4 Friday, May 2, 1975 University Daily Kansan ENTERTAINMENT 'Shampoo,' 'Amarcord' pleasing By KENN LOUDEN Kansan Reviewer Every so often a reviewer realizes how subjective his job is. Such is the case in reviewing two films—"Shampoo" and "Snow White." Without having seen "Amarcord," it would be easy to give "Shampoo" an excellent review. Unfortunately, a comparison of the films results in revealing the differences between a good artist and a competent craftsman. "Shampoo" is the brainstorm of star and cowriter Warren Beatty. Beaty, with Robert Towne and director Hal Ashley, attempts to present a definitive statement about the sixties. Their method is to have the film begin on Nov. 4, 1965, the day Nixon defeated Hubert Humphrey by falsely proclaiming a platform of stability and a return to normality. Nixon represents the false hopes of characters who are hoping for a return to stability after the turbulent years of the 1950s. He is the most important character is Beatty's George, a sexual machismo of a hairdresser, who spends his time romping from woman to woman and who is also the form of his own beauty shop. AMONG HIS MANY PARAMOURS are his live-in girlfriend, Jill, played by Goldie Jackie, played by Jackie Jackie, played by Julie Christie; and Felicia, played by Lee Grant, whose husband, Lester, (Jack Warden) is financing George's beauty shop. To complicate the plot, Jill and Jackie are best friends, and Jackie is Lester's mistress. This could be the beginning of a movie, but in parts of the film are funny, the ending comes closer to tragedy. The acting is excellent. Beatty's George is erratic and impossible to understand. He is a living sexual metaphor. He has no female partner, so he must be female. Even when he is caught with his pants down, he tries to proclaim his innocence. He sums up his sexual philosophy: "We want to nail them, and they know it. They like it and they don't like it." The three women in his life are well portrayed, both physically and characteristically. JACKIE IS COMPETENT but confused. Julie Christie shows her usual superior sensitivity when she displays one of the most beautiful backs I have ever seen. Jackie is the most sensitive person in the film She Loves You, and she fortunately, she gives in to her need for security. She has lived through the raunchy sixties and needs stability. In the end she supports a stable life with Lester. Lee Grant's Felicia is superb. Her perfect profile is a mask that can not be removed. She is very flirty and clothes off to make love. Yet, her presence is overwhelming. She is the upper-class suburban house wife with nothing to do but go shopping and sexual rumours As Jill, Goldie Hawn is a beautiful child-actress with great legs and eyes that glow like a character in a Keane painting. Hawn is finally living up to her potential. Jill isn't especially intelligent. But she isn't the stereotyped, giddy blonde that one tends to associate with hawks. Jill also Giorgio Moschino lies until she is confronted with his philandering. She then deserts him for a stable life with a director of commercials. Jack Warden, however, takes all honors as best actor. Lester is cuckolded three ways by George-wife, mistress and even his daughter. Yet, he fails to see the difference between a woman at first and at first he even thinks that George is gay. Lester is a stunnch Nissan supporter but he really doesn't know why. He is primarily a businessman. Although he knows that George has made a fool of him, he still feels like a beautician's shop, simply because George is good at his trade. Lester decides to divorce Felicia and settle for what he hopes will be a life of stability with Jackie EXCEPT FOR FELICIA, the characters follow the trends of the 1968 voters and chose stability. Upon reflection, it is easy to see that the stability of the Nixon administration was a failure. Felicia is the only character who chose the proper path. While the film's strength is based on the election of Nixon, its weakness is being too dependent on the use of the election as "its theme, nixonianism" as its own "official administration" and "bringing the country together" are used, too often. Nixonism generate false laughter but they are gimmicks. People laugh at Nixon to win, and this is how it was. This weakness is most likely the fault of the strong democratic conviction of screenwriter