KANSAN
The University Daily
University of Kansas Lawrence, Kansas
Thursday, January 28, 1982
Vol. 92, No. 84 USPS 650-640
Federal. state leaders react to Reagan speech
WASHINGTON—President Reagan's plan for federal-state swap drew quick applause from Republican leaders and harsh criticism from other players. A coalition from other key players to signal a tough fight.
Governors and some congressmen said they wanted to wait for specifications before backing Reagan's plan to transfer $47 billion in federal programs to states.
Vermont Gov. Richard Snelling, chairman of the National Governors Association, said yesterday that governors were unlikely to accept the president's plan unless they were given a formula for how governors also wanted a formula to correct financial "injustices" among various states.
The president's proposed program came under
sharp fire yesterday from the Black Leadership black civil rights groups. of leaders of nearly all black civil rights groups.
Reagan's message "demonstrated a shocking insensitivity to the needs and aspirations of black people, other minorities and the poor," the Rev. Joseph Lowery, president of the Southern Christian Leadership Conference, said on behalf of the group.
Republican leadership was more optimistic about Reagan's proposal.
"I think it's worth the gamble," Howard Baker, Senate Republican leader, said on NBC. "I think it's the only way you can make a basic difference and revere this trend of everything."
going to Washington.
Sen. Bob Dole, B-Kansas, interviewed on CBS.
was more cautious than other leading Republicans. "We ought to wait and look at the specifics," he said.
"We don't have the details. We have the concept. It sounds good."
Dole urged federal protection for food stamp recipients because some states "might reduce the program and deny some poor people their food."
Johannes Witteween, the former president of the International Monetary Fund, called Reagan's State Department to address a disapproach and warned that Reagan's plans could prolong the recession by a year.
Witteveen said the president's "refusal to consider any increase in indirect taxes" meant the entire anti-inflation battle would have to be fought by the Federal Reserve.
Democratic and Republican leaders agreed that the prospect for tax increases this year could be worth $10 billion.
The White house said public opinion was running 3-1 in Reagan's favor, with more than a quarter of voters saying they were
House Speaker O'Neill said that early public reaction to Reagan's program—about 100 telegrams and mailgrams—was about 2-1 against the president, in contrast to the huge favorable response Reagan received when he outlined his economic program a year ago.
Former Vice President Walter Mondale, former Vice President on CBS, said he was angry about the violence in a video.
Mondale said the deficit was not decreasing, as Reagan claimed, but was increasing.
Sen. Russell Long, D-LA., said the president "did not come to grips" with the problems of high unemployment, high interest rates and high budget deficits.
Illinois Republican Gov. James Thompson, echoing Shellings's concerns over money, enforcing his campaign rules.
"It's time to give us our money back. It' s time to give us our power and authority back and it's time to let the governors and the mayors of this state know that we are the people in their states." Thompson told CBS.
City budget future uncertain
Vice President George Bush was expected enthusiastic about Reagan's proposals.
Appealing to American values of family, hard work, rugged individualism and cooperation, Bush said critics of Reagan's proposal "don't believe that the power belongs to the people."
By STEPHEN BLAIR
Staff Reporter
Staff Reporter
City officials may have to make budget decisions without knowing how much money the city has as a result of President Reagan's "new federalism," Lawrence May or Marci Friscoe,
"We set our budget as a city a year ahead so if
The state of Kansas could handle the extra responsibilities the president wants to give states without major turmul, Robert Harder, and of Social Rehabilitation Services, said yesterday.
Harder said he was hungry for more details of the case and thought that the state government would brief them.
In the president's plan, the federal government would take over the Medicare program and
But no one was sure which programs might be cut. Francisco said, "You're talking about a 10-year program and I'm not sure how much heagan will have over it. All he'd done is talked."
director, said, "The public would end up paying either for day care or care, weIGH 1 day care care."
Francisco said that the problems and the
number of the options would be hard to
decide.
January/February, 1982
Ampersand
man of astounding talent and mischievous bent. "Cocky and contented, *Photoplay* him. He won a Hollywood contract by asking him to venture to the German location of director Douglas Sirk's A Time to Love and a Time to Die. He won a small part, that of a neuroactive army officer. He got him to play with his fingers for playing a gag in which some cohorts invented a mythical American film star named Rex Wray and—through elaborate play-acting—made that imaginary actor front news at the Berlin Film Festival of 1968.
