4
Friday, March 28, 1975
University Dally Kansan
ENTERTAINMENT
Frankenstein smashing
By TOM BILLAM
Contributing Writer
Mary Wallstonecraft Shelley is probably spinning in her grave "Frankenstein," an Gothic novel she wrote in 1818, is the archetype horror story; it introduced the themes of artificial creation of life and the mad doctor.
"Young Frankenstein," Mel Brooks' recent production, can also be accompanied by the first time I've seen a monster, especially a Frankenstein monster, with top hat and care, dancing in the
The dance scene is fairly typical of the madcap situations Mel Brooks and Gene Wilder devised to confront, or was it affront, us with. Very few opportunities were neglected.
Yet it was these moments that saved the movie. Really little more than a string of hilarious situations, "Young Frankenstein" suffered a serious lack of continuity. Some of the episodic jumps were not such as inside of the railroad coach which remained the same whether in New Jersey or Transylvania.
Other times Wilder laughed himself into a corner that necessitated a transformational scenic shot of the Frankenstein movie. From the next situation. From the monster's escape from the castle the film takes us immediately to a village meeting, the reason for which, though it was obvious, left me in the lurch.
The general idea of the movie must be applauded. Although many of the gags and jokes had
The sets were also fantastic. No detail was spared in the doctor's old laboratory (accent on the second syllable, please). Massive pieces of important electronic equipment lined the walls; arcs of static electricity constantly climbed towards the ceiling in myriad tubes; and even the circuit switches were the huge old mechanical type which seem so
The only actor in the entire crew who doesn't deserve kudos is Gene Wilder, who portrayed the grandson of the infamous Baron Von Frankenstein. Years later, times shouted his lines in unfunny attempts to be ridiculously melodramatic.
When arriving in Transylvania by train, Wilder, who is young Dr. Frankenstein, leans out the window and says, "Pardon me, boy, is this the Transylvania station?"
Hearing an old song used this way shouldn't have surprised me. but it did.
Enter Marty Feldman as igor, the hunchback assistant. Feldman, with his enormous eyes, could hardly help stealing a glance at the crowd and pulled the old "Walk this way," trick with the doctor, giving him his two-foot long cane to use down going stairs, it was almost too much. I could see it coming, but didn't diminish its titility.
Cloris Leachman as Frau Blucher, Peter Boyle as the monster and Gene Hackman as
KANSAN review
the blind man were almost flawlessly ridiculous. Leachman's rains-face and sibilated voice evoked the elderly housemaid character. Frau Blucker was instrumental in making the young doctor discover the laboratory equipment needed to create the first monster.
The seven-foot monster was superb in the scene with the blind man. Think of a blind man offering hot soup, wine and lighting a cigar for a person he knows well. An idea of what could happen, only it's twice as funny as you think.
The satirical situations are matched by the vaudevillian dialogue. As the doctor, Igor and other assistant Inga sit at a somber dinner following their first attempt to waken the monster, which they think failed, Igor tries to chee up the
doctor with, "I remember what me old man used 's in time like this: Why don't you get some advice from someone else a chance?"
Inga, played by svelte blonde Terri Garr, is the typical farm girl who is valued for attributes other than her mind. It takes ability to be so consistently beautifully dense. Her low-cut gowns also helped to thrust her into prominence.
The village inspector, played by Kenneth Mars, is such a lampoon that he is too rich to watch very long. Mars' Bismarckian character with a mask outrageous. The villagers do with that arm has to be seen, not read about.
Madaline Kahn fitted the
Frankstein's icky-sweet
girlfriend to a tee. Prissy to
the supreme, Elizabeth,
the girlfriend, or the
nails or nails or her hair
or her dress or her honor or .
What she gets in the end cannot be described in a family newspaper.
Add a brain depository, the wrong brain stole, lightning, a Groucho line or two, violin music throughout and an ending that invariably laughable and you've got "Young Frankenstein."
Intermittently dragging,
"Young Frankenstein"
is nevertheless a pretty funny movie. I liked it.
I just wonder whether Wilder and Brooks have looked at the movie and honestly refrained from saying, in the words of the wretch—the wretch—the miserable monster whom I had created."
DELIVERANCE—Overrated 1972 film about violence in the Georgia backwoods. With Jon Vougt, Burt R寅缚, Ned Beatty, and Ronny Cox. Directed by John Boorman from the James Dickey novel and screenplay.
