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Show Page B4 Thursday, October 21, 1982 The Newspaper IEeell WawrM by Rick Brough If you like Woody Allei you're in for a big treat kf if it ICO 1 1 if Ml L-JX 1 Ge Mariposa Restaurant will remain open through the fall season Fall hours: Tuesday - Saturday 6:00- 10:00 p.m. Will be in effect until the 1982-83 ski season At that time we will return to a seven day a week schedule If you ever needed a reason to camp out in Salt Lake for a couple of weeks, this is it. Plitt Theatres are sponsoring a Woody Allen festival, from Oct. 22 to Nov. 10. This is a good opportunity for some college student using Allen as his thesis. The Woodman has been a major director from his hilarious episodic "Take the Money and Run" in 1969 up to last summer's rambling piece of neurotic naturalism, "A Midsummer Night's Sex Comedy." Neither of those films is in the festival, but practically all of Allen's other work will be shown. I'm glad to see the Plitt is featuring "Bananas" and "Everything You Wanted to Know About Sex," two films from the early 1970s that I missed at the time. "Bananas" (1971) came out of the craziness of the student protest era, and like many Allen flicks, concerned concern-ed the picaresque wanderings wan-derings of a nebbish. All was brearthlessly eclectic, drawing jokes from all over. As one writer said, he was the only comic who could combine references to Russian film, Kierkegaard, Howard Cosell, and the dangers of bedwetting with an electric blanket. "Everything You Wanted to Know ..." has been called erratic and tasteless but the comic episodes, even for those who haven't seen them, are well-known bits of Woodyana: the mad doctor kicked out of Masters & Johnson (John Carradine) who creates a giant breast that rampages through the countryside; Gene Wilder as the man with a crush on a sheep; and Allen as a randy medieval court jester who gets his hand stuck in a chastity belt and struggles to get loose before "it's the Renaissance and we're all painting." Perhaps "Sleeper" shows Allen at the peak of his popularity. When Woody is hauled out of a time capsule, wrapped in tin foil, you know this isn't exactly "Buck Rogers." He performed his best physical comedy here, such as the Orgasmatron and a monster souffle that . f jK 3Gffl33 First Security's All-Savers Tax-Free Account really looks like this: 7-48 10,535 Tax Equivalent yield based on taxable income of $25,000 7-48 1L164 Tax Equivalent yield based on taxable income of $35,000 748 13357 Tax Equivalent yield based on taxable income of $50,000 'Example used based on current rate week of 10-4-82 and 1982 tax rates for a joint return. Substantial penally, including loss of tax exemption, if account is closed before one year. With last year's Tax Reform Bill you don't have to pay income taxes on the interest you earn on our All-Savers Tax Free Account. And because the interest is tax-free, you earn the equivalent of a much higher taxable interest rate. Using the current yield quoted above, which is set by law at 70 of the average investment yield of 52-week 52-week U.S. Treasury bills, is probably the highest you'll get for this amount of money anywhere with insured safety. Regardless of how much you earn or how little you save. You can still earn income tax exclusions on your 1983 tax returns. And the only way is to open your First Security All-Savers Account before December 31. Even if you have already started an All-Savers Account, you can open another to help you earn up to your maximum in tax-free interest. It's a once-in-a-lifetime opportunity which permits you to shelter up to $2,000 interest on a joint return ($1,000 on an individual return). Either way, our All-Saver Tax-Free Account is the surest way to get the guaranteed interest you want with insured safety. It's a tax break you deserve. Sign up at any First Security Office before December 31. Each depositor is insured to $100,000 by FDIC. First Security Bank of Utah, N.A. First Security Bank of Idaho, N.A. First Security Bank of Rock Springs First Security State Bank runs amok in the kitchen. "Love and Death" was a little lit-tle stodgy, with its references referen-ces to Tolstoy, Ingmar Bergman, and meditations on death. (At least it's not as bad as a night with an insurance in-surance salesman, Allen points out.) But we also had Diane Keaton, who was by then Allen's perennial leading lady, and a spotty visual elegance that would become more important in later Allen films. No Allen festival would be complete without