. Nobou is a nine year old boy who lives with this parents in their restaurant on the bank of a river in Osaka. His father is a member of Japan’s ‘‘‘old generation’’, a war veteran with a samuri-like devotion to honour in life and death. He is troubled by memories of the war and is angry the new Japan emerging from the ash- es of his generation. A house- boat moors across the rover from their home and Nobou meets Kiichi, also nine and his eleven year old sister, Ginko . who live on the boat with their mother. The film follows the SEPTEMBER 21, 1983 Bowie makes First Choice guitar solo by Earl Slick. The peak of the show came during the last number Mod- ern Love when the moon swung down, first revealing Bowie’s smiling face as the man in the moon, then open- ing up to shower the crowd with thousands of balloons. This was the best concert I’ve seen in a long time and | think most of the other 11,000 people thought so too. The whole presentation resembled nothing so much as a play with songs replacing dialogue and | look forward to seeing the completed video Muddy River clear two boys, and, to a lesser extent Ginko, as their lives are changed by the world around them. Deaths occur, Kiichi and Ginko’s mother is dis- covered to be a prostitute, and Nobou’s father breaks a sol- emn promise, all of which introduce the children to the world of adults. Muddy. River captures the charming and humorous mo- ments of childhood naturally and warmly while the painful aspects are portrayed without the hysterical overacting com- mon in American films. This subtle and empathetic view- point may in part be due to the fact that Oguri himself was eleven in 1956. Filmed in black and white with simple and usually static camera setups that enable the characters to portray the story without interference, one could forget Muddy River is based on a novel as it exibits the authentic air of a docu- drama with a delicate feel for both the simplicity and com- plexities of life. . Showing at the Vancouver East Cinema. 105 minutes. The only student newspaper at Douglas College is planning a meeting on Thursday, September 29, at the offices of The Other Press, room 2305 beside the second floor cafeteria. The time ofthis exciting and important gathering for aspiring student journalists shall be 12:00, noon. P.S, this will be a ton of fun, honest.