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Show both comic but tragic, apoor befuddled creature communicating commun-icating in grunts with such character that he seems to be talking. We understand his feelings well. Few actors could take such sounds and offer the humor yet compelling com-pelling character Boyle achieves. Superlatives for this film could go on and on, as Brooks has found his genius and used it well. From the beginning sequences on to the last frames, Brooks has packed this film with laughter and comedy appealing to everyone, every-one, from the BLAZING SADDLES fans to those who remember a much different Brooks style in THE PRODUCERS. PRO-DUCERS. I, my self, look forward for-ward to more Wilder-Brooks Wilder-Brooks collaborations. YOUNG FRANKENSTEIN already al-ready is a camp classic that will be with us for a long time. Antonioni is a director geared for the film buff, but not always for all viewers. In THE PASSENGER, he has found more to offer to the American viewing public, if only in his casting of Jack Nicholson opposite Maria Schneider of LAST TANGO fame. The plot revolves around Nicholson, a man who has taken the chance to become be-come someone else. He takes on the character of a dead man, living his life for a while, escaping his own personal per-sonal problems. Many a person per-son has wished to be someone some-one else, and this film lends a feeling to what might become be-come of anyone. Suddenly Nicholson finds himself hunted by enemies he does not know who believe him to be the man he impersonates. He meets up with Maria Schneider, a woman who may be a part of the dead man's past. The film moves with the usual deliverate steady pace of an Antonioni film, slowly revealing itself to the viewer. Puzzles always abound in this director's work, and he has taken a plot and subject that lend themselves them-selves well to his particular style. Once again, Antonioni has proven himself a mas-tercraftsman mas-tercraftsman in the world of film. Looking at the new Opera House schedule, it seems as though we have found a film lover's vacation spot. What better way to spend warm summer evenings than glued to your seat, watchingallthe very good offerings scheduled schedul-ed this month. This week, it would do one good to view each film with it's varied selection in styles and subjects. sub-jects. For those of you who like action, Sam Peckinpah has packed it into his film, THE WILD BUNCH. Still perhaps one of his best films, this western abounds in the violence vi-olence Peckinpah has made his trademark. Those of you who enjoy the shoot-em-up simplicity of westerns will be surprised. As the previews promise, the sky is red with blood. Some find Peckinpah spellbinding, saying say-ing his violence is a study of our own culture. Others may abhor his guts and killings. kill-ings. He is not for timid tastes, by far. WINTERHAWK is one of those films that will receive little recognition by critics but a faithful following. It is rapt with Indian lore, and a careful study for those of you who find the culture of the Indians much more appealing ap-pealing than ours. Basically, it has a sound' story with meaning and truth. Many will find this film not only entertaining, enter-taining, but enlightening. Just when all my faith in Mel Brooks' comic ability went down the drain, he released re-leased YOUNG FRANKENSTEIN FRANKEN-STEIN and I took heart. Gone is the stumbling and reaching reach-ing for laughs that marred BLAZING SADDLES. This film sets its pace qnd con- i tinues onward, rarely veering veer-ing off its course of comedy. . Brooks has taken the style and feeling of the original FRANKENSTEIN and copied it beautifuUy to make his comedy even more appealing. appeal-ing. One realizes that he is much better off when he can be guided by another director's direc-tor's style. Brooks has a sense of humor that is appealing ap-pealing i pealing to a mass audience, but he often stumbles direc-torially. direc-torially. In YOUNG FRANKENSTEIN FRANK-ENSTEIN he has found firm footing. Gene Wilder is one of those actors who plays his role naturally and a bit befuddled, proving to be an asset to any ! film. His portrayal of young Dr. Frankenstein is complete com-plete with actions and nuances that make him a comic character and yet human and believable. He lends his genius to this comic script, and we realize that his name as a collaborator on the script is very important, import-ant, for he has helped Brooks to stop groping for laughs and to zero in on the kill. Wilder has the feeling of many of the great comedians of old, makinghimself touching touch-ing and lovable so that our laughter is evoked by a mere glance. He delivers lines with a slow, serious style that sends laughter to your throat as a natural reaction. Brooks has found a genius for casting in this film. From Cloris Leachman to Marty Feldman all the characters char-acters are perfect. Peter Boyle makes the monster |