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Show Page B4 Thursday, October 8, 1981 . The Newspaper PRESTIGE HOMES REAL ESTATE DEVELOPMENT PRICE GROUP Park Meadows Plaza Box 701, Park City, Utah 84060 649-8575 Is mm I Mm Mon., Oct. 12-Mission Mt. Woodband (Montana) 9:00 p.m., $7 adv., $8 at door Sun., Oct. 18-John McEuen (Dirt Band) Vassar Clements (fiddle) Jimmy Ibbotson (formerly Nitty Gritty Dirt and Friends Band) 7:30 p.m., $7 adv., $8 at door Monday Night Football Special Sandwiches served Sun. Mon., Tues., Wed.; full menu Thurs., Fri., Sat. Entertainment 7 nights a week at 9 p.m. Open 5 p.m. until 2 a.m., 7 nights a week Tai Higgins & Headfirst-Wed.-Sat. Kat & Mickey-Sun., Mon., Tues. Thursday-Ladies Night PARK CITY :' 649-4146 COWBOY 268 Main St. HOLIDAY VILLAGE MALL, PARK CITY, UT 649-6541 fc i i i Alia i ; $ooo rvionaay iNigni - aii Laaies Tuesday - Economy Night Starts Friday, Oct. 9th, 1981 T Vvj e ynolU Roger Moore -t ni (A Frl.-Sun.,3:40, 7:15 Mon. -Thurs., 7:15 f-rt. Sun. 2:00, 5:30, Mon.-Thurs. 9:00 9:00 ALSO( JANE FONDA LILT IUMLIN m Tf THE UNTOLD STORY Frl.Sun. 2:00,5:20,9:00 Mon.-Thurs. 9:00 m 1 Frl.Sun. 3:45,7:15 Mon.-Thurs. 7:15 per IPGS No one comes clov v to James Bond 007. Frl.Sun. 2:15,4:35 7:00,9:15 Mon.-Thurs. 7:00,9:15 ROGER MOORE FOR YOIIR r EYES ONLY Matinees: also on Thurs., Oct. 8th and Fri., Oct. 9th 1 111 1111 11 . 1 111 " ' "'" i COUPON Present this coupon at the Electronic Doghouse and receive two free game tokens. The Electronic Doghouse is located right next to the theatre. We feature the most popular videogames and delicious hot dogs and sandwiches. r - t-; yy - ' WSvt Mel Gibson (left) and Mark Lee, two young men on the road to adventure, reach their appointment with destiny at a fateful battle in Param ount Pictures' "Gallipoli." Australian Masterwork Poignant loss in war shown in Peter Weir's classic film 'Gallipoli' AClassic Recommended Good double feature ( material j Time-killer ( For masochists only j "Gallipoli" When one of the young Australian heroes of "Gallipoli" "Gal-lipoli" announces he's off to fight the Germans, the ,old man he's talking to, ; a wandering camel ;' rider,' muses, "I met ai'(ierraa' once." "s World War I seems to be in another universe from the outback, and it seems absurd to think it could reach there. When the lad reasons, "If we don't stop 'em in Europe, they could come here!" the nomad looks out at the desert and grunts, "They're bloody welcome to it." The scene is funny and yet poignant, because for all its harshness, this is Homeland to the characters in the movie. And, yes, the echoing siren song of the war will reach even here to take them away. Director Peter Weir has made a classic anti-war film, not by wailing over the horrors of the battlefront, but by cherishing what has been left behind home, family, fam-ily, young ambitions. Weir spends nearly half of the film in Australia, taking his time to move to the horrors of the disastrous 1915 campaign on the Gallipoli Peninsula. Archie Hamilton (Mark Lee) is a promising athlete, "the fastest runner in West Australia," but feels it's his duty to go to the warfront, even if for him it is only a strange name on the map. (Australians at home reading read-ing the war news can't even pronounce the name "Gallipoli".) "Gal-lipoli".) He's only 18, but sneaks into the cavalry as Private Lasalle the last name is homage to the country's, fast great runner, whose record-breaking times 'Archie is already atching, yafe"l (Mel '"Gibsbnf is less eager to go, but is coaxed along by Archie's good nature and reproaches from homefront patriots. How can he stay, an old lady pipes, "when the Germans are crucifying kittens kit-tens on church doors in Belgium." Morality is not that simple, of course, and the European world would realize that after The Great War was finished. World War I apparently ap-parently played the same role for the British consciousness con-sciousness that the Vietnam War played for us. It destroyed illusions, caused a major breakdown in the old romantic ideals of warfare, and fighting for freedom. The British dramas we see on PBS handle the theme frequently ("Masterpiece Theatre" was almost obses sed with it for a time). In contrast to that stiff-upper-lip suffering, the mood of this Australian's -eye-view is rowdily ironical. Weir makes us love the spirit and vigor in his characters, and yet, from Minute One, makes us apprehensive ap-prehensive about the eventual even-tual crushing of that spark on the battlefield. In the film's best sequences, sequen-ces, Archie and Frank are always on the move, competing compet-ing against each other or the elements. (On their way to recruit, they cross a desert where the heat waves are so intense that Archie can't even see the sun