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Show SMS The second film proves to be as much Faye Dunaway's film as Michael York. As Milady, Faye Dunaway exudes ex-udes polished charm with just a tinge of the sinister. Such a cold-hearted villian there rarely has been, as she schemes in service to the Cardinal. A nice romantic twist is added between Milady and Oliver Reed. Milady proves to be a strong, well presented present-ed character that is motivated motivat-ed less by ambition than by While making his film THE THREE MUSKETEERS, Richard Lester allowed himself him-self to film all the zany bits that came to him in the course of shooting. Lester found himself be-seiged be-seiged by many fast, zany interludes that would have to meet their fate on the cutting cut-ting room floor. To lose all these shots seemed a waste of talent and film. To resolve this problem, Lester released his THE THREE MUSKETEERS with an apendage that proclaimed proclaim-ed that the FOUR MUSKETEERS MUS-KETEERS was coming soon. In this way Richard Lester kept his artistic conscience quiet and offered the viewing view-ing public not one film, but two. In this case, the decision de-cision was a wise one. The film opens with clips of the first part to remind viewers of the plot that had developed and to clue others in on what they had missed had they been unfortunate enough to miss the first part. In this way the audience is ready to involve itself in a film that starts at the middle and winds up the loose ends left hanging by THE THREE MUSKETEERS. acters and their specific role in the plot. Therefore we find tragedy mixed in with the comedy as some of our favorite characters meet their demise. Of course, the villians get theirs, but not until they have reaped havoc upon our heroes. Thus D'Artangnon finds a woeful end to love that spurs him on to punish the wrongs of Milady and the Cardinal. Unfortunately, authenticity authentic-ity in this matter leads to a good deal of blood shed. But somehow the violence is never nev-er really gruesome and uncalled un-called for. It has a place in the plot, as well as makingcleartous the pitfalls of living in that era. Once again Lester has given giv-en us the excitement of fight scenes superbly cut for the greatest impact. His story never falters as he keeps the audience in wrapt attention until he winds up his tale. His visual acuity offers lush scenes that not only feed the mind, but also offer a feast for the eyes. Lester is a master at the subtle background back-ground dialogue he uses profusely pro-fusely throughout the film. Thus the viewer finds himself him-self remaining attentive to every small detail, waiting to catch another line from the background characters. THE FOUR MUSKETEERS offers more of the humor that the first film so ably con-veyejd. con-veyejd. Lester has cut this second part as expertly as the first to continue the story of his musketeers. For those ' of you that have been waiting wait-ing expectantly for the second sec-ond part, wait no more. THE FOUR MUSKETEERS is an excellent continuation of the zany episodes of those galant young men, and offers of-fers a fine conclusion to their story. At the Opera House this weekend is Truffaut's THE WILD CHILD. Based on a true story, the film chronicles chron-icles the civilizing of a child that was found living in the wilds as a beast. The boy grows from a creature of basic needs and desires, crawling like an animal into what society calls a civilized civiliz-ed human being. Truffaut offers of-fers a sensitive insight into the story of this boy and his personal struggle. her loyalty to a France envisioned en-visioned by the Cardinal. Charlton Heston manages well as the Cardinal. It is refreshing re-freshing to see him in a role of such strength after such fiascos as SOYLENT GREEN. He is a villian that knows his own power and uses it expertly while avoiding avoid-ing the dirty work. His character is more than the typical one dimensional villian, for he proves to be motivated by politic ambitions ambi-tions as well as his religious convictions. And, like a true gentleman, he is able to admit ad-mit when someone has pulled one over on him. He is above petty vengeance. The plot offers more out rageous adventures. But it also serves to wind up loose ends from the first part. Suddenly we are subjected to much more violence in fights, somehow making us realize that life was not roses in the politically and religiously torn France of the time. Authenticity is one of Lester's Les-ter's talents, offering carefully care-fully researched material that polishes the film. And Lester is not one to leave things hanging in mid-air once he has finished his artistic statement. Thus we have a conclusion that is realistic rather than merely romantic. In this second film, there is a need to finish up char- |