On screen
(At 7 and 9:30 p.m. Friday and Saturday in Woodruff Auditorium.)
THE BIG COMBO-Dynamic gangster tale paced by cameramaster John Stobart's lighting. This tough little movie was directed by Joseph H. Lewis in the "film noir" style. A real gem. With Richard Conte, Cornel Wilde, Jean Wallace and Lee Van
(At 7:30 p.m. Tuesday in Woodruff Auditorium.)
GUN CRAZY—A rarely seen 1949 film with a Bonnie-and-Clyde theme; the movie has challenges cynical audiences before and it will do the same to you. Directed by Joseph H. Lewis and aided by some bizarre technical tricks, Jason Cummins, "Gun Crazy," and "The Big Combo" should destroy any prejudices you may have against B-movies and black-and-white cinematografie
(At 9 p.m. Tuesday in Woodruff Auditorium.)
BATTLE OF ALGIERS—Graphically violent story in a documentary style, of a revolt against a colonial regime. Directed by Gillo Pontecorvo in 1967. Subtitled.
April 20th, see a photography bills will find a photo "Flashback" to be a pleasing visual experience. This array of photographs brings together many of the photographs acquired by the Museum of Art in the past year. A visit to the exhibition will
"PHOTO FLASHBACK"—Until April 6 at the Museum of Art.
arouse an appreciation of the stirides taken by the museum to keep its collection currently, as or historically, representative.
The earliest prints on display are two platinotypes by Frederick H. Evans, dating from the 1890s, when Evans took up photography its great cathedral with a vision sensitive to light, atmosphere and texture and demanding of himself and his materials the highest level of taste and perfection. The quality of the archetype cannot be denied after a firsthand encounter with the images.
Photos bring together formalism, flesh
Formalism is represented in the exhibit by Francis Bruguierre's abstract print of
By T. O. KATZ
Art Reviewer
the 1930's in which volume and line create bounding rhythms. Three dimensionality is heightened by the play of light and shadow from different angles, splashing the print with curious, unsettling tones of grav-brown.
A penetrating portrait study by Richard Cross reveals the textures of age that have settled on a man about whom nothing is
This Week's
OUT OF THE PAST—Grim melodrama with a complex chronology that is held together through character and person narrative. With Kirk Douglas as the gangster, Jane Greer as a moll and Mitchum as a detective. Directed by Jacques Tourneur in 1947. Exclusive adaptation of *Fires Houses* “Build My Gullows High.”
known but much can be suggested, depending upon the vision and experience with which the viewer approaches the photograph. Not one strand is always without importance, in terms of both technical precision and narrative overtone.
(At 7:30 p.m. Wednesday in Woodruff Auditorium.)
(At 7:30 p.m. Thursday in Woodruff Auditorium.)
"Photo Flashback," an exhibit being shown at the museum until April 6.
The other photos in the exhibit only increase one's awareness of the different approaches that can be taken toward the medium and the wide range of vision employed by the artists.
The sensual and sensuous collide in Cecil Beaton's photograph of "Marlyn Monroe." Texture and surface pattern race across the print creating a dizzy turmoil from which the eye sees relief. In contrast, the background, the blonde starlet becomes the restful focal point. The long sultry curve of the body slows down the compositional movement, and the dark light masses, created by the solid black dress against the light flesh, provide further contrast to the surroundings. Amidst the eyes is led to an encounter with the gaze of Mace Monroe.
ENTERTAINMENT
Note: The following films are being shown at Commonwealth Theatres. Check local ad- crets for times and locations.
THE FOUR MUSKEEERS—The continuing adventures of the Three Musketeers in the game Heston, Faye Dunaway and Richard Chamberlain. Directed by Richard Lester. If the first part of this two-part movie was an indication, it will be a real inspiration.
YOUNG FRANKENSTEIN—Hilarious Mel Brooks parody of Hollywood's mild scientist and obvious, that what's so delightful. The scene between Frankenstein and the little girl is almost a literal copy of the story, but we accept for the surprise ending.
Cecil Beaton's photograph of Martyn Monroe is a recent acquisition of the KU Museum of Art. The photograph is part of
ESCAPE TO WITCH MOUNTAIN—Plus a Chip and Dale cartoon fest! A Walt Disney presentation.
