4
Friday, April 11, 1975
University Daily Kansan
ENTERTAINMENT
Oscar gold phony
"I...uh...just want to thank the members of the Academy and especially Sammy Davis Jr., for showing me how mawkish and banal these awards can be."
Where is the brave soul who would utter those words? He will never be found at the annual Academy Awards ceremonies. In fact, the ceremonies tend to bring out the word in otherwise creative and talented people.
The most perverse and self-congratulatory part of the Oscar ceremonies was Sammy Davis Jr.'s singing a medley of some of Fred A仕ale's best numbers. A仕ale's rendition of Gershwin's 'They Can't Take That Away From Me,' which appeared on Overture Magazine in "Snail We Dance" (1937), is one of the most beautiful moments in the history of movies.
Gee, wasn't it fun to see Bette Davis, Gregory Pecina, Gina Lollabrigida, Katherine Heburn and Sidney Poitier announcing the winners' names in such a cute juxtaposition?
Sammy Davis David, wasn't content to ruin the beautiful memories I had of Fred Astaire's brilliant performance that had to give his touch to all the ceremonies, and to all you folks at home for (so, sb., sniff) allowing him to be part of Hollywood.
Astaire, now 76, still has more grace and style than any actor, past or present. Sure, it's nice to have someone sing a medley of Astaire's songs. But why not show the clips from the movies about Shakespeare? stead, we saw film clips of Hollywood's greatest stars accepting and presenting Oscars.
When the audience didn't react to this insipid and puerile outburst, he said it again!
The Oscar ceremonies continually celebrate a glittering, brilliant Hollywood -A Hollywood that is a myth. Those halcyon days are gone. The big Oscar movies of quality of movies has probably gone downhill, although there are occasional exceptions.
This time, the audience, apparently as cloyingly sentimental as Davis, warmly applauded. It was enough a Polishmana faith in human nature into hardened cynicism.
The selection of Oscar winners is usually based on factors other than talent. This year was no exception. Art Carney and Ingrid Bergman are two of the most reigned over reason. Both are fine actors. Indeed, the fact that "Harry and Tonto" was Carney's first starring role in a film upset me. For a long time I have craved a film that would see Carney is dramatic and comic. Rohde calls this Oscar for Best Actor this year. He was a sentimental shooo-
Ingrid Bergman's Oscar for Best Supporting Actress, awarded for her performance in "Murder on the Orient Express," was a travacy. She is very talented and has appeared in many notable roles, but it wasn't Hollywood that she won this Oscar. She was gracious, though, in referring to Valentina Cortesa as being more deserving of the honor.
These two talented people deserve praise and even awards, but not for the 1974 films in which they appeared.
The Oscar ceremonies are
But if I have to watch the grotesqueism of Sammy Davis Jr., Frank Sinatra and comedian to do it on an empty stomach.
The sad part of all this is that the American film industry has a remarkable and memorable history. There has been much in Hollywood to celebrate: actors, films, musical scores and other components of a rich segment of American culture.
The awarding of misgaggoten Oscars is bad enough; the ceremonies themselves are worse. No harmless be叭ell me if Ingrid Bergman wins an Oscar that she doesn't deserve.
Next April I'll be watching the Oscar ceremonies again. We made it through the 1975 ceremonies without Marvin Hammish thankening Malax for his success. Let's hope for the good weather. Or I may have to buy some Malax for myself.
Instead of film clips showing Oscar presentations, let's have film clips from Hollywood's greatest films. Instead of phony jacqueline, instead of juvenility, let's have a low-key approach to the Oscars. Maybe this would lend some dignity and respect to the ceremonies. Maybe we wouldn't be subservient to high-imped-ty trash every year.
Ward Harkavy
phony and, if used as a guide to evaluate performances and films, usually worthless. The Oscars regurgitated at Tuesday night's ceremonies don't necessarily mean that the people who won gave the best or most pleasing performances. They are also as other elections, and they are as superficial and shallow as the worst spectacles ever produced by Hollywood.
Bluegrass virtuosos tonight
By JAMIE JONES Music Reviewer
Quoting from a song by John Prine: "You don't know how lucky you are."
The only addition to this collective of versatile virtuoses would be if Andrew Prewin were to conduct the audience.
You're lucky because Vassar Clement, Norman Blake and will perform together at 8 tonight in Hoch Auditorium.
