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A Smooth Adaptation

Evita has always been a cinematic work. From its opening moments in a Buenos Aires movie theatre to the use of projectors during "The Rainbow Tour," it uses many cinematic techniques.

Parker's handling of the show's most memorable sequence "Peron's Latest Flame," contrasting the aristocrats hatred of Evita with the military's is every bit as humorous here as it was on stage.

The stage-effective "Art of the Possible," dramatizing Peron's rise to power as a game of musical chairs, has given way to a montage backed by the original concept album number, "The Lady's Got Potential." It's a livelier number.

Evita, the movie, is painstakingly faithful to the Andrew Lloyd Webber/Tim Rice stage musical.

The film's weakness is the musical's weakness. Nothing interest happens in the second act.

When Madonna began singing "Don't Cry For Me, Argentina," Elizabeth, who had never seen the show, said to me, "I thought this came at the end."

On reflection, it does. After it, Evita gets sick and dies one of those drawn out Hollywood deaths.

If not for the imaginary "Waltz For Eva And Che," the show's best number, it's all over but the weeping.