Sensual . . . and sensuous
MURDER ON THE ORENT EXPRESS—Production of an Agatha Christie murder mystery. All star cast.
ALICE DOESN'T LIVE HERE ANYMORE~ Very good, intelligent movie about a 35-year-old movie widow.
THE LONGEST YARD and DEATH WISH—The first, is a good performance by Burt Fleming. He plays the football player and his experiences in prison. Half funny half sad. The second is an arrogant, if not evil, mugging in New York, Charles Bronson hams it up.
In concert
ORATIOKOR WORKSHOP-
Maribeth Kirchhoff, director.
Sponce, accompanies. Performing "Schuetz" Seven Last Words, *Astoraga* the "Stabat Mater," and two works by
(At 8 tonight at the University Lutheran Church.
DAN MMcALEXANDER--In a senior recital. Program is available at Beehoven's Sonata in BMp, EM, 2Chopin's Ballade in FM, Op. 38; Ravel's 'Joux D'Eau' D, Prokofiev's 'Sonata No. 2 in D'
(At 8 p.m. Tuesday in Swarthout Recital Hall.)
ILLINOIS WESLEYAN
UNIVERSITY SCHOOL OF
MUSIC COLLEGIATE
CHOUR-IN a tour concert.
*Accommodations, goods services and employment
requirements of the institution must be
necessarily close to the University setting, the
facilities must be readily accessible and
accommodation must not be located outside
the University.
At 2:30 p.m. Thursday in Swarthout Recital Hall, and at 8 p.m. Thursday in the Plymouth Congregational Church.)
THE UNIVERSITY DAILY
KANSAN
Performing works from five musical periods: Renaissance works by Dufay, Dunstein, Des Prez, and Gabriel; 18th and 17th century English works by Byrd, Gibbons and Purcell, Byrd, Schultz and Bach; 18th and 19th Austrian by Mozart and Beethoven; and contemporary by Pinkham and Webern.
On stage
Published at the University of Kansas weekdays during spring semester. Second-class paper paid at Lawrence, Kan. 66532. Subscriptions by mail are $8.00 and in person is $11.95. $1.35 a semester, paid through the student activity account.
An All-American college newspaper
SOUTHWEST TEXAS
STATE UNIVERSITY BRASS
ENSEMBLE
(At 8 p.m. Thursday in Swarthout Recital Hall.)
Editor
John Dike
THE HOUSE OF BLUE LEAVES--Excellent, moving farce-tragedy about the frustrations of daily life.
Associate Campus Editor Carl Young
Assistant Campus Editors Alan Laguer,
Kern Kenn
Chief Photographer George Milleren III
Media Editors Matt Fain Entertainment Editor Katie Pickle
Associate Sports Editor Stephen
News Editors Ann Gardner Kephenson
Debbie Gumb, Roy Chevenger
Copy Chiefs Bunny Miller Smith, Kathy Pickle,
Wire Editors Bety Hageman, Tom Billam
Contributing Writers Steven Jenkins, John Brooks, Stephen
Photographers Rod Mikkelki, Barbara O'Brien
John Pike
Associate Editor Campus Editor
Craig Stock Dennis Ellsworth
At the gallery
(At 8 p.m. Friday and Saturday in the University Theatre.)
(At 8 p.m. Monday on WDAF.)
On
THE MECHANICAL AND PICTURESQUE THEATRE: AN ENEVENING WITH PUPPETS—by various authors. Great visual interest. Terry Asla directs the performance. It is 5 p.m. Thursday in the William J. Memoir Memorial Theatre.)
(Through April 6 at the Museum of Art.)
NCAA BASKETBALL CHAMPIONSHIP—The winners of Saturday's games.
television
NCAA BASKETBALL SEEM
FINALS - Syracuse vs. Kentucky and UCLA vs. Louisville.
p.m. on Saturday on WDAF.'s.
STITCHES IN TIME-
SAMPERS in the Museum's
Collection—This exhibit has
samplers from the 17th to 18th
week.
MARY HUNTOON
GRAPHICS—A 20-piece show in the print room of the Museum of Art.
Business Manager
David Roese
Dave Reeve
Advertising Manager
Assistant Business Manager
Carolyn Abbington
Carolyn Howe
DESIGN DEPARTMENT
STUDENT—At the Kansas
Union Gallery April 1 to April
18.