Although his roots are in a Florida Blues style of fiddling, Vassar Clements is at home in any style. His bright, colorful riffs, executed at lightning speed, indicate a flamboyant personality. Clements is concerned at ease while concentrating at less improvisations that have made him a legend in his own time.
His history dates back to 1949 when he left Florida for Nashville where he joined Bill McNair, the director of his fiddler. From there his saga covers thousands of miles. He backed hundreds of performers playing such widely varied instruments with virtually no limitations.
Among the multitude that Clements has worked with are
Paul McCartney, Roy Acuff, the Greatful Dead and the Nitty Gritty Dirt Band.
While Clements was developing his distinct style, guitarist Norman Blake was exposed to the raw side of life while growing up in Sufur Springs, a small coal-mining town in Georgia. Blake muses on and conveys his life in an apocalyptic place with "Gin Sullivan," a fund melody with a ballad approach which describes the bad times of a man who romantically envisions the simple, yet good, times ahead.
Blake could be described as simple and easy going if it weren't for his unbelievable smile. Blake is amazing when he bells you into your chair with bass runs and then sends you to the ceiling as he soars down the stairs in his special version of finger bellies.
Blake now shares the noble title of the "world's greatest flat picker" with such legendary musicians as Doc Watson and Laurence White. As if that is not enough, Blake displays a unique improvisational style on the mandolin and dobro.
It's a long way from and a long time since the Glen "golf course" Campbell days, and it must be gentle on John Hartman. This is not a bad season, for the most part, either satirical or very mellow.
Hartford's works range from an expose of PTA members and what they do on hills, to intimate love songs and recollections. All are put to such diverse chord progressions on banjo and guitar that one can only sit in awe.
Harford vowed after a performance in Lawrence that he would never return after some "honky drunken go ropers" drove him from the stage. (Unfortunately, the bluegrass music arrivers in Lawrence infested with a sprinkling of fools who whop when it's uncalled for and stomp out of time.)
It's a difficult task to attempt to define or categorize Hartford; the enigma of his energy can be expressed in good feelings. His mastery of the banjo, guitar and fiddle is profound that should Hartford, Blake and Clements get down and along, the show may never end.
By KATHLEEN PICKETT Entertainment Editor
The women's liberation movement may not like it very much, but the name Don Juan, or Don Giovanni, is one that has for centuries symbolized male dominance.
It could be just the charm or the excitement about a man who conquers countless women, but something has made Don Giovanni an exceedingly successful literary subject.
One of the most successful of the many Don Giovanni stories is Mozart's exquisite opera "Don Giovanni," which will be presented this weekend and the next in University Theatre.
Recent advertisements for the KU production have tried to give relevance to this opera, which some ignorant music lovers have called a "tired war horse." The ads have stated such nonsense as "Guess Who's Coming to Dinner."
I don't know how good the University of Kansas production will be, but the opera itself is an all-time winner. According to such great musicians as Rossini, Goundo and Wagner it is the "greatest opera ever written."
Such jokes are really quite clever, as long as you know about the statute that the Don was foolish enough to invite to dine with him. The point is, such relevance is unnecessary, for it is one of those operas that has never needed to be revived.
Don Juan probably comes from Don Juan Ternato, a son of Francisco Ternato, a 19th century. Franciscan monks killed him for his licentiousness, but they told the townpeople that the Don had been taken to the hospital.
Don Juan needs no sales pitch
From this event have come countless works based in some way on the legend. The figure of the statue—the stone guest—is awaived in a memorial evolved into the father of a girl Don Giovanni had betrayed.
It would be impossible to list all the writers who've used Don Juan, but some are Moiere, Cornellie, Dumas, George Bernard Shaw, Byron, Goethe, Baudelaire and the composers Gluck, Purcell and Richard Strauss.
It is certainly a blessing that Mozart and his talented librettist, Da Ponte, decided to join this list of notables. Lorenzo Da Ponte's texts were perfect for the genius of Moztar's musical settings. Da Ponte was actually a ladies' helper who helped him to create the tricky half comedy and half tragedy that is the opera "Don Giovanni."
Mozart wasn't, as some people think, merely rocoo—light, gay and frivolous. The single-mindedness and isolation of genius gave Mozart the ability to serve melancholy to his works. His real interest was in human beings, in the drama of human
Mozart's operas are characterized by lightness and sharpness, as well as by symmetry and grace of classicism. They also add an element of true human drama.