Jim Huton's career paired with a string of light comedies. He was memorable alongside a very young Jane Fonda in Period of Adjustment, 1962 release He and Maryline Poole reworked He and dioxetone, dioxetone that Tim was three.
George don't like to sit down to play just one game. Hutton says "You keep going with him until you've played five, six games in a row. It's really intense concentration. I never beat him." He he fell I was playing chess better.
backgrounds in drumming. They've said that it helped build their timing."
o Robert Redford, who directed *Orthine People*, has said that he saw something that was natural in Hutton rather than something that was acting out. He says he walked together, tossing a football around, establishing intuitive trust Similarly, Hutton and George C. Scott of Taps shot the ball during their "Hugo" shooting schedule. They held marathon chess games, all of them won by Scott. Chess spread like a wave, and the players filled his short segment. Just before I walked in on Hutton, twelve of the young cadet extras were at the same longtable in an six-separate chess room.
"You know," I comment, "Johnny Carson and Ghevy Chase also have
The press agent arrives at this point, holding three naked robes upright. 'These are from your usual nicotine supplier,' he says, and re-assesses his job.
"Really," Huton's face flashes with a nanceless of delight, then levels off again. He generically likes to converse, but sometimes he wants to set up talk to himself personally. I brought some drum palms along and set them in my room so I can listen while being along a snare and a floor toom, but I think that would drive people crazy. Anyone want a snicker? He has anyone else a small stash of candy bars on the table
Bruce praised Hutton to write *Bruce Cook for American Film magna* one I my favorite teacher. "I love her intellect, said Beauty so I appreciate an actor who can do the same thing making more subtle works, working more or less interally,
The Stones tape has given way to Weather Report. Hutton is mouting percussion accents to "Birdland."
Most of Tim Hutton's growing up was in Connecticut and in Berkeley, California. He lived with his mother, quite apart from show business influences. Exception came when young Tim and friends staged a barnyard play that it was grandly recalled. "I got to sing I had this little hush voice."
when he was sixteen, Tim Hutton moved to Los Angeles to live with his father. He enrolled at Fairfield High, where he took a biology course in a production of *Gails and Dales*. He visited his father now and again on the set of *Ellery Queen*, a TV masterpiece that she starred in the two starred together in a theatre production of *Harvey Finally*. Hutton the younger decided acting was definitely what he wanted, so he joined *The General Equivalency Diploma*, and auditioned for made-for-TV movies. His widest notice came for *Friendly Co*, starring Carol Burnett and Nell Swain.
Do you have any particular notion of what your strong points in acti
are? Say, timing for example?
It appears almost certain that Hitton's influence will extend beyond the games of this fictional military academy. But exactly where it, and his career will go, Hitton soon prepared to guess what role he might play in the view close. I can't really think in the future, never really have been able to Cause it a very moment kind of thing from role to role. I mean, Ordinary People and the success of that film has given me the opportunity to. I'm sure I can do all that. But beyond that, I don't know. I mean just sorts of happen. I was very lucky."
mandant.
"I'd say it was more private," Human comments. "Moreland doesn't know where he lives, but I don't think he lives in He's does have any broad scope, any overview. So it's more private than the other."
Tapts moved Hutton to read American Casar, a biography of General George S. Patton, Hermel Mernel's Billy Bould, and other books focused on authority and conflict. In addition to his work at Valley Forge Academy before filming began I ask if Tapts is a story of social phenomena or a private, individual story.
"Um. I don't know it's sort of to be obeyable to that, I just sort of work from instinct. And not really from any method I've learned."
checked his wrists for suicide-attempt scars
Instinct plus research, make that Hutton is a voracious reader when preparing a book. For Ordinary People it is worth reading at an Age of Peace, East of Edinburgh and a book on psychological problems of the children of wealthy parents. He also spent time talking with patients at mental hospitals for teenagers, even posing as a parent of one of these experiences was "moving," especially when other patients un-self-consciously
O $ ^{N} $ S $ ^{CREEN} $
Reds
starring Warren Beauty, Daean Koston,
Jack Nicholson, written by Warren Beauty
and Trevor Griffiths, directed by
Beauty.
