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Show The Newspaper Thursday, May 21, 1981 Page B5 Mime Greg Goldston coming to Silver Wheel Theatre The art of silent expression will come alive in Park City's Silver Wheel Theatre when mime Gregg Goldston performs May 29. Goldston has performed throughout Utah and the nation. In 1980, he was the recipient of the National Endowment for the Arts Choreographer's Fellowship Fellow-ship Award, an honor rarely given to mimes. His technique, tech-nique, a combination of theatre and dance, has gained praise from critics and other professional mimes. Internationally-known Internationally-known Dutch mime, Havre Von Lambach, has said, "Greg Goldston is a very talented and dedicated mime with fresh and significant ideas. There is definitely a place for Gregg in the world of mime." Goldston's performance will begin at 7:30 p.m. The event is being sponsored by the Kimball Art Center. Tickets are $3.50 for Kimball Art Center members and $5 for non-member Mr" f 'Jrfr 'Js' V t . V ry. X-'- 'Vat? ; I- It V Greg Goldston IEeel WrM by Rick Brough 'Atlantic City' : excellent film gives offbeat salute to dreamers A Classic Recommended Good double feature ' material Time-killer For masochists only 2 Atlantic City In the early moments of Louis Malle's new film, we see a (documentary?) clip showing the death of a relic. From a distance, we see a magnificent old seaside hotel that stands quietly for a few fragile seconds, then crumbles crum-bles into wreckage as the dynamite is detonated under it. Old dreams are swept away for new dreams. Both are as illusory as smoke, in this picture. After the dust of demolition demoli-tion clears, the story swings down to focus on Burt Lancaster as Lou, with his roof of snow-white hair, firm but tired muscles, and a face like flaking paint. Lou is now a small-time numbers runner, run-ner, but even in the glory days of the mobs, he was a third banana at most. In drunken moments, he brags he was Bugsy Siegel's cellmate. cell-mate. (Actually, he was thrown into a drunk tank the same night that Bugsy cooled his heels there for five minutes.) It would seem that luck has run out for Lou, but he strikes up a partnership with a hippie (Robert Joy) who has stolen a bag of cocaine from the underworld. But the mob catches up with him, and the kid dies from stab wounds in the newly-opened "Frank Sinatra Wing" of an up-to-date hospital. Robert Goulet still is crooning through the dedication ceremonies cere-monies a few doors away ! Lou is left holding the stash and uses the cocaine money to dress bjmself up in fancy threads (a style he calls "floy-floy") and sets out to romance the hippie's estranged wife (Susan Sa-randon). Sa-randon). Why shouldn't he throw money at her, he explains. "Sinatra gives money to hospitals," he says, not knowing that he is drawing a link between his shady philanthropy and the kind of suspicions that are directed at Sinatra. Malle's film is about the American dreamer, but not the dreamer of the "Rocky"-style "Rocky"-style sports movie who reaches apotheosis with a final triumphant knock-out, home run, or basketball through the hoop. Here, it is sometimes a victory if a character grabs enough money to carry himself and the dream to the next town on the road map. It's not enough to say that Malle parallels Lou's fate with that of Atlantic City. That's only the beginning of the complex fabric he creates. In his world, the old never gives up the hope of renewing itself. And dreams don't ever come true without their cost in corruption. But since the dreams are only grubby visions, the corruption is grubby, not virulent. We might ordinarily ordinari-ly find a bad taste in our mouths applauding a hero who deals coke, but the script by Robert Guare softens the blow by turning it comic. Lou sells his entire stash to a marathon poker party of millionaires that the . film keeps returning to, like a running gag. Burt Lancaster gives one of his finest performances as the old mobster who's less interested in money than the chance to be more than a third-rate hood. Lou is a quiet, nostalgic man who tries to put on an air of professionalism, but gives way to a cocky dotard's delight when he finds he does have the gumption to stand up to the mob. Susan Sarandon plays his counterpart another character char-acter who suddenly gets tired of keeping her voice down and taking a responsible respon-sible attitude toward the world. She works at the seafood bar, and her dream is to deal blackjack in Monte Carlo. She's taking lessons from a veteran croupier (Michel Piccolo) who trains his dealers as if they were commandos going behind enemy lines. He also has lecherous designs on Sally, and is willing to forget that he's beyond her intellectual depth. (There's a nice little moment when he makes a conversational point, and the only response Sally can make is "Hug!" like a high school girl reacting to a dull boyfriend. (One of the nice things about movies like "Atlantic City" is that they are so rich in "little moments" that you can pick out one for your very own.) Louis Malle is best known in this country for the movie "Pretty Baby," the child-in-a-whorehouse movie starring star-ring Brooke Shields that had such a perverse theme, one" was hard pressed to see what poetry or poignancy Malle thought the story had. "Atlantic "At-lantic City," on the other hand, is a very accessible movie warm, sentimental, and especially funny. Both Lou and Sally have their comic edges. There's also an appealing subplot about the friendship that springs up betwen Lou's bossy, bedridden bed-ridden mistress (Kate Reid) and Sally's spacey sister (Hollis McLaren). They're the film's two "helpless" characters, and the way they find each other is part of the same symmetry in the film that matches up the two dreamers (Lou and Sally) and kills off the movie's scoundrels, both the cocaine-dealing cocaine-dealing punk and the mobsters mob-sters he robbed. Robert Joy, as the thief, supports the early scenes of the picture with his candidly grasping personality, and the picture misses his loathsome charm after he gets a knife in the ribs. "Atlantic City" is a fascinating, fas-cinating, well-acted tapestry, tapes-try, and a strong contender for best film of the year. Cflmroirclhi W9 clnedlMlle m CHRISTIAN SCIENCE Wednesday Evening Meeting Public Warmly Welcome 649-7264 7:30 p.m. 649-7812 833 Quaking Aspen Court LUTHERAN SERVICES vSunday Worship lOyjO at St. Luke Episcopal ( lunch 525 Park Avenue 649-7889 Everyone Welcome The Eating Establishment will reopen Friday May 22nd. Stop by Friday and take advantage of our reopening specials. May 22nd Specials Breakfast 8 a.m.-12 p.m. Eggs Benedict $2.75 (Reg. $4.25) Lunch 12 p.m. -3 p.m. Soup & Salad $2.50 (Reg. $3.95) THE N'Ai ETABL,SHMENT V - WW I 317 Main Street, Park City 649-8284 1 Spring Hours: Monday - Friday 8:00-3:00 Saturday & Sunday 8:00-4:00 NOW OPEN at P5 Featuring: Medaillons de Veau Trois Mousquetaires Veal medallions with artichoke buttons, mushroom taps and tomatoes in a creamy mushroom sauce Veau a la Normande Medallions of veal garnished with apple slices cooked in Grand Marnier liquor Les Escargots a la Bourguignonne Imported French snails served in a homemade herb butter Raclette Suisse A specially imported Swiss Cheese melted to perfection served with potatoes, pickles and pearl onions ...and many more items for the gourmet. Elegant dining at its best. Private party facilities available. Park City's most exclusive wine list. 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