The Rice Thresher (Houston, Tex.), Vol. 76, No. 12, Ed. 1 Friday, December 2, 1988 Page: 11 of 16
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THE RICE THRESHER FRIDAY, DECEMBER 2, 1988 1±
MFA exhibits works of Frederic Remington
BY KATHERINE MURPHY
T
■ he
I he artist Frederic
Remington is known for his
powerful, realistic portrayals of
Western scenes. Currently on
display at the Houston Museum
of Fine Arts is a celebration of
Remington's talent for painting
and sculpture, Frederic
Remington: The Masterworks.
The exhibit, which runs through
January 8, features the West
through the eyes of a New
Yorker fascinated with
America's last frontier.
Remington's first and most
famous bronze sculpture,The
Bronco Buster (1895), greets
the visitor at the entrance to the
exhibit. Although this sculpture
was created using the sand-cast
method, Remington later"
studied lost-wax sculpture. An
informative video at the exhibit
details this process that allows
the artist to make different
sculptures from the same mold.
The two Rattlesnake bronzes,
numbers 7 (1906) and 17
(1909), show how the lost-wax
technique can alter the mood
and expression, but not the
setting, of a particular moment.
The 1906 Rattlesnake displays
a young man with angular
features atop a frightened horse
confronted by a rattlesnake. The
1909 sculpture evolved as a
more bulky piece, with an older,
bearded man who appears more
in control of his horse in the
same situation. Although the
Rattlesnake sculptures evoke
different emotions, they
originated from the same mold.
Remington's vibrant, dramatic
oil paintings comprise the other
portion of the Masterworks
collection. A Dash For Timber
(1889) is typical of his work in
this medium. The horses,
highlighted with flecks of
sunlight, are rendered with a
clear, three-dimensional quality.
They literally jump out of the
wall toward the viewer; one can
almost hear the stampede of
horses in this spectacular work.
Remington's placid winter and
nighttime settings offer a
striking contrast to his urgent
daytime scenes. The Scout:
Friends or Enemies? (1902-
1905) features an Indian atop
his horse looking toward a
Phil Collins' Buster works
well after T-Day feast
BY HAROLD
BUNNIEMEISTER
Tha
hanksgiving dinner. Hands
of those of you who showed up?
That's what I thought. Hands on
who cares that Detroit plays
football at nine in the morning?
If I see another 68-story
inflatable, anatomically correct
Vanna White, I'll scream.
Hey, I saw Metamucil stock go
through the ceiling on Friday. So
what if the Christmas season
officially starts on T-Day plus
one? If you can see your feet
that morning, you've got Oprah
beat. According to the Law of
Conservation of Fat, all that
stuff she lost had to go
somewhere. I shudder to think
that maybe Geraldo or Phil
might suddenly gain 60-plus
pounds in seconds. We're
talking nuclear detonation.
Liposuction fallout.
I don't think I've ever eaten so
much in my entire life. Wazoo
foodstuffs here. After gorging
myself on your standard
Swanson's Turkey And Dressing
With Cranberry Cobbler In The
Little Tray T-day dinner, people
were asking me who the father
was. Goodyear was checking to
see if I, was available for the
Rose Bowl. I couldn't go out of
my house for three days
because a group of right-to-lifers
were picketing my house "just in
case." I was singing rap music
in my sleep.
Nightmares. Did I have
"nightmares! Usually they were of
the giant-turkey-leg-up-side-of-
the-head variety. Occasionally
I'd get more peculiar ones.
I dreamed that George Bush
was standing on the wing of Air
Force One balancing Ronald
"Lame Duck" Reagan and Dan
"Hawk" Quayle in one hand and
Robert Byrd in the other,
mumbling something about "A
bird in the Bush..." or some-
thing like that.
I dreamt where the President
pardoned his Thanksgiving
turkey and had Oliver North for
dinner. Nancy was screaming
"Just say no! Just say no!" in
the background. I woke up all
sweaty and tingly after that one.
Speaking of criminal heroes,
or heroic criminals, I managed
to get an airlift to the Spectrum
to see Buster, starring Phil
Collins, the mega-pop singer/
producer/cameo star of Miami
Vice who has stolen more than
one teenage heart even though
he is pushing forty years old by
now.
In Buster, or Bustah as all the
characters say in their terrific
Cockney accents, Phil plays one
of the more colorful members of
a gang of thieves that pulled off
the Great Train Robbery of
1963.
