OCR Text |
Show The Newspaper Thursday, November 19, 1981 Page B7 .. .. ; ( ii ii ii w rTCjafi r , --iri vv f ti-l .. B For Lease & 4i W- l ,S O 614 Main St. Building ' F Will build to suit. k ffe (y : .UrVi (Z Contact Donna or Bonnie, 649-9066. y ' JTt - ' jl fcytyW Reopened (or Winter Season ; sffis 'V-W - rlf; ii Mi Fire Special! t5 ;?f V ' I J ' . ! jlil Thursday & Friday Lunch hrtciK- , V;'; ;vr,: ; wfYW Tostada & draft beer Mel Gibson races against time to deliver a crucial written decision from the British Command which will affect the fate of his entire regiment in Paramount Pictures' "Gallipoli." f A Classic 2 Recommended Good double-!' . feature material Time-killer For masochists only V2 The Pursuit of D.B. Cooper D.B., if you're still alive you should get a kick out of this one. What you actually did was incredible enough that is, extorting $200,000 on a hijacked 727, and then parachuting out of the plane into the north woods. But that's just the beginning, the way this movie tells it. According to this, you were a charming devil-may-care type (Treat Williams) and you had your escape planned like clockwork-secret clockwork-secret caches of supplies in the woods and such because you'd learned that stuff in Special Forces. Natural'y, the only two people who spot your modus operandi are an old Army buddy (Paul Gleason) who has the scruples of a snake and the brains of a gopher, and your old sarge (Robert Duvall), who happens to be an insurance investigator for the airlines. But on your side, you've got a spunky, curvaceous woman (Kath-ryn (Kath-ryn Harrold) who hates your drifting but can't resist your charm. Naturally, Sarge chases you through the whole pictureover pic-tureover hills, down highways, high-ways, and through this river-running scene that might even put hair on your chest. And along the way, you're constantly running into the kind of folk who will sell anything or do anything for the right price. Good ol' all-America n greed! Course, the greediest folks are Duvall and Williams two major American actors grabbing the money for what is actually a big-budget TV-movie. TV-movie. But they seem to have a lot of fun slumming. You probably will too. Gallipoli In this superb film, perhaps per-haps the best of the year, Australian director Peter Weir has made a classic anti-war story, not by wailing wail-ing over the horrors of the battle-front, but by savoring what has been left behind- by Rick home, family, young ambitionsand ambi-tionsand taking his time to move on and show . the - disastrous 1915 military campaign on the Gallipoli Peninsula in the Mediterranean, Mediter-ranean, where Australian troops were slaughtered by the Turkish allies of the Germans. Archie Hamilton (Mark Lee) is a promising athlete, "the fastest runner in West Australia" so they say, but he feels compelled to join the fighting, though it seems a world away. (Australians reading the papers can barely pronounce the names of the battlefields.) His friend Frank (Mel Gibson) would rather sit out the war, but it coaxed along by Archie's good nature and the reproaches of hometown patriots. pat-riots. How can he stay, an old lady pipes, "when the Germans Ger-mans are crucifying kittens on church doors in Belgium." Bel-gium." In the film's best sequences, se-quences, the two heroes are on the move through the harsh outback. A contest against this wilderness is tough, but at least physical strength and endurance here still have value. On the battlefield it is quickly extinguished. Weir's treatment of his characters is rowdily ironical. ironi-cal. And the beautiful direction direc-tion and photography move easily from the Australian wilderness to the dusty, chaotic trenches of combat, where soldiers choke and die, and the arm of a partially-buried corpse sticks out from a trench wall. A few cliches exist (the pompous-ass pompous-ass British officer who orders the Australians into a massacre), but they are small against this monumental, monumen-tal, epic film. Rich and Famous Is it a drama? A comedy? Two mints in one? The latest film by respected director George Cukor tries to be pretentious, campy, and luxuriously lux-uriously soapy all at once, with its story of two college chums who want to live each other lives as they grow into middle-age together. Liz Hamilton (Jacqueline Bisset) is a serious writer, quietly patrician and deadly philosophical who drinks a lot and yearns for a man. Merry Noel Blake (Candice Bergen) is