Friday, October 5.197.
5
Mardi Gras Atmosphere Recreated
By JIM McNICKLE
Kennan Harvidge
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A part of the Mardi gras marched through Hoch Auditorium last night. Led by Lille Humphrey, age 73, on clarinet, and followed by anybody who felt like marching, the snake dance wound up and down Hoch's two middle aisles and back to the stage in the tune of "When the Saints Go Marching," the band played the Mardi Gras band, Frank Dermond, treble player, said, "We usually end the concert like this if the audience is enjoying it."
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What was spectacular, however, was the musicians of the Preservation Hall Jazz Band, who gave their audience something to march about.
There was Billie Pierce on piano who is 66 and accompanied Bessie Smith in 1922. It was her last concert.
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played trumpet, filling in for Billie's husband, cornet player Joseph La Croix "Dede" Pierce was out with a stiff neck.
and a trumpet. Actually, it was an introduction for the four other members, each one coming out separately, playing a lick, then handing the solo to the next musician. It was as if they had been doing it all their lives, which they had.
Cie Frasier, 68 years-old, beat the drums when Demond, a young Californian of about 40 years, filled in for his teacher, Jim Robinson, age 81, who was recovering from an operation. The manager of the band, Jaffe, about 35 years old, played the tuba.
The majority are veterans of the New Orleans school of jazz and play it essentially the way it was played 190 years ago. Last night, they gave a near-capacity crowd a picture of what New Orleans-style jazz was and, apparently, still is. "The scene could have been a very loud front porch in the French Quarter; the same vitality and spontaneity was present."
This particular band is one of two or three bands established by the Preservation Hall Jazz band of New Orleans to preserve the music and culture of jazz. Billie and Dede Pierce headlined last night's group, although Percy sat in for two weeks, and they played alongside Billie in most of the vocal numbers.
Billie and Percy began the concert with what appeared to be a musical, musical piece that was almost 20 minutes long.
Billie's style showed much of the influence of Bessie Smith and gained her a handful of flowers from admiring listeners shortly after intermission. Louis Armstrong's raspy vocal style was very evident in trumpet Humphrey when he sang, and his hand movements and continuous swirling of his mouth made one take a second look.
Bille and Percy shared the vocals in many songs last night, including "Saint James Infirmary," Lord, Lord, You Sure Can't Say It," and "Their Age and vocal qualities conveyed the essence of the blues especially well. Wille Humphrey's dancing and singing during "Eliza Jane" particularly appealed to the audience, who appreciated and talented ability on the clarinet.
New Orleans jazz has a definite and strict style that could become monotonic if not played with excitement. The Preservation Orchestra, which had been available but also offered some interesting diversions. Starting with a slow, almost revered melody of "Just a Close Walk With Thee," Willee soiled on his clarinet, displaying the control of the instrument's low register.
Everyone else then took his turn, and quite admirably, until it appeared to be the end of the number. But before anyone had time to applaud, the group broke back into the hand-clapping New Orleans style. They had left the funeral and joined the wake.
All the members of the group appear equal in music ability, but experience in teaching English is not the same.
this music wasn't as serious as the rest of the band played it.
Montand is cast as Phillip Michael Santori, an American adviser to the police of the country. He is kidnapped by the revolutionaries and through the interrogation that takes place during the movie, you come to realize that he is actually the bad guy. He is an American police officer with a history of torture and demolition to keep revolutionaries in their place—which is evidently six feet under.
The entire film keeps raising the question in the mind of the viewer, "Could it happen? Would the American government secretly override it?" The answer is not immediately evident, nor is the plot immediately understandable. Maybe it loses something in the translation, although the English dubbing in is done well.
"State of Seige" has all of the ingredients. An unnamed South-American country is thrown into chases by the kidnapping of seized American countries from their offices in the capital.
In a sort of dull Mission Impossible style, the revolutionaries prepare to make the government step down, but their cause is diverted by the grusome tactics of the militia, and they end up accomplishing nothing.
Interspersed between these events are what seem to be two dozen different flashbacks of Montand (Santori) getting off the plane upon his arrival in the country, the importance of which I have not yet discovered. If the action had been a crucial one or some dramatic event had developed, you could see that, as he stands, you can see the same action hundreds of times each day at any large airport.
"State of Seige" is not without its good points, but they've been used before in both of Costa-Gavras' films, "Z" and "The Confession."
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New Orleans jazz may soon be remembered only in recordings. Performers of this style are slowly dying, leaving only second or third generation musicians.
vice only in the older players. Demond,
although extremely proficient on the trombone, seemed almost half-witted at the high-pitch audience and attendance during his soloes.
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Personal style can account for much of that, but he seemed to imply, at times, that
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The result of compiling these "readymade" and worn plots is a movie that could be excellent, but is instead mediocre. Even without seeing either of the previous movies of Costa-Gavras, the viewer realizes that something is missing, and the movie he could be made, the main plot lacks the complexity that could make it interesting.
Old Techniques Used In 'State of Siege'
Take the government of a foreign country that is being overthrown. Add some excellent photography, some blood and mix in Yves Montand. And you have the basics for a movie by Costa-Gavras, a foreign director who is copying his award-winning movie. "Z."
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The movie has something to say, and says it well, but it does not hit you with the resounding political and social comment of which Costa-Gavras is capable.
By DON KINNEY
Kansas Reviewer
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