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Show X Page B2 Thursday, June 24, 1982 The Newspaper by Rick Brough If HELP CELEBRATE W &' ! VM 1 2ND BIRTHDAY U WJ igj ,T ,: Mi:, h july 4th -Jbl Jn ! f :-h 0fiooisor,fmis courts nf to r ftMM kW Y4 V Adolph's on the P.C. Golf Course. - fMltlW 'V V fi rrt " 'L ,. . . ffffl nf lilt,! - VJ 1 i " Dance to live music and jff&''UiWK& . 5V2 K 1 . ;V ,7- watch the fireworks Sunday Evening jfti ' I H B r . v e" a- V""111 1 '"rimnmmril m imrmn nniiini n nr - 1 0 7 - A -J- V f - 3N OPEN HOUSE m SUNDAY 3-6 P.M. 2405 Lilly Langtree Court ttIv- ilr it 1-8-1 . - 1 j. ill il iti n M . n - ft 4"" H - Mil V (M t.i WiK.,.,! i in f tra. t kr---if One of Prospector's best, on cul-de-sac. Ideal Victorian home: 4 bedrooms, 3 baths, 2 fireplaces, 2 dens, wet bar, fine natural decorating, huge window seats. $220,000 rospector ATHLETIC CLUB at (prospector gquare 649-6670 Open daily 7 a.m. - 8 p.m. Serving fresh fruit platters, juices, charbroiled burgers and bratwurst, beer and setups. 4f4 COUPON 1 free soft drink 4 with purchase of burger or bratwurst Stuim, Sun & Snack Open Plunge Tuesdays, Thursdays, 2 4 p.m. Lifeguard on duty, non-members, $3.00 Al Pacino, as a Broadway playwright in Author, Author, takes time away from rehearsals of his new play to relax with his kids (L-R) Eric Gurry, B.J. Barie, Ben Carlin, Ari Meyers and Elva Leff. old narrator says ironically, Director Wolfgang Peter- f ' A Classic Recommended Good double feature material Time-killer For masochists only Author, Author Al Pacino, as playwright Ivan Trevalian, heads a family that's like a Foreign Legion squadron it's made up of the left overs from old romances. Out of the five kids, four are from the previous marriages of Ivan's wife (Tuesday Weld), who has left for yet another man. And though Ivan is the best possible father for the kids, his legal claims are shaky. Like Dustin Hoffman's role in "Kramer", this is Pacino's effort to get his Merit Badge at playing comedy and warmth, and the usually-intense actor passes with honors. The script by Israel Horovitz makes Ivan a genuine eccentric a Broadway Broad-way talent who can't tie his own ties; who is prone to disorientation (he answers the phone when the doorbell rings); and has the Woody Allenish ability to throw non sequiturs about his married life to casual acquaintances or strangers. Despite a tendency to use Method Mumble, Pacino's appeal comes through with a fine bunch of child actors. (Especially (Es-pecially good is Eric Gurry, the oldest son and only blood offspring, whose unspoken loyalty says, "If the worst happens, it's still the two of us against the world." Director Arthur Hiller has a little trouble with the few slapstick scenes, his handling hand-ling of Tuesday Weld is cold. (Her I-gotta-be-me philosophy philoso-phy is a thin excuse for ditching marriages.) Dyan Cannon, as Ivan's leading lady, gets a fine opening scene and a few idiosyncrasies idiosyncra-sies of her own. (She takes aspirin with champagne to head off the hangover.) But her role gets short shrift, and she's dropped into the weird gang of supporting characters. charac-ters. (This includes Alan King's pushy producer, and Bob and Ray as two dim, amiable theatrical backers. "Author, Author" is a little rough in spots, but its freshness and humour call for an ovation. Conan the Barbarian r Where is "Conan" playing? play-ing? Anywhere it want to! John Milius' picture has an intimidating vigor; it is rife with beheadings, dismemberment, dismem-berment, and blood spurting in the corner of the screen. The tone is somewhat campy, befitting Conan's origins as a hero of 1930's pulp fiction and recent comic books. But you get the feeling that writers Milius and Oliver Stone were aided by some authentic savage out of pre-history. Conan is a young Cimmerian Cimmer-ian lad whose parents are killed by the rampaging warlord Thulsa Doom. He's bound in slavery to a giant grain wheel, and over the years develops muscles like Arnold Schwarzenegger's which he soon learns to use slaughtering people on the pit-fighting circuit. (The "He gained a sense of self-worth.") Schwarzenegger is obviously ob-viously more comfortable in combat than in a Shakespearean Shake-spearean soliloquy. But his acting has an innocent, awed quality; his eyes light up like little coals when he spots some new wonder, whether it be a giant snake, lustrous jewel or sweaty orgy. Milius manages with a cast that is divided equally between acting athletes and florid old pros like Max Von Sydow, who, for once, seems to be enjoying himself in an English-speaking role as the king who wants his daughter back from Doom's cult of snake worshipers. Dancer Sandahl Bergman is supple and passionate as Conan's woman, Valeria. And football foot-ball player Ben