Right away, Phil launches a
big campaign to endear himself
to the audience by stealing a
suit from a shop, while it is still
attached to the mannequin. But
hey, it's otay because he
needed it to wear for a funeral.
Later, he shows just how caring
he is toward his wife, played by
Julie Walters, by virtually
stripping a store of infant
products. Unlike Raising
Arizona, however, Huggies
hadn't been invented yet.
You see, Bustah has a dream.
A dfeam to give his family
everything they want or need,
even if he must steal it. Bustah
makes his living by theft, just
like one of his other buddies
makes his living lugging
garbage.
So he comes up with this
plan—why don't they knock off
the Royal Mail Train? Yeah! The
government drives this train all
around the country, full of
money and nobody guarding it.
It's just asking to be ripped off!
We're talking a lot of money
here, in the millions of quid, or
pounds. Remember, this is
1963 before a pound probably
weighed a pound of something.
Since this is not really a
movie about Robbing the Great
Train, we don't get a big
breakdown of the plan to stop
the train and make off with the
moolah. However, it seems
pretty clear that they are more
worried about how to stop the
train, rather than how to get the
train to the trucks where the
millions of pounds of pounds
will be loaded. They figure they'll
hire some old geezer to drive it,
no sweat.
After a visually interesting
sequence of Great Train
robbing, our merry band of
thieves takes the loot and hides
out on this farm; but then they
get careless, probably from
breathing money fumes. They
village from a cliff blanketed
with snow. The coolness of the
winter night enhances the
apprehensiveness of the Indian
scout as he ponders the
intentions of the villagers below.
The clarity of the sky dotted with
stars and the misty breath
emanating from the horse's
mouth increase the realism of
the scene.
Remington's work, regardless
of the medium or setting,
conveys a sense of urgency.
Perhaps this urgency stems
from Remington's sadness at
the decline of the Wild West.
Through his efforts, he has
preserved the West by
successfully capturing what little
of the frontier remained at the
end of the nineteenth century.
MAIL YOUR
CHRISTMAS WISHES
UPS, Emery, US Postal Shipping
Boxes, envelopes, shipping supplies
FAX & TELEX, Keys, etc. ...
2476 Bolsover
in the village
529-4132
Postal and Business Services
AM1L BOXES ETC. US>4
don't want to wait out the
search for the planned five days
and they get fingerprints all over
their Monopoly board.
Within weeks, after your
standard nationwide manhunt,
virtually everybody gets caught,
except for Bustah and a couple
of other guys. Since an election
is coming up, the big parlia-
mentary snoots decide to ream
those nasty train robbers real
good, even though the media
has elevated them to folk hero
status, just under Robin Hood in
the opinion polls.
Bustah and wife and kid try to
hide out in the more fashionable
neighborhoods, but the
neighbors figure out who he is
and tattle to Mr. Scotland Yard,
so it becomes real clear that he
is going to have to skip the
country. No sweat, except for
the fact that his loving wife
doesn't want him to leave. But
soon even the wife starts
appearing on wanted posters in
the post office. They take a
plane to Acapulco.
For a while, it's just like a
vacation. They arrive wearing the
wrong clothes and carrying too
much money. They get
sunburned. The food sucks. The
weather is too good. Then
Bustah's paradise starts to
crumble. The wife doesn't like
the people, the language, the
health care. She wants to go
home. She starts the heavy duty
whining and before you know it,
she splits for England with the
kid, leaving Bustah to watch
soccer games on the telly and
drink infinite Coronas with his
compadre in crime.
Unfortunately, he loves his
wife. (How do I know? Because
they remind each other of that
fact every five minutes just in
case we forget.) He decides to
return to England to a uncertain
but probably bad fate. But hey,
the wife's happy to see-him
because Phil Collins is so cute,
even if he is probably going to
jail for 30 years or 30,000'
miles, whichever comes first.
Phil's accent is very realistic.
There is this really useless final
scene that stretches the movie
just long enough for one more
Phil Collins single. But the
movie works in the end. When
you come out of Buster, you
really can't see a reason not to
steal the cardboard Steve
Martin in the lobby.
riwn nivn i
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Call
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McGarrity, Patrick & Sendek, Joel. The Rice Thresher (Houston, Tex.), Vol. 76, No. 12, Ed. 1 Friday, December 2, 1988, newspaper, December 2, 1988; Houston, Texas. (https://texashistory.unt.edu/ark:/67531/metapth245708/m1/11/: accessed July 18, 2024), University of North Texas Libraries, The Portal to Texas History, https://texashistory.unt.edu.; crediting Rice University Woodson Research Center.