Beaty. It is sad that his political convictions were ruined. THE FILM ALSO ATTEMPTS to use overlapping dialogue mixed with the election results. The result is a stilted attempt to mix the personal feelings of the candidate announcing Nixon-Agnew victories. This also fails. Towne and Beatty would have been better off to have subly used the election rather than blasted it all over the scenario. One of the best scenes in the movie is the disaster, running after Jill and Jackie in a sea of strobes and loud music. The election is ignored. The people at the discotheque have given up hope. They are trying to escape the disaster, but the success of the scene is evidence of director Ashby's talent rather than Beatty's script. "Shampoo" shows the folly of electing a man who promises stability. The movie is an important statement. Unimportant the quality office is sacrificed for the sake of politics. Like "Shampoo," "Amarcord," which means "I remember," takes place in the past. But while "Shampoo" is a sour note, "Amarcord" is a haunting, reminiscent melody. Fellini is the only director who can take rhetorical devices and successfully transfer them onto the screen. As a result, he has created sexually hyperboles, intellectual meioses, childhood euphemisms and seasonal allusions. "Amarcord" is a poetic pipe dream, a minor epic of the true cinematic genres. THE FILM TAKES PLACE in the 1930s and coincides with the rise of fascism. Life is perceived euphmetically through the eyes of a teenager called Tita played by Bruno Zanin. Tita is probably the adolescent Fellini. The film also has a narrator who tries to speak to give his opinions but who always is interrupted by one of the townpeople before he can finish. Both Titta and the narrator are overcome by the collective personality of the community. There are a few important personalities in the movie, but the community is the star. Fellini uses a couple of the characters to reflect the community's feeling. Titta looks at everything through experienced eyes. He dreams of holidays and sexual encounters, and he loves affairs are with a nymphomaniac, euphemistically nicknamed Venus, and with a 200 lb. shoakeeper. Another of his dreamlights is a beautician of questionable virtue who has earned the appaliation "S'il vous plait." She is a romantic who dreams of Gary Cooper. THE FILM BEGINS with a seasonal allusion to spring. Fluff puffs fly through the air and life begins. When winter arrives Titta's mother dies. With the return of spring, "S'll vais plait" married her Garv Cooner and starts a new life. Although allusive, the film is not illusive. "S'il vous plaît!" Gary Cooper is in fact a Fascist policeman. Titta's memories may appear pleasant. But reality permeates Dissonance dominates recording them. His sexual ideals are often gross. His friends are often stupid. In one especially brilliant sequence his teachers are revealed as a wealthy family life is tainted by a foolish father, an idiot uncle and a neurotic mother who dies. The flaws in his memory are so subtle that they could be missed. But their recognition is necessary to the full impact of the movie. "AMARCORD" DOESN'T HAVE a plot. It is a continuous narrative, unlike most of Fellini's recent films. Thus, it is extremely enjoyable. It isn't eratic-like but rather makes the sensual obsessions that flawed "Satyricon" and "Roma." Barber was born in 1910, a time of flux in classical music. In Europe, a new foundation of musical instruments, Stravinsky, Debussy and Schoenberg were testing their works in Paris–music so closely that even the essence of opera houses when performed. War in Europe was “Amarcord” is a minor masterpiece by a consumate filmmaker. Fellini takes the old film and transforms it into a reality. "Adagio for *Strings*, Opus 11," from his "Swing Quartet No. 1." is a moving piece. Poliphonic in its textures and chordallity, rising, in its tension, so slurs gracefully滋握 itself upward. The mood of the piece is torn, strenching; yet, a The overture to "The School for Scandal, Op. 5," is a beautiful piece. Its intriguing melody, slyness in tonal colors and rhythms, adds to the piece an aggressively dissonant yet warm sound. imminent. The times were quickly changing. "The Thomas Schipper Conducts the New York Philharmonic" shows the results of that style. Broad, expressive and tonal, his work is