Classified Advertising Manager National Advertising Manager Assistant Classified Manager Assistant Classified Manager Promotional Manager
Debby Lysaught
Gail Johnson
Cindy Long
Gary Burch
Mark Nelson
Mike Holland
THE AMBASSADOR, by Morris West—A novel of the '60s reissued to capitalize on renewed interest in the theme. Ambassador Amberley goes to New York with his a peace settlement, and what a mess he finds himself in. (Pocket, $1.75.)
News Adviser Susanne Shaw
Business Adviser Mel Adams
REPORT TO THE COMMISSIONER, by James Mills—You may have noticed that a character holding the sticks. It's about an idealistic detective in New York (shades of Serico) who gets involved in narcotics and hustling. A pretty good book, (Pocket, $1.75).
THE IMPRESSION OF
LAND - Paintings and Prints by
Collete Bangert. Until April 4
at 7E7 Gallery.
RAGLAND, by John Van Orsdell—Here we have a pleasant little old vice president who suddenly finds himself in the White House, with a set of sensible solutions too sensible for anybody to swallow. Topical. (Pocket, $1.25.)
THE CALL OF THE WILD,
hy  Jack London, ___
TREASURE ISLAND, by
Judy Garland
Attractively printed and
illustrated versions of the
famous classics. For children
perhaps, but if you're a KU
child who has never read these
books you'll be amazed you got
the book from (Washington
Square, 75 cents each).
I WOULD RATHER STAY POOR, by James Hadley Chase-Another by England's writer of tough suspense tales. This one is about a guy who was a teacher and he has been assigned to manage in California. (Pocket, 95 cents.)
On the shelf
THE BLACK VENUS CONTRACT, by Philip Ailee—There are some people around them who even James Bond. Our favorite agent is involved with Brazilian terrorists in this one, and it sounds as though it's right out of the headlines. (Gold Medal, 85)
WOMEN IN WHITE, by
Frank G. Slaughter-Slaughter,
who used to show around in
the city where he met his
letting his heroes perform an
operation every 100 pages, has
gone contemporary. This one is
a doctor and a doctor, and how relevant are they you get?
(Pocket. $1.50.)
Privacy one thing Wilt can never find
BY CHRISTOPHER M. RIGGS Korean Book Reviewer
In his book Chamberlain tells about his life just as almost every other autobiographer does—without saying anything bad about himself. In his book, "Dippy," as he was called when he was young, writes about his boyhood days in Philadelphia, Ohio. He then went to the University of Kansas, his travels with the Harlem Globetrotters, and his career in professional basketball.
In Wilt Chamberlain's autobiography he states, "I can pass a football better than Joe Namath and drive better than Dan Gurney and cook better than Graham Kerr. To be perfect honest, probably only on these three statements are true."
His statement seems to be egotistic but after one reads "Wilt" this quote becomes believable.
One might think "Wilt" is a rags to riches story but that isn't true. Although Wilt's family wasn't rich, but they were far from being a slum family. A large part of the reason they did not number the family helped with the income, something Wilt hasn't stopped doing.
B chamberlain's college days were not as happy as his childhood. Chamberlain ruled out some universities because their basketball program wasn't as strong as Kansas, others because he thought they didn't treat blacks equally.
When he came to the University of Kansas he found a strong basketball program but he also found segregation.
In one statement I disagreed with Wilt. He said he went to Lawrence because Lawrence didn't have any. It seems that the altitude went to Wilt's head and he fell down as he worked down while in Lawrence.
Wilt's travels with the Globetrotters were the best part of his life. The "Globies" started as a serious basketball team with a little humor. The team was organized for black basketball players before they were able to break into the regular season. With basketball integrated, the Globetrotters weren't able to get the best black players, so they became a comedian team.
Wilt tells of his travels with the Globetrotters not only in the United States, but to Europe. He writes that Europe is one of his favorite places on earth.
Wilt also says because the basketball team in Glencroft girls and not basketball it was hard to make the decision to play professional sports.
Wilt went on to become one of the greatest players of professional basketball but somberly writes, "I like to be able to walk down the street and have no one notice me. . . . I can escape attention, no way I can escape even the slightest semblance of privacy." Maybe being famous isn't as great as it seems.