his two supreme works, "Annie Hall" and "Manhattan." "Annie Hall," the bittersweet bitter-sweet chronicle of an affair between flighty Annie and neurotic Alvy Singer, was delicate, lively, and unforced unfor-ced in its message about the ephemeral joys of life. Diane Keaton will never outlive her image as Annie, who moves beyond Alvy. (You might say she grows but is it really growth for her to take up with a mellow Paul Simon in a California clime where "The only cultural advantage advan-tage is that you can make a right turn on a red light." Allen started to reveal his personality more. When Alvy starts ramming cars in a parking lot (and there's a flashback to him as a frustrated boy on the Dodgem cars) it's a sign of vulnerability that strikes our emotions off-guard. In "Manhattan", he was a likable character who did some unlikable things. Both he and his married buddy (Michael Murphy) have an affair with the same woman, (Diane Keaton). They are part of a group that is intellectually in-tellectually constipated and emotionally erratic. Allen gave us his finest acting when his character realizes that he loves, not Keaton, but the high-school girl (Mariel Hemingway), he had softly ditched. The entire film is' not as good as "Annie Hall," but its dramatic moments are richer. Finally, the Plitt Theatres have had enough integrity to include two of his less popular works. "Interiors" was a plunge into drama, about a frustrated husband, domineering mother, and three grown daughters. Allen was occupied here with austere compositions, careful care-ful lighting, quietly tense acting, and while the results weren't inspired, the film was an honest, respectable, respec-table, intelligent attempt to grow. His worst film, "Stardust Memories," looked too much like a copy-cat. Allen poured out his feelings in a story about a comic-film director surrounded by fans, cineastes, and producers who each want a piece of him. We could forgive the putdown of his fans, but not the attitude here that his early films were glib, jokey affairs. The film was an obvious imitation of Fellini's ' W. But even here there were moments Allen looking at an empty movie screen as it were a shrine or a challenge ; his fantasy of meeting flying-saucer aliens, who say they like his films, "especially the early, funny ones;" the nightmare about a fan who blurts, "I'm your biggest fan"-and shoots him! (The film was made before John Lennon and Jodie Foster.) Good or bad, Woody Allen is never a time-waster. Watch your newspaper for times and dates, so you won't miss your favorites. Big Band Night winners announced Rick Gossard and Debbie DuPont of the Arthur Murray studios judged the swing dance contest. Wendy Walker and David Fisher, both from California, won first prize, airline tickets and a week's lodging in Acapulco donated by Western Airlines and Marriott Hotels. Diana Millman of California and David Jennings Jen-nings of Nevada took the second prize, a champagne weekend at the Salt Lake Hilton. Third place winners, Heidi Hicks, Pleasant Grove, Utah, and Flint Finlin-son, Finlin-son, Delta, Utah, will dine at the Claimjumper, compliments com-pliments of Lloyd Stevens. Wnimepipegg by Rick Lanman The shooting in Teddy's bar Emilio Gnoli grew up near the tiny town of Maribor in northern Yugoslavia, just south of the Austrian border. His father, a local police official, was an avid gardener and home handyman who enjoyed woodworking and cooking. His preserves were locally famous and fall always found the senior Gnoli trotting past neighboring homes offering his bountiful harvest. When Emilio was just three years of age, his father planted the beginnings of what became a grape arbor. At seven, Emilio watched his talented father produce their first wine, a robust red made from Barbera grapes. Gradually as the boy grew older he participated in the wine making and grew quite accomplished. During his secondary school training he read a great deal on wine making and eventually refined the family product to equal those produced commercially- Although generally life was happy and full of rewards for the Gnoli family, they were increasingly bothered by the political problems facing Yugoslavia in the late 1940s. The Gnoli family, particularly Emilio, was not happy with the increasing communist domination of their country. The senior Gnoli, too settled in his ways and perhaps lacking the vision of his son, had decided to remain in his native land. Although irritating, the changes came slowly and were philosophically not that difficult