Radical journalist John Reed was born in Oregon and was buried in the Kremlin. That quantum leap in geography and the political polarity it took to reach the White House life. Although he was dead just a few days after his 35rd birthday, his life was cramped with more adventure than most people ever know or want to do. He was a musician, played an organ, organized with the Wobblies became a journalist, lived with one of the richest and most controversial women of her day (Mabel Dodge Landon) and with Patricia Vella and with Pancho Villa and immortalized the Russian Revolution in Ten Days that Shook the World, a piece of reportage that is now more notable than any other novelist. John Reed was a star of his generation and a legend in his own time.
Beauty, who wrote the screenplay along with Player bplywright Trevor Griffiths (with reported assistance from Eline Macie, the author) on Reed's affair and marriage to Louise Bryant, a temperamental and tempestuous woman who craved the spotlight but was now ceteric. When she met Reed, she not only found a lower, but a ticket to the fame and fortune (not in the monetary sense) she coveted. She was without too much of a stretch. Bicae to Reed's
Diane Keaton plays Louise, and at times it's a very daring and amazing subable performance. She's not afraid to do it. At times she's too unstable and unlikable. She never stops to the audience. By the end, when her maturity and commitment to Reed are tested in the extreme, her anguish grows. At times she feels like Atunes Keaton seems a bit too
Warren Beaty first discovered Reed more than ten years ago and became obsessed with putting his story on the screen. He ultimately spent more than a year working between $35 and $40 million. The film last three hours and nineteen minutes is a kaleidoscopic vision of Reed and his times. The film is audacious and often wartingly successful, while it taint fine hearted and predictable.
modern, some of her political spout
ings sound as if they were left over
from Woody Allen's Love and Death
Beaty is a fine producer and an interesting director, but he's a limited actor. He's best at playing men who belong to the audience (Bontie and Clyde or McCabe and Mrs. Miller), or California golden boys who belong in bed (Shampoo). He's also known for his pelling intelligence or his clarity of thought; he'll么 too anxious to please. Benty never shows Us Reals how to be funny. The complexity of the man is missing.
This is not to say that *Reds* is without sexual chemistry, but it's supplied by Jack Nicholson, who shows up briefly as playwright Eugene O'Neill. Nicholson's scores with Keaton are the best written in the movie, and although she plays it off much care, Nicholson gives of so much we forget the imbalance.
Also, and this is most curious of all the sexual chemistry between Beaty and Zhao. They never ignite on the screen, although we keep expecting them to. This has been sold as a movie not unlike *Doctor Zhivago*, although it's a far better film. It's also about a girl who is ridiculed for its lack of rest. In fact it isn't until *Rats* is just about that Keaton and Beaty are mainly in the one totally appealing element in the movie — Huyattai, who lives in Russia and to find her ailing lower
Beaty has also shown his courage by inter-cuttering his drama with straight to the camera testimony from people who lived through the Sorrow and the Pity. Beaty has let people who know Reed and Bryant talk about them. Some remember everything all wrong and some have an age to grind, but they don't. The objection is that Beaty never identifies these people and it just isn't fair. Some faces may be recognized, such as Henry Miller or George Joseph; but how many people know Beatrix West or Baldwin, the founder of the ACU?
few filmmakers these days ever bother to mount. Jacoba atlas
All in all, *Rock* is a movie to see. I'll give quite a history lesson to most audiences, as radical Americans are not exactly well represented in main stream history tests, and has a scope and daring that few Hollywood movies can achieve. Rock has its movie with people and places, ideas and emotions, although he's not always successful in making them cohesive, he's on a very right track that
On Golden Pond
Starting Henry Fordia, Kakurina Hybran
and Jane Fowler, written by Bruece
Ellen Thompson, produced by Bruce
Gilbert, directed by Mark Rydell.
Simple stories often make the best films. Ernest Thompson's On Golden Pond, adapted from his play of the same name, is a simple story, well told and engaging. Boydell's care, the story has made an excellent transition to the screen.