married, gains fame as an author of trashy novels, and yearns for liter Brough ary respectability in her humorous rustic, abrasive way, As these two suffer their way through the years, the audience is supposed to wonder if their sorority-house sorority-house teddy bear the symbol sym-bol of their friendship will survive their eventual confrontation. con-frontation. The highlight of the film is the comic performance of Candice Bergen, who has become a female George Hamilton. She is winning acclaim by spoofing the parts she used to play seriously (and badly). Bisset is bogged down by the script. And the men in the film are equally dismal. David Selby, as Bergen's husband, has the charm of a breadstick. And you won't be captivated by the "sensitive" romance between Bisset and young "P.olling Stone" reporter Hart Bochner. They're both so sensitive that the slightest ripple in their mutual vibes threatens to capsize them. The dialogue is bitchy-literate. bitchy-literate. The glamour scenes of California and the New York literary world are badly staged. And except for Bergen, and a rapturous score by George Delerus, "Rich and Famous" leaves you wondering why you bother to go to the movies. True Confessions A modest little film that impresses not with its big themes Law, Religion, and Corruption but with the insights of director Ulu Grosbard and stars Robert DeNiro and Robert Duvall. It's a tale of two brothers. Father Desmond Spellacy (DeNiro) is am ambitious priest with a deft financial hand who begins to wonder if his real-estate dealings have anything to do with his holy calling. Brother Tom (Duvall) (Du-vall) is a copy, occasionally on the take, who begins to weary of his violent world, especially after the bloddy trail of evidence from a chopped-in-half female corpse implicates a prominent promi-nent Catholic businessman in Father Desmond's parish. The film could have been another wallow in corruption, corrup-tion, Watergate-style. It chooses to show instead, with casual, throw-away style the moment in two men's lives when a crisis of conscience altered their destinies. des-tinies. And the moment is given breath by the two performances DeNiro, quietly pained and introspec tive, and Duvall, hot-tempered and given to nervous barks of laughter. Director, Grosbard can take a mundane mun-dane scene and build it to something formidable and terrifying (example: Duvall 's inspection of the blood-streaked blood-streaked murder scene). With these talents, "True Confessions" goes beyond bitter expose. Tattoo Where were we? Oh, yes. Bruce Dern was just telling the movie-going public that he doesn't always play crazy people. So let's be charitable and say his role as tattooer Carl Kinski is another ano-ther in a long line of obsessed characters chillingly, quietly earnest; hulking, but with a kind of rabbity vulnerability in his face. Dern's conviction, however does not make up for the sordid, shallow story in "Tattoo." When Dern falls in love with fashion model Maud Adams, he thinks he has found both the perfect woman wo-man and the great canvas for his work. Adams, a fresh-faced, confident specimen speci-men of the New Morality, isn't anxious to play either role, so Dern kidnaps her to his seaside home, and, with a gently degrading protective-ness, protective-ness, keeps her doped up long enough for his tattoo needle to do the job. Adams is an appealing heroine, and director Bob Brooks has a certain hypnotic hypno-tic flair when he-shows the undulating, full-body tattoos of the Orient that represent for Dern a sexual-artistic Nirvana. But the script doesn't make us understand or care about his perversion. His deviant behavior is simply put on display, and it's glibly explained as a puritanical reaction to all the cretins in his life family, business associates, the customers who ask for dragons and pudenda designs on their bodies. Adams' nude body, while integral to the story, is flashed often mainly to pander to box-office T and A considerations. The film has the shock of a movie like "Taxi Driver," but not its insight. After seeing it, your emotions feel like they've been pawed by greasy hands. LL'7 ! ' Monday. Friday 11:30 -2:30 r A P A f A lt Weekends 12:00 -10:00 Dinner: Monday Night Special Bar-B-Que Ribs (All you can eat) salad barbreadsbaked potato or rice $7.95 Sunday Thursday 6 10pm, Friday & Saturday 6 11pm Grub Steak Lunch Monday through Friday 11am 2pm 649-8060 K K S i A I' RAN Prospector Square I J |