University Daily Kansan, September 9, 1980
Jayhawks want "Duck Soup"
The KU football team, highly touted and lightly seasoned, began cooking up a recipe this week it hopes to stir into a soup of 'back cook' in Saturday's season organizer.
The Jayhawk, riding on a theme of the Marx Brothers classic movie, "Duck Soup," for their opponent against the Oregon Ducks, got their first taste of the various formations Oregon uses in yesterday's practice.
"They're a good team" said KU head coach Don Fambridge. "They made only two penalties Saturday and that tells us they're a well-coached team."
Oregon, beaten by 15th-ranked Stanford Saturday, managed 421 yards with a third-string quarterback. The offense was highlighted by tailback Reggie Brown, who rushed for 128 yards off the I-formation.
"They do a lo; more and a lot of sprint-outs," Fambrough said. "Defensively, they use a six-man front, you don't see much of that around here."
While the Oregon offense is the star on the field, the Ducks are finding a need for a special kind of defense off the field.
Riddled by a rash of criminal charges, the latest being the arrest of tailback Dwight Robertson on charges of sodomy and coercion in an incident where he assaulted a coach. The duck are also one of five Fac-106 ineligible for post-season play.
"The problem hasn't torn them apart," Fambrough said in summing up the situation. "They've been closer together. They have a feeling that everybody is picking on them."
For the 'Hawks, senior Steve Smith will probably start at quarterback, with the tailback slot still open. It is doubtful that Kerrin Kerwin. Kerwin Bell will get the starting nod.
Perhaps the biggest question mark on the team, the kicking game, has been answered. Freshman Bruce Kalmeyer will handle kicking duties while Bucky Scriner fills the punting vacancy left by Mike Hubach.
Defensively, the 'Hawks, which gave up an average of 32 points a game last year, will be counting on youth.
"I have been pleased with all of our young players," Fambrough said. "In the future I can see a defense out there." The team's offense and its defense was hitting hard last week."
George Brett
One returning defensive starter, however, will be missing Saturday in Oregon. Linebacker Scellars Young, who led KU in tackles last season, is out with a sprained ankle.
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Angels drop Royals 7-4; Brett returns this week
ph 841-6642
By United Press International
The loss snapped a four-game winning streak by the Royals, who played without George Brett for the second straight game.
ANAHEM, Calif.—Carney Lansford had three hits, including a double and a home run and drove in three runs last season. Angels past the Kansas City Royals 7-4.
Brett, who had his injured right hand x-rayed yesterday in California, was given permission to take batting practice before the game and could return to the lineup this week, club officials said.
Brett was hitting .396 and needs 55 more at-bats in Kansas City's remaining 24 games to qualify for the league batting championship.
releges batting team officials The injury is similar to tendinitis and will be treated as such, team officials
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It is up to Brett, trainer Mickey Cobb and Kansas City manager Jim Frey as to when Brett will return to the lineup.
said, with ice, whirlpool and ultrasound therapy.
Without Brett, the Royals had 11 hits to the Angels 12 last night. The Angels belted four their shots and three their fourths in the battle against Larry Gura, 18-4, and Marty Pattin.
Gura surrendered a two-run homer to Dan Ford in the first inning, but Amos Otca came back in the second with a home run to cut the lead to 2-1.
Lanstard's home run gave the Angels a 3-1 lead in the third and Brian Downing added a solo shot to build the lead to 4-1.
A single by U.L. Washington, who went three-for-three, and a double by Wille Wilson in the fifth set up Frank White's two-run-single. Willie Aiken's followed with a double to tie the score off Martinez. But then Ase came in and silenced the Royal's bats the rest of the way.
The loss, coupled with a Texas victory over Oakland, kept the Royals' magic number at eight. Any number of Kansas City victories or Texas losses totaling eight will clinch the American League West title for the Royals.