to guide himself.) The terms of such a contest are tough, but physical strength and endurance en-durance still asserts a value in the wild. On the battlefield, battle-field, it is quickly lost. Weir shows the dusty, chaotic, terrifying business of warfare from the trenches. tren-ches. (The soldiers have one grisly tradition you aren't likely to forget. They shake hands with a partially-buried corpse whose arm sticks out from a trench wall.) The movie gives us a rare experience the genuine conviction that we are watching the past through the use of a completely unfamiliar Australian cast, and by meticulous, often funny attention to detail. We see, for instance, the World War I equivalent of an army sex hygiene lecture, featur ing a large blackboard drawing of "The Male Reproductive Rep-roductive Organ." Photographer Russel Boyd has brought breathtaking beauty to the film in meeting the versatile moods of the story, from the sweep of the outback to the spooky movement move-ment of troop boats through acrid-blue battle smoke. The screenplay by David Williamson Wil-liamson (based on Weir's story) is especially compelling compel-ling in one running motif-the motif-the litany Archie and his uncle use to psych up for a race. ("What are you jumping jum-ping on?" "Steel springs," says Archie "How fast can you run?" "I can run like a Jeopard') It's hard to praise any one performance in the uniformly uniform-ly excellent cast. Mel Gibson and Mark Lee carry the picture with charm, energy, and boyish vulnerability. Bill Hunter as their commanding officer, and Bill Kerr as the uncle, are splendid mixtures of compassion and authority. And three more fine character charac-ter performances come from Frank's infantry mates-Robert mates-Robert Grubb, Tim McKen-zie, McKen-zie, and David Argue. Even a classic can have a few flaws. In "Gallipoli," the cliches are all too apparent to show the "destiny" of our young heroes. (We all know what happens to innocents like Archie in war, don't we?( There's also a slightly contrived climax concerning a suicidal attack ordered by an idiotic English officer a familiar character who always al-ways dilutes the message of . war films because his mistakes mis-takes imply that warfare is only wasteful and senseless because the troops have lousy C.O.'s. The sequence showing the troops training in Egypt uses some effective, effec-tive, if familiar, serviceman comedy. The biggest problem for American audiences may be understanding the accents a repeat of the hassles we had 20 years ago when British movies first came out with North Country accents. You can retain the sense of most j, dialogue, buW sometimes some-times it obscures important plot points like how Archie persuades his commander to transfer Frank out of the infantry to join his outfit. All these are minimal compared to the overwhelming overwhelm-ing feelings of the film, and the real-life tragedy depicted there. It might seem like Weir is picking a "worst case" for his war film. Gallipoli was a disastrous campaign in a disastrous war a conflict between second-string combatants, the Aussies vs. the Turks. Nevertheless, that is where the Australians made their stand in the Great War. It is a tragic episode that has now been amplified into a monumental, epic film. "Operationsand hospital rooms cost a lot more than you thinhr g MaxO.Vierig 1700 Park Avenue (Mt. Air Mall) 649-9161 Mon.-Fri.9-5 See ne for State Farm hospitalsurgical insurance. Like a good neighbor. State Earm Is there. f STATf FARM INSURANCI 0 State Farm Mutual Automobile Insurance Company Home Office: BJoomMgton, Iftmois David Fernandez resigns as director of Kimball Art Center David Fernandez, director of the Kimball Art Center for the past four-and-a-half years, resigned from that , position Oct. 1. Fernandez will devote his full energies to his artwork. The resignation was for personal reasons, said Kimball publicity director Alan Seko. He has been with the Art Center since its inception five years ago, first in the capacity as assistant director, direc-tor, then as director. Under his guidance, the Center has established itself as one of the state's major visual and performing arts organizations. organ-izations. As one of the area's most active producing artists, Fernandez will continue his association with the Art Center. Cen-ter. He will have a major one-artist exhibition at the Center in the future, and will be included in a number of upcoming group exhibitions. Ray Ringholz, chairman of the Kimball Art Center's Board of Trustees, will serve as acting director until a new director is hired. A committee commit-tee chaired by Rick and Anne An-ne Prince, Park City, will begin an immediate search for a new director. - W ' , llllllBiiIBIrtfP David Fernandez - t |