reminiscent in an American Runsk-Korsakov. Records Reviewer Thomas Schippers Conducts the New York Philharmonic. Written during his study in Italy, "School for Scandal" was performed during the year of 1933 in Philadelphia. Educated at Curtis Institute in Philadelphia as well as in Italy, Barber fused a style of progressiveness and romance to his early 19th-century composer, who stresses the future instead of the past. tranquility can be sensed. “Adagio” is an eye-in-the- ear and brutal on its outskirts. It carries within it the grief and power of a nation. It was played by the radiant announcement of Presidency. Barber, foremost in a group of American romantic and conservative composers including Virgil Thomson and Roy Harris, contains elements of piquant dissonance and intricate rhythm in "Thomas Schippers Conducts the New York Philharmonic" shows just how sweet and sour music can be at its best. By ROBERT A. GAVIN "Second Essay for Orchestra" is fast, jumpy and pungent. Written in 1942, the work shows a more contraputal, dissonant and romantic Barber. The work begins slowly and picks up in intensity throughout. Samuel Barber is a classical American romantic composer. He is so classified because of his rich melodies, flowering harmonies and colorful orchestration. Thomas Schippers, conducting the New York Philharmonic, gave the essence of Barber's craft on a reissued Columbia Odyssey recording. By Staff Photographer DON PIERCE On screen Formal forms of campus entertainment may be almost better, but the average college student knows what to do with his free time. These students are awaiting the time when the rest of the class is at work. The last resort... SLEEPER - Hilarious sci-fi comedy with Woody Allen, a true heir to the Maxe Brothers. also starring Diane Keaton. A great way to end the semester. (At 7 and 9:30 p.m. Friday and Saturday in woodruff Auditorium.) MARNIE—Turgid and interior Hitchcock. This movie has an implausible ending, some trite, others seduce "Tippi" Hedren? (her quotes, not mine). For that matter, why would anyone want to watch it? (At 7:30 p.m. Tuesday in Woodruff Auditorium.) AMARCORD — Federico Fellini recaptures the vitality and insight into personalities he once showed in this story of a small Italian town in the days before II Duce. TOPAZ—Another poor Hitchcock, this one is at least watchable. With John Forsythe, Roscoe Lee Browne and Frederick Stafford (Who he?). One must remember that the worst Hitchcock movies still are better than most other movies. This Week's (At 7:30 p.m. Wednesday in Woodruff Auditorium.) SHAMPOO-With Warren Beatty, Goldie Hawn, Julie Cohn, and many others Relieve those wonderful days of 1968, which were the last times we could say that Richard Welles was the President of the United States. THE REENCARNATION OF PETER PROUD—Michael Sarrazin narrates in an allegedly violent movie that we need the exorcise, see this one. THE MOONRUNNERS-NO. this isn't a porno epic. With James Adams, who was one of himself's possessions none of his father's ability. HOUSE OF 1000 PLEASURES - Your most needs might be when you see the closing credits of this one. ENTERTAINMENT SOLDIER BLUE AND SUMMERTIME KILLER—At least two of Edgar Bergen's other offspring, Charlie McCarthy and Mortimer Snerd, have more talent than Candice Wooden one. What do you expect at a drive-in movie, anyway? In concert THE COMBINED UNIVERSITY CHORUSES AND CHOIRS—James Ralston and Burt Allen directors. Plus the University Symphony Orchestra, George Lawner, Marianne Tolstoy, phony of Psalms, by Igor Stravinsky; Gloria by Francis Poulenc, Kathryn Taylor, soprano solist; and Circus Band, by Charles This is a good chance to hear some modern music, especially by the American composer (At 3:30 p.m. Sunday in Hoch Auditorium.) DEAN RUSSEL, bartone- Anson Schornick at the piano. Works by Respigli, Donizetti, Finzi, Dello Joio and Duke. (At 8 p.m. Monday in Swarthout Recital Hall.) killed by Arab terrorists. (Pocket, $1.50.) Off the shelf THE EXORCISM OF JENNY SLADE, by Dorothy Daniels—Guess what this one is about. Dorothy Daniels writes Gothics, and this one brings pretty Jenny to a forbidding城 where an old man dies and lets loose a demon who tries to claim poor wife. The demon hardy, her equal would be hard to find (Pocket $1.50) PEARL'S KITCHEN, by Pearl Bailley -Full of recipes not only from Pearl