to accept. His son, however, had frequently posed questions about the world beyond Yugoslavia and showed inclinations to travel. Thus at 17, Emilio moved to northern Italy where conveniently, the family had relatives in the wine business. Antony Gnoli, a cousin to Emilio's father, owned a small vineyard of 40 acres near Treviso, some fifteen miles north of the Bay of Venice on the Mediterranean. Off the bay blew moist breezes that afforded moderating temperatures, perfect for many fruits including grapes. Here Antony carefully cultivated his grapes, including the Corvina, Rondinella, Negrara and Molinara varietals. As in Emilio's home vineyard, Antony grew some Barbera as well. Some forty miles to the west of the Gnoli family vineyards grew some of the best known wines in Italy: Valpolicella and Soave, the latter grown from Trebbiano grapes. Most of the Gnoli wines, however, were sold locally and the winery operation was small. It proved to be an excellent training ground for Emilio, who quickly learned the operational methods of a commercial winery. Like many young people his age, Emilio wished to see the world and the United States especially. One of the vineyard workers, Rudy Benche, shared Emilio's taste for travel and in the spring of 1958 they set off for America. They sailed from Bordeaux, France and arrived in New York just as summer settled in. Following their arrival, Emilio inquired into New York winery operations and was pleased to find much wine being produced in the state. Realizing that both he and his traveling companion were short of funds, Emilio suggested finding work in the vineyards. Rudy had other thoughts, however; he had heard America was a place to live free and easy. They could cross America riding the rails he said, and live off the fruit trees and streams. Emilio found this vision of America hard to swallow and instead convinced his friend to take a short trip to the vineyard country. The closest major grape growing center at the time was the Hudson River Valley, north of New York. They made their way to the town of Highland, New York and that might have very well wound up their permanent home were it not for the shooting in Teddy's tavern. Much impressed by the beauty of the area and the wonderful vineyards, the duo had sought out Teddy's, the local watering hole for dinner and a little wine. Many hours and bottles of wine later, the two young men were very drunk. With them were two young ladies of Highland, an Elizabeth Linden and her friend whose name has been lost to history. A little past midnight insults over the ladies were exchanged with a neighboring table and later that night a shooting occured. Emilio Gnoli was arrested for murder and Rudy slipped off quietly into the night. The trial that followed was the talk of the state for a month. Emilio steadfastly refused to offer any alibi for his whereabouts although he repeatedly claimed his innocence. in-nocence. The trial drew much media attention. At the time New York was experiencing many difficulties with immigrants immi-grants and these two from Italy and Yugoslavia seemed to add fuel to an already burning fire. It looked as though Emilio would be found guilty. On the final day of the trial Emilio sat glumly in his chair, though certainly not slouched. He respected American justice and assumed he would be found innocent. As history would have it Emilio was naive, but also very lucky. A surprise witness came to the stand in his defense. He protested, but to no avail. The witness was Elizabeth Linden. She could vouch for the whereabouts of Emilio Gnoli; he had been with her all night. Was she sure? Yes. With no defendant to prosecute, the state finally searched earnestly for Rudy Benche. Locating him near Buffalo, he was returned to the Hudson River Valley where he was eventually convicted of the crime. And what of Emilio and Elizabeth. Well, there was an old saying in those days concerning proper young ladies. When quizzed about sex and marriage it was said that "Young ladies who do usually don't." Happily this old saying turned out to be wrong just like many old sayings. Emilio and Elizabeth married and moved to the Finger Lakes country of western New York where they started their own vineyard and winery. They are still there today, producing an excellent wine from Barbera grapes, just as the senior Gnoli did. Their three children help run the operation with their daughter performing in the role of marketing agent. It would seem, thanks to the Gnoli family, that happy endings do still exist. |