Davidson, as a heavy, looks great when doing nothing more than posing like Mount Rush-more. Rush-more. James Earl Jones as Thulsa is a big, brooding presence, and occasionally gets the chance to sink his teeth into a scene, as when he fires arrows that are actually live snakes. They turn rigid under his magic fingers as he hisses "Seek". Jones and the other actors must grab what they can, for Milius's style is to drag in ghosts, battles, huge sets, and wide plains in a one-damn-thing-after-another fashion. V2Das Boot This story of a 42-man German U-boat crew will suck your breath away. , iii ' M M son has given us a brackish distillation of war's panic, boredom, pain, and helpless ness in the grip of Death. He takes you into the stifling atmosphere of the "boot" (boat), where the sub corridors are like roomy ventilation ducts, but the men (Laud Peterson's camera) cam-era) move along them with dazzling speed and precision. preci-sion. Among the anonymous crew, the director picks out some distinct personalities: the dedicated captain, a journalist who soon loses his young-pup enthusiasm for war, a slightly prissy devotee devo-tee to the Third Rech. All these become one in combat, and this film captures, cap-tures, like no other, the slow agony of submarine warfare, you sweat through the wait-ing-f or-the-other-shoe tension ten-sion "of a" depth charge 4 attack; or even worse, the terror of an injured boat sinking lower and lower until the water pressure becomes so great that bolts pop from the superstructures and fire across the room. The film is so crushing that you can't feel the subtler gradations in mood. (You feel like you've been on a tour of duty.) But while this picture is a grim experience, it's also a fascinating one. E.T. This is a near-perfect distillation of wonder, love, and laughter. "E,T." is short for extraterrestrial, extra-terrestrial, an alien creature separated from his people during an Earth landing when their spaceship is surprised and scared away oy a hunting party of UFOlogists. The frightened alien finds aid and a profound pro-found friendship with lonely lone-ly Elliott (Henry Thomas), a typical, somewhat lonely suburban adolescent. Eventually Event-ually he shares his secret with his older brother (Robert (Rob-ert MacNaughton) sister (Drew Barrymore) and the neighborhood Schwinn-bike brigade who help return E.T. to his spaceship. ("Why doesn't he just beam up?" asks one boy. "This is reality," snaps Elliott.) Director Steven Spielberg has a great feel for kids' innocence and their smart-alecky smart-alecky resilience, the love hate feelings between siblings sib-lings and the 7-11 culture around them. (Elliott "Makes friends with M'n Ms" by offering a handful hand-ful to the alien.) He melds fantasy with science fiction. fic-tion. (The ' pint-sized E.T. finds a blissfully comfy hiding place in the kids' closet, surrounded by toys, large dolls, and stuffed clowns.) Most of all, the film appeals to our fantasies of a friendship that reaches across the widest barriers. The alien forms a psychic link with the boy that is both comic (when E.T. drinks beer, Elliott gets swacked) and poignant, when the two are cornered by the adult scientists. (Less sympathetic sympathet-ic than in "Close Encounters", Encoun-ters", the grown-ups are seen from the alien's point of view big-footed creatures with sinister machines, and big, frightening trucks. "E.T." is rivaled only by the "Wizard of Oz" as one of the screen's best bedtime stories. 'Harold and Maude' to play at Egyptian The Egyptian will present the irreverent '70s comedy "Harold and Maude" for its next Sunday program. The movie will play once, at 8 p.m. Admission is $2. "Harold and Maude", 11 years after its release, is still attracting fans for its defiance de-fiance of Establishment norms and its life-to-the-full-est philosophy. Bud Cort portrays Harold, a rich young man in whom the juices of life have apparently run dry. He gets his jollies by attending funerals, driving around in a hearse, and staging phony suicide attempts at-tempts to shock his mother. (She is never bothered of course, but Harold is amazed to find how fast he can get rid of his dull-witted girl friends by chopping off his hand or hanging himself.) At one funeral, he meets 80-year-old Maude, who still loves life and shrinks from nothing not even the idea of becoming Harold's lover. She poses nude for a sculptor, sculp-tor, steals a policeman's motorcycle, and introduces Harold o such sensual delights as herbal tea. Backed up by music from Cat Stevens, the movie has been hailed as a funny, warm, classic. It is not to be missed. FOUR BUILDING LOTS Located at 1020 Norfolk Ave. Zoned HR-1 which permits two duplexes fairly priced with low down payment Contact Gordon Wirick Capson-Morris-McComb 649-8601 |