Bailley but not of some her show business cronies. Learn how Burt Reynolds makes beef stew and how Bing Crosby prepares smoked trout. (Pocket, $1.50.) On records KOOL & THE GANG, GREATEST HITS—More funky stuff from Kool, including "Hollywood Swinging." Some pretty good cats for bumpin' or just plain listening. Recommended highly for movers, not take a good tune坐唱时. HAZARD, by Geran A Browne -A suspenseful tale based on the continuing Arab-Israeli conflict. "It's about a man who is trying to avenge the death of his brother, who was ON THE LEVEL - by Status Quo. This is fairly unimaginative hard rock which would have been great in 1969. The old "Love is gone and I'm sorry" theme is run into the ground in the 1980s, but still applies, the band has nothing new to offer. CRIME OF THE CENTURY—by Supertramp. This album hides with some fine keyboard and workable work behind a vocal message that is at best obscure. Richard Davies should restrict his efforts to the ivories and let them do the talking. John Anthony Hellwell cuts loose a few deeply smooth saxophone solos. band one of the most respected in the world of rock. YES, "Westerdays"—A well-packaged and re-mixed album of early YES. All cuts are from the first two albums, with the exception of the beautiful version of Paul Simon's "America," and an early show example, "Dear Fashion." This album is one of the most entertaining more commercial sound, yet will keep traditionalists who are waiting for the band's next exploratory album. It's a good overview of the early sounds that made this RETURN TO FOREVER Featuring Chick Corea, "No Mystery"—Corea has sold out to a younger audience. The cover is gaudy; the music seems pointless. ROBERT WYATT, "Rock Bottom" - Comeback effort by former drummer of Soft Metal was paralyzed after a fall. This album is high on understatement, low on excitement. Lyrical and melodic, the arrangement losses impact. MOT SCOTT, "Tom Scott in LA."—Tightly arranged, slick style by country's leading studio six player. Has ten cuts, percussion and not his most studio inspiration. Give this one to your parents. DAVID BEEDFORD, "Star's End"--Composer commissioned by London Royal Philharmonic Orchestra. Twentieth century orchestral movements with rock band members: Mike Oldfield, field, guitar, and Cutter Drums. Much melodic sound, but orchestra and band fall short of their attempt. At the gallery MUSEUM OF ART 1-1 "Glimpses of Fugitive Pleasure, Japanese prints for museums, music at 'Alan Shields' Works on Paper," Watercolors, lithographs, serigraphs and mixed media on handmade Shields, a native Kansas artist. UNION GALLERY - Painting and sculpture department scholarship show. Through May 10. Deja vu prevalent in 'Reincarnation' By TOM BILLAM Kansan Movie Critic Relicarnation is the belief and hope for millions of humans. Their lives are shaped by the knowledge that they will live again and again, although they will not remember past lives These dreams start to bother Proud, a university professor played by Michael Sarrazin, who has been vividly. The dreams bother him because in the one he most often remembers, he is brutally killed by a woman who hits him in the back. When he tries to climb into a boat. In "But the Reincarnation of Peter Proud," reincarnation is a nightmare which probd can't be avoided in his dreams, his previous life. 7E7 GALLERY-Fields and Forms by Lois Greene. Waivings and Drawings reception 2-3 p.m. Sunday. He writes the dreams down and takes his case to a court. He says he can't determine the reason for the dreams and refers Proud to THEEN THE FUN STARTS. His dreams won't record on monitoring devices. The doctor tells Proud his lack of dreams has made him tense and liable to hallucinate. IN HIS PREVIOUS LIFE as a playboy married to the banker's daughter (played by Margot Kidder, so the life could not have been like it now) and she looks, wealth and the fame of having been a war hero. Proud's visionary reality isn't murky at all. It's full of trifles, unimportant in themselves but important to be unreal, too complete to be unreal. Other hints and foreshadowings dot the movie like pebbles on a beach. Proud's hip hurts, and medical science can't help but stab it with habit of tapping the edge of his glass when drinking liquor. Proud obviously doesn't care whether his visions are dreams or not. He wants to remember them to