In the American League East, New York beat Toronto 7-4, while Baltimore
September,1980
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O $ ^{N} $ SCREEN
No Nukes
surring Jackson Brownie, Crispy, Sills and Nash, the Double Bobees, John Hall, Grahm Naah, Bonnie Raiti, Grant Scott Heron, Carly Bruce. Springtime James, Taylor Jesse Colin Young, by Julian Schlossberg,丹妮 Goldberg and Anthony Potenza.
a solar energy can be made to work as well as this film does, the future looks terrific. First, as propaganda, *No Nukes* is the film record of New York's 1979 concerns to benefit anti-nuclear power organizations — is terribly clever. It makes America seem like one big high school, with our government as the autocratic principal, our Army as the sadistic vice-principal and Jackson Browne, *et al.*, as the clear eyed popular kids. Most everybody is going to want on to be the side of the stars.
Funnest of several comic touches is the inclusion of some Fifties Army pro-nuke propaganda, in which a Chaplin from the Douglas Fir school of acting assures two questioning dogfaces that the Army wants to expose them; it wouldn't expose them to radiation if there are *any* chance of harm. Besides, he continues, the nuclear test explosion they'll soon witness will flash "every color of the rainbow" Immediately we cut to the death bed ties or the first nuclear testing, a nuclear testing in the Fifites, one of an ex travagant number dying of leukemia.
Second, as film documented rock & roll performance, *No Nukes* ranks among the best. At times its seems to be the best, thanks to the dynamic cinematography of veteran Haskell Wexler. Acts I expected to just tolerable were, at points, engaging
Jackson Browne
Byron Laursen
most important, the performance of Bruce Springsteen—which promised to be great—was instead fully awesome. So what if half his songs break down to nirvana melodias under close inspection? In all popular arts, and especially rock® *e* roll, delective means more than content. Spring steen, gitted with humor and drive, proves himself the standard of excellence among rock performers. Anyone who witnesses his three-song segment will know why he is called "The Boss."
Third, for those stars who ran out of musical fuel several albums ago (now I amn't namin' names), *No Nikes* serves as a nationwide screen test. There's a hooks on the cover that says "I've seen certain people and "loves" Springsteen and Browne are definitely in the second group. Unfortunately, we don't know how the camera feels about either Byrly Cogorer or Petty — to name two worries who ought to have been included in the selection of its potential by lingering overlapping on personalities to sell the issue. Even so, it's first rate merchandise.
The Final Countdown
starring Kirk Dingle, Martin Sheen & James Farenetti, written by David Ambrose, Gerry Davis, Thomas Hamer & Peter Powell; produced by Peter Douglas, directed by Don Taylor
The Final Countdown is not about people, it's about Machines, and its unabashed stars are the nuclear-powered USS Nimitz and its dazzling squadron of swooping, screaming F-14s. This is no time to quibble about nuclear power, the U.S. defense posture, or the militarism of China, and those planes are well sexy. Director Don Taylor and cinematographer Kc Nemker have used them as an exercise in visual and auditory thrills, pushing all the right buttons for people who get turned on by hardware.
The dramatic premise of the film seems almost an afterthought. Kirk Douglas (whose son Beer produced the film), plays the captain of the *Wimitz*, who finds himself and his ship transported back in time to Dec. 6, 1941, facing the imminent attack on Pearl Harbor. Presented with the intriguing notion of whether or not to tamper with history (and the philosophical arguments become silly at times), Douglas is influenced by fellow officers James Faeuser and Ron O'Neill and David Dunning and attorney Martin Sheen is for the ride as an efficiency expert on to舟 the Defense Department from a mysterious employer. Sheen appears the most uncomfortable of the actors, perhaps remembering his power and intensity in *Apocalypse Now*, and choosing instead the bewildered expression he wore as host of Saturday Night Live.
The most sympathetic character is a diminutive collei named Charlie who survives all kinds of chaos, including a major timeworm "warp" that looks more like rings around the collar than serious cosmic disturbance.
Ah, but those planes. Shooting off catapults, catching cables, refuelling in mid-air or, implausibly, dogfighting. Japanese Zeros, they are enough to give anyone exhilarated by the notion of flight a grand dose of thrills.
