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Show war, as insane. Bates falls in love with one of them, yet loves all of them for their childish devotion. Finally, he must choose between duty to the service or duty to his chosen people. This film has achieved a special cult following, never being recognized by the mass audience, but loved and appreciated ap-preciated by film lovers everywhere. The subtlety of its direction and characterizations character-izations makes it a joy to view. It manages to blend humor with poignancy and win the viewer's heart. If you have missed it at the Opera House before, please don't take the chance of missing it again. There has been a change in the schedule, cutting the run of King of Hearts to just Thursday night. On Friday a special showing of Peter Bogdanovich's DAISY MILL - nightmare at Altamont. But for now, we can view the documentary of those three glorious days of mud, rain, drugs, and music in a small rural area of New York state. WOODSTOCK, as a documentary, docu-mentary, effectively chron-icalled chron-icalled the rock festival and its happenings. It is, technically, tech-nically, a very adequate film, using split screen images to further wow an audience caught up in the music. The film served its purpose to recreate WOODSTOCK for those less fortunate people who could not be there as well as give those who did attend a chance to look at themselves. them-selves. However, it is a film that has dated itself, becoming becom-ing a look at a bygone era. I wonder how today's younger young-er people will look at those of us, just a generation older, old-er, as seen through the cameras cam-eras at Woodstock. KING OF HEARTS opens this week's viewing at the Opera House. This film is always a welcome repeat, as it is a rare film full of humor and sentiment while carefully merging in an antiwar anti-war message. The film takes place during the first World War. Alan Bates, a Scottish soldier, has been instructed to find where the Germans have hidden a bomb in a local evacuated city and carefully undetonate it. In the meantime, the city residents have fled their homes, and, quite accidentally accident-ally the gates to the local insa,me asylum have been left open. Bates first stumbles into it while running from German soldiers who have spotted him. The inmates gleefully greet him as the King of Hearts, their ruler. As the film evolves, the madmen become simple, beautiful people who enjoy the basic pleasures. We begin be-gin to see them as sane and those outside, perpetrating ER will preempt the scheduled sched-uled film. It is, indeed, a very sad happening. DAISY MILLER is the director's'' vehicle to bring his off-- off-- screen love, CybilSheppard, to stardom. Unfortunately, love is blind. Cybil Sheppard spends her time chattering through the picture, boring the viewer to the point of tears. One wonders won-ders what a dashing young man can see in this fluffy idiot. Cybil has a pretty face, but Bogdanovich would have been better off to cast her as a mute. Her acting talents have always been suspect, but at last I am firmly convincedthatshehas . none. DAISY MILLER is one of the "most pretencious and boring films I have ever viewed. I must, in all fairness, fair-ness, confess that the ending is a mystery to me, as I walked out of the film at about half way through it, I, for one, could bear no more gibberish chatter amid brooding landscapes. However, How-ever, in all fairness, the costumes cos-tumes were exquisite. In a time of nostalgia, WOODSTOCK seems an apt film to be re-released. Now we can all sit back and rem-inesce rem-inesce over days gone by, the era of flower children, peace marches, and rock festivals. All too soon that gelling tif spirit erupted into |