Norman Thayer Jr. *Heir (Fenida) and his wife, Eibel (Katharine Heppurn). he returned to spend the summer at their rustic home on a farm in New York, Norman's 80th birthday is approaching and in celebration of the event, daughter Chelsea (Jane Fonda) arrives from her home in California with current husband Michael, his sister and his son, Billy (Doug McKenney). The two lovers dash off to Europe, leaving this 13-year old in octagenarian hands, a situation that begins badly but ends warmly. Chelsea returns from Paris to be with her husband and has a reconciliation of sorts with her father, with whom she's been at odds all her life. As summer ends, the couple, in pretty flat shape for two, return to head home to Boston for the winter.
Superb performances from Fonda and Hebburn as a pair who've been together for around 50 years, and care deeply for each other, make On Pond Paladin a special event. Fonda is young, and he looks so serious. Norman, he's got a right to be mad; he olds, he's losing his memory, he's got an angel, he feels constantly hovering about. "You're old and I'm young," he says. He shows you the bathroom, if I can remember where it is," he says to Billy, overhearing remarks about his fading memory. During a particularly fierce exchange on Ebba letters, he asks her what happened to "o" , to which he responds, "No quite asking is quite interesting."
or even an its semihuman, the film is often hilarious. Norman gets the gift of making it laugh out loud throwing out one day, cracking线 after another, all delivered without a twisting of a smile. In most cases, his characters are involved in being admirably avoided by Thompson
Zan Stewart
starring Jack Lemon and Walter Matthias written by Billy Wilder and I A. L. Diamond, based on a play and a movie directed by Wilder (in his, Wested), written by Wilder
and Byrdle, though the relationship between Norman and Billy is sometimes a little too dear. And Ms. Fonda's passion of Grethea doesn't seem to ring true. But the flaws are slight and the lead performances remarkable.
Buddy Buddy
Veteran director and writer mire, Wilder fell in shot in the making of Buddy Buddy. Ruther than being an outrageous comedy, the film is merely an outrage. It's sad to see such a pro (Some like It Hot Sun Beatstress Broadway). And it's good to see about like a fly trying to run a 90-kard dash through a vat of peanut butter.
Walter Matera plays a high-paid underworld human, who has rubbed out two victims, one by bombing, the other by arson. He takes the final kill in his illustrious career Enter Jack Lemmon, a distrugt husband whose wife (Paula Prentiss) is run off with the director of a sex clinic (Klmus Klinki). As Matera stands under the gloves of an unpowered rifle about to blow away the target mistery, Lemmon in the room next door constantly distracts the assassin by loudly and impetuously shouting at him, nudging the mushnet—albeit a trash bag have been a better place for it.
While Matthau barely manages to middle through this farce with the tred fugging and deadman delivery of his own ball, Lemmon tats far worse. His historic antics wear thin, calling to mind a combination of the stuttering Mel Tilms crossed with a tired Daffy Duck. Preen and Kinski go about as almost nothing.
The real faith lies with the writing of Wilder and Torres A. I. A. Diamond. The book is critically essential as they trod over well-known comedic territory. Tired jokes about policemen, sex, drugs and hippies have taken over this list less than tassel and tassel script.
The one thing that is amazing about the film is that it manages to on fail so many different levels. *Baddy Baddy* is much more than its year's calendar and just as useful.
Bill Braunstein
Peacock applaud the efforts of the Jayhawks. Knight sat out edifaced Colorado 74-60. See related story, page 10.
JOHN HANKAMMER/Kansan Stat
resen-
being drafted
ents in actions
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She said that the addition of Poland to the bill would make legislators think harder about the oppression in South Africa, where 15 percent of the population is unemployed and where a black majority was oppressed daily.
State Rep. Betty Jo Charlton, D-Lawrence, agreed to bet the bill at a meeting of the KU board on Tuesday.
*People are more willing to tolerate op-
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This accident postponed the flight to Nov. 4.
The next time the flight was only second
class, it would be delayed.
However, on Nov. 12, 200,000 people lined riverbanks and highways around the sprawling space center to see the shuttle make space history on its two-day journey.
Donald Clayton, shuttle test flight manager said that the flight ran superbly and looked considerably better than it did after flight one.
Two burned out rocket boosters were blamed for the Columbia's early re-entry.
The next important goal for the NASA space program, Engle said, would be a permanent orbiting space station. However, the project was uncertain funding for that project was uncertain.
Engle said that NASA planned many more space shuttle flights.
"There are plans in the space program for more vehicles such as Columbia, with 100 HP."
"That means that Columbia has 98 more See ENGLE nage five