Thursday, February 1, 1973
University Daily Kansan
5
'1776' Tells It Like It Wasn't -- Or Was It?
By BOB GILLUM Kansan Reviewer
Benjamin Franklin turnus to John Adams and says, "Don't worry, John, the history of America is very long."
Sure enough, there are incidents about the drafting of the Declaration of Independence that nobody learns in history class, and about which few people care.
The film version of "1776" is a light-hearted musical which characterizes the Second Continental Congress from May, 1776, to the signing of the Declaration of Independence and 43 years later clarified now that two centuries have passed. This musical version is straining humorous, and not nearly serious enough.
The story centers on Adams, leader of the effort to free the colonies; Franklin, his guiding light, and Jefferson, author of the document. Virginian Richard Henry Lee moves that Congress debate the matter of declaring freedom. Congress stands
divided, Adams takes charge and the debate follows.
Sherman Edwards' score is musically fulfilling, but songs pop up at the wrong times. The picture a powder-wigged Congress breaking out in a rousing chorus. The only effective numbers occur as an army messenger thinks about his dead friends, and during a debate over a deleted slavery clause.
Peter Scott's script doesn't focus on the declaration, but on the trivial matters surrounding it. Jefferson's wife goes to Philadelphia, then the task of composing the document comes easy. There's no spirit of freedom, just the trappings.
Characters are stereotyped and their actions are distracting.y predictable. Franklin (Howard da Silva) is a gray blade, Adams (William Daniels) is overshadowed by the daydreamer Jefferson (Ken Howard).
As the 200th anniversary of the United States approaches, we can expect more major productions like this. Hopefully, they won't be so fluffy.
"Jeremiah Johnson" in a word is Robert Redford. The entire film, centered on his exploits in the Rocky Mountain wilderness, has very little plot with even less dialogue.
Uah's naturally beautiful setting is the one saving grace for a film with very little to offer. Duke Callaghan's filming techniques almost seem to rob the true mountain beauty. Callaghan drys up many otherwise dazzling scenes with unnecessary repetition which sometimes becomes boring.
Redford, playing a mediocre strong silent type, presents a rather inept mountain man. Leaving the problems of early 19th century civilization, Redford gathers supplies and heads up in the mountains in search of furs and adventure.
Furs he is eventually able to trap, but only after nearly starving to death. The fact that
Redford's Latest Lacks Plot, Depth
The University of Kansas has received an $8,000 gift from the Cities Service Foundation for use in 1973. The KU minor engineering program will receive one-fourth of the gift. The use of the balance will be unrestricted.
he doesn't perish within a month in the wilderness is covered up by more fat extinct.
Redford's savior turns out to be an old grizzly bear hunter who supposedly teaches the young "plimprin" the mountain ways. Reddent enters the old hunter's camp and trains the young to numerous events becomes a seasoned hunter, trapper, and general adventure seeker.
Refford's adventurous undertakings, though, turn out to be almost as exciting as an old Audie Murphy western. Throughout the entire film he is continuously attacked
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Spheeris' Sound Mellow, Sensuous in 'Isle of View'
At a time when hotshot smoothies are a dime a dideperful, all we need is yet another fingering pickup, right? Well, Jimmie Spheres' ISLE OF VIEW (Columbia) puts him a lid above the others, for here is music that is sensuous as slowpoured honey and almost as physically relaxing without being as sleep-inducing.
By TIM BRADLEY Kansan Reviewer
All the songs but one ("Seven Virgins" is sadly out of place), flow together to Spleener's first vinyl visitation an eerie surprise. "The Moon," "I Am the Mercury," and "Emaria."
The lyrics are just nice words that go by without much notice, and deservedly so, as the actual sound of the words is more important than their meaning. I am generally
However, on this LP the strings work actively with singer and song to create a mood of autumnal airness and tone color. Speers' voice and violins go together like dew on a dungheep, and it is difficult to sound this good without those fiddles.
wary of orchestrated pop music, because at the hands of an insensitive mass producer, stringed songs can end up as so much saccharine slop.
Hopefully he'll bring them along when he appears here in April, but in the meantime, buy this album. Put it on while you're writing home or something, and no matter how bleak the week, the songs were way up; the songs were way up; the songs were way up; the songs were way up; the songs were way up; the songs were way up; the songs were way up; the songs were way up; the songs were way up; the songs were way up; the songs were way up; the songs were way up; the songs were way up; the songs were way up; the songs were way up; the songs were way up; the songs were way up; the song's title over a few times and see what you get.
Since the plot lacks any semblance of adventure, the viewer must look other places. Redford's intense gazes and thoughtful trances provide a vague feeling of excitement, but after about thirty minutes this gets boring too.
by wild Indians seeking revenge for their lost comrades.
TACO GRANDE
For the Indian, the play provides the golden opportunity to perform in drama as
One final comment on filming. Little subtleties, such as an opening scene slightly out of focus, ruined what could have been a technically well done film. Panavision helps by adding depth to the open spaces actually found in the mountains. The deep color found only in high elevations also comes across well.
'Antelope Boy,' A Story Of Indians Sans Cowboys
a human being instead of performing as an Indian. The latter is the tokenism that pervades all race relations and the former is the only way for any man to face the world with pride and say, "Look at me. I am noble. I am honorable. I am one of you."
Since the play does produce this empathy, it would be extremely effective performed by real Indians. The illusion is fine, but it is not quite as convincing and is often European deception and kills the empathy.
"Antelope Boy" is one of those rare plays about the American Indian which does not cater to the settlers or to the Indians and denies any controversy between the two. Instead, the play tells a story of people, their beliefs, legends and lives.
The only drawback of "Antelope Boy," the spring production of the University of Kansas Theatre for Young People, is that it is not comprised of American Indians.
"Antelope Boy" approaches the Navajo and Pueblo as if no conquering or colonizing force in history has ever approached them. The play shows the humanity of the Navajo and Pueblo and the audience can empathize with them.
By DAVID HEALY Kansan Reviewer
The cast is very energetic and realistic. Special laudles go to Nancy Walker, who is too young to portray a grandmother so well, but her skills and grace must be an Indian with an Irish name.
Disregarding the ancestry of the cast, the KU production is superb. The costumes, set and lighting all catch the color spectrum of the American Southwest—the yellows, browns, purple and pinks of Arizona and New Mexico's "Land of Enchantment."
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9th and Indiana
For too many years the native residents of this continent and settlers from Europe and elsewhere have not been able to live here. They are still possible or in some sort of tolerance.
The company has plans to give 19 performances on tour, "Antelope Boy" will be presented in Topeka, Smith Center and Colby, at the Kansas City Music Hall, and in Manhattan, at the Regional Children's Theatre Performance in May.
1973-Year of the Taco
The only University performance of Joy Harvey's "Antelope Boy" will be 2 p.m. Saturday in the University Theatre. It is so emotionally powerful that one should approach it with all the reverence of a convent of nuns awaiting an audience with the Pope.
a wholly unique experience in progressive sound sponsored by sua
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