Kaiberger Orliff
starring Steve McQueen, Ilar Burton, Elli Wallack and Harriet Burry, written by Ted Leighton and Peter Hymes, produced by Mort Engelberg, directed by Buzz Kalik.
The Hunter
Based on the true-life adventures of real-life bounty hunter Ralph R忠恩 The Hunter is certainly full of adventure . . . but nothing seems real.
McQueen is, as ever, a pleasure to watch, and any entjourn derived from this confused mishmash of domestic conflict and shoot-em-up action is solely to his credit. He doesn't do much except walk through it almost enough. Not quite enough, however, to compensate for a loose script and stereotyped, uninteresting characters. For humor we have McQueen in mind, but McQueen unable to parallel park), living with a woman about to have a baby he's not sure he wants (yes, he fights when it arrives), living in a house full of apparent derelishes (this own dog grows at him). It's all so *cute*, except when McQueen is chasing down bail jumpers, which he does every two minutes (why does he live in such a damp when he's making thousands of dollars bringing em back alive?). At one point he mounts a threshing machine to chase crazed dynamiters; he runs into Chicago chasing a crazer he wants; he stumbles on a crazy pain. Only LeVar Burton is allowed to be uncraezed, his just cure. And throughout the film, it's all too much, and yet not enough.
If the rumors are true, that McQueen is dying of cancer, this may be his last film. It was, in fact, his first.
Juditb Sims
Raise the Titanic
starring Jasco Robbins, Richard Jordan and David Selby, written by Adam Kennedy, produced by William Pryor, directed by Jerry Jameson.
This bloated, waddling turkey of a movie allegedly cost $23 million, why, then didn’t they think to buy a knowledgeable technical director? Someone who, for instance, would know that any ship lying 12,000 feet underwater for 68 years would probably not have some of its windows and floors still intact, someone the three-year-old kid) who would know that a gigantic ocean liner (nay, a rowboat) cannot be towed with a slack line, someone who may have remembered that the North Atlantic does not look like the Pacific or the Mediterranean. And I’d like to know what could have cost $32 million, certainly not the little models of New York city, with the little toy Goodyard Booby sitting in the silky underwater scenes with diving ships that looked like bug-eyed monkeys. Maybe it was the three or four real ships that sat around doing nothing.
All these mistakes wouldn't have mattered quite so much if the film had engaged an motion or two, but we weren't even allowed the minimal pleasure of a tight action flick. The dialogue is dreadful, the absmal, the plot incredible (the *Tianic* raised so the S.U. government can get its hands on a "little known" element sup
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Steve McQueen
padded tucked away in the ship's cargo, said element essential to the development of a "laser fence" around our country; the Russians find out there a surprise ending Yawn. Robards and Jordan look embarrassed by their presence in this flasco, and rightly so. Oh it hapned that day. He had to learn the technical flights — bad to do something to occupy my mind.
This movie deserves to take its place alongside the *Titanic* - 12,000 feet under water.
**Idith Sims**
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Practice Makes Perfect
starring Jean Rockebur, Nicole Garcia, Amme Girardao and Lila Kadrao, written by Philippe de Broca and Alexandre Mnouchebine, directed by de Broca.
cases of practice haven't brought Edouard Choisel (Jean Rochefort), a professional pianist, closer to perfecting the one art that is his true passion – womanizing. As his exwife (Annie Girardot) explains to him, he has sleep with his wife's best friends and his best friend's wives and no one trusts him any longer. At first a facial, light hearted portraital of an overextended, frantic womanizer, the film becomes a dramatic often poignant probing of Edouard's moral and psychological dilemma.
Practice is a comedy-romance-farce-drama, a stringing together (better for pearls but for movies) that looks like a bargain but amounts to thinness in all departments (hyphenated genre films typically for multiple effects and end up delivery none). but de Brouca (King of Hearts, Dear Inspector) overcomes this structural weakness by focusing on impairment, fear of aging, jealousy, hypochusia, sexual morality, and the value of love and family. The somewhat contrived plot is ultimately less important than the mood, which is wonderfully wistful and lyrical.
R伯特 L. Lieghman
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