Video

Rip It Up, Issue 115, 1 February 1987, Page 6

Video

Sting: Bring On the Night (Videocorp) This film of Sting’s first solo performances has been greatly praised, both for its freshness and humour. The applause is justified; Bring On the Night moves with the pace and flow of a South Bank Show documentary, splicing quick interviews into the live footage. It’s a refreshing change from the usual point-the-camera-and-watch malaise that plagues most “rock” movies; it tells us more about Sting and the band and omits the dull bits.

Watch for the photographer Max Vadukul (a nice change from the usual “cool photographer” poseur whom many musicians keep in tow), who has Sting pos-. ing in a fountain at the art museum, and also for Sting’s wife, who cheerfully carries around the children and her husband’s ego without a single complaint. We see the birth of their child. We see Sting telling the backing vocalists to do what they like “as long as it obeys the basic rules of harmony.” We see Miles Copeland as the ultimate money/career dickhead. We see a lot of the band, Darryl Jones mutters about being pushed around and Branford Marsalis makes digs at everybody. This isn’t a rock movie, this is an education. Fabulous footage, indeed. Chad Taylor

The Gunston Tapes (ABC) The Gillies Report (ABC) Comedy, as Steve Martin pointed out, is not pretty. Especially in the shape of Norman Gunston (portrayed by ultra-talented Garry MacDonald) dressed in a stained blue dinner jacket, a face held together by bits of toilet paper coving shaving scars ("I’m a bleeder,” says Norman) and strands of hair plastered by hair cream. An inventive parody of the TV personality who likes to see them-

selves as an all-round entertainer. Norman, of course, can handle the big ballad number by performing the world’s most horrible song ‘Send in the Clowns’ — and turn it into a work of genius.

His real talent lies in interviewing the rich and famous — on this tape he mystifies Warren Beatty, Frank Zappa, Cheech and Chong and more. To Ray Charles he asks if he is attempting to copy Roy Orbison by wearing dark glasses, and attempts to make Joe Frazier to say sorry to Muhammad Ali. This tape contains some of the funniest moments known to man and shouldn’t be missed. It’s a shame that Norman isn’t around today to confront this generation’s bunch of superstars. It’s also a pity that his KKK bit is missing, where Norman, dressed in klansman robes, walked the streets of Alabama asking people, black and white, if they were members. Truly a comedy of confrontation. The Gillies Report is only interesting if your knowledge of Australian politics Circa 76-78 is still intact. Sort of like an Australian McPhail and Gadsby, but even less interesting. It does have the talents of John Clarke, but it still lacks a punch.

So for a real fun time take a look at the supreme lunacy of our man Norman — awesome is not the word. Kerry Buchanan

Krush Groove (Warners) Hollywood’s first attempt to cash in on hip hop with this mixture of B-boys rockin’ the house, fat boys eating everything in the house, Sheila E running hot and cold over the Simmons brothers, the rise of Def Jam records, black gangsters and plenty of Adidas sweat suits.

Typically terrible script that becomes redundant whenever Run DMC start to rap or the Fat Boys do their musical Three Stooges act. In fact Run DMC ain’t too happy with the final product — too soft, too Hollywood. The boys’ new film will be real hot, a cross between 48 Hours and Rambo called Tougher than Leather, with heaps of violence — wonderful.

My only real complaint is the lack of space given to LL Cool J and the Beastie Boys, who only appear for about 30 seconds each — shame, because LL Cool J and Cut Creator just about steal the show.

Kerry Buchanan