stop. It is completely unnerving to dream about people and places one never has before, and the detail as to be unforgettable. When Proud sees a 37 Cord in an automobile show, he receives the same car in his dreams. He even knows the dashboard and how to work the retractable lights. The car only about five of them left. a parapsychologist at the University. included retracting headlights, an uncommon feature for that time. Troub's dreams contain this car quite often. It is slowly spelled out to the Whose memory is the question he finds he must answer. Taking the fact that the possibility of his ever having seen such a car before was very slim. Proud beconvenienced people are also causing the dreams or hallucinations; it is memory. He sees the daugher, Ann, playing tennis and manages to play a few games with her to get to meet her. Jeffrey Curtis used the tennis pro at the country club in which they are playing. Throughout most of these "chance" encounters and seemingly endless detail, one realizes they are clumsy attempts to establish a cycle between Proud and Curtis, a audience that Proud really has lived before because of the mannerisms, the habits and the memories that have carried 9 The best parts of the movie are the dream sequences. Scenes of Curtis playing tennis and his friends are almost surreal. Flashes of Curtis making love to many women also seem larger than life. The music during the movie is very melancholy and moving. The parallel must be established or the movie would have had no meaning. Yet it is almost always more pleasing when hints are subtle, perhaps even subterranean. It's more fun to find out for oneself than to be told. In this movie one is told. After Proud determines who he was, he finds that his former self, Jeffrey Curtis, had been bothered by a war wound in his hip, and that Curtis used to tap the edge of his glass. When Proud and Ann relive one of the amorous sequences almost to the last detail, it is a foregone conclusion that Proud and Curtis are one and the same. Proud discovers his previous name, his boyhood home, his previous wife's new home and her room, played by Jennifer O'Neill. PROUD AND ANN CURTIS play tennis as his previous wife watches. When Proud used the same phrases to call a good shot mobius strip the soul of Proud Curtis seems destined to walk. The last 10 or 15 minutes of the film leave no double about the time when the time hoping against hope that Proud will get off his silly merry-go-round and let it go. Then the resolves to relive that dream. as Curtis used, the wife bolts runs off and gets drunk. BUT CAN ONE OUTWIT a mobius strip? Can one end a cycle once it is started? If you think you know the answer, go see the movie to see if you are right. You never know. Everyone dreams. What was your last dream about? Proud and 'Ann eventually relive all the dreams Proud experienced of Curtsia life. That dream in which he is killed. He thinks a swim in the lake will relieve him of the dreams and enable him to live in a happy marriage with Ann Curts, free forever from the haunting of the dreams. THE UNIVERSITY DAILY KANSAN Published at the University of Kansas weekly; during the academic year. Second-class postage paid at Lawrence, Kan. 60045. Subscriptions by mail are $8.13 a semester, passed through the student activity office. $11.83 a semester, passed through the student activity office. Editor John Dilis Accommodations, goods services, and transportation are provided at the hotel. The guest is guaranteed a great opportunity of the hotel facilities by providing his/her accommodation in the hotel. John Pike Associate Editor Craig Stock Campus Editor Dennis Elwisworth Associate Campus Editor Alice McKinnon Curt Young Alan Furze Chief Photographer George Knox Leonard Sports Editor Mike Flipsegar Associate Sports Editor Anna Gardner Ron Stephens Associate Sports Editor New York Times Debbie Gumbel, Roy Beywang Bunny Miller Smith, Katie Pickett Wire Editors Bette Haggard, Tonn Billion Writers Ben Johnson, Stephen Hunter Photographers Rodney Brooks, Stephen Hunter Business Manager Advertising Manager Assistant Business Manager Debra Arbahian, Capital Hero Classified Advertising Manager Debby Issyushaw National Advertising Manager Gail Gibson Executive Assistant Cindy Assistant Classified Manager Gary Buch Promotional Manager Mack Nelson Sales Associate Vince