Although this play has both a serious theme and ending, it was undertaken in a spirit of levity. A legend says that during the first act she dissatisfied with the scream Zerina made when the Don made improper advances to her. Mozart remedied the situation by slipping behind her, and at the proper moment, properly it was pleased with the much more realistic scream.
relationships. Mozart emphasized people, not plot or setting.
The plot of the opera is silly and complex, but still meaningful. it was first performed on December 18, 2014, in Volgograd on Oct. 29, 1787. Mozart later revised it for its Viennese performances. But even after the revision, there are obvious political overtones.
One of the special aspects of this play is the character of the Don himself. He is ambiguous—a hero-villain. He represents the pursuit of happiness and love, but he makes this simple, life-giving quest complicated and eventually destructive.
the Don's stress on "Vivaa ibertele!" But there are also more subtle signs of political commentary. The exploitation of a peasant by a dissolute foe bolds in the opera, was likely to raise emotions with the French Revolution approaching.
Even the ballroom scene tells us about the political atmosphere of the times. Three orchestras playing separate rhythms represent three social classes.
The most obvious of these is
But these little details are nonessential to the real enjoyment of the opera, which incidentally, will be sung in English. The real beauty of this work is in the music. Mozart's genius for melody is seen throughout, from the overture to the chorus, and from the statue's entrance to the trance itself, symbolized by the old technique of using trombones to instill dread.
time. He will be appearing at Hoch Auditorium tonight with Norman Blake and John Hartford.
Don invites the peasant Zerlina io his castle in the beautiful duel "la ci darma la mano." "Dalla sa pace" is a beautiful tenor aria sung by a love to comfort his beloved.
The arias are fine and memorable, and the cast members get their chances at love music. There is Leopold's *Song of Love* catalogue aria, which lists the Don's many female conquests.
Naturally the Don has his moments. His "Champagne aria" is sung when he's so full of life he bubbles over. Zerlina battl battl in apology to her betrothed for her misdeeds.
The list goes on and on, from the famous minuet to Donna Anna's tender "Non mi dir."
The only flaw to the opera is the ending, and it is a fault inherent in the subject itself. You either identify with Don Giovanni and want him to win, or you hate him and can't stand it. You can avoid different ways to end this opera. I don't know how KU will do, but it will be a pleasure to watch "Don Giovanni" and find out.
THE UNIVERSITY DAILY
KANSAN
Published at the University of Kansas weekdays during the academic year except holidays and excused absences. Lawrence, Kan. 66415. Subscriptions by mail are $8. Subscription fee for bookings $1.35 a semester. Passed through the student activity center.
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Editor
John Pike
Associate Editor
Campus Editor
Craik Sook
Dennis Eilworth
Business Manager
AIRPORT 1975—This is supposed to be in the epic-dissident genre, but it turns out to be a very sad comedy. With Charlton Heston and Karen Black.
Fiddler Vassar Clements is a colorful, talented legend in his own
DON GIOVANNI-Mozart's
m演藝 opera the last
production of the KU theatre
this season, so don't miss it.
Even if you think you hate
opera, try this one.
Note: The following films are appearing at Commonwealth Theatres. Check local addresses for times and locations.
THE SEEM-TO-BE PLAYERS--Formerly the Meade Hall Players. They perform a one-hour program of two short plays with bits—songs, dances and comedy sketches—in between. In addition, the continuing "Adventures of Nymr the Sprite." (At 1 p.m., Play in the Meade Hall.)
(At 8 p.m. Friday and Saturday in the University Theatre.)
Bluegrass Bou
(At 1 p.m. Saturday in the Community Building.)
BEATRICE FEROLLI and PETER TRAMIN—In a concert reading of works by A. C. Art-Artifice, Mr. Harold Farrell and Peter Tramin.
(At 8 p.m. Monday in the Big Eight Room of the Kansas Union.)
On stage
Advertising Manager Assistant Business Manager Deborah Arionnes Caroline Howe
On Screen
BLUME *in LOVE—A sophisticated comedy about an upper-class divorce. With the author, Kris Anstappson and Kats Kristoffersen.
(At 7 and 9:30 p.m. Friday and Saturday in Woodruff Auditorium.)
TARZAN AND HIS MATE-
Johnny Weismuller and
Maureen O'Sullivan in one of the best Tarzan movies. MGM jump on this production.
(At 13:08) In daywood in Daywood Auidorum.)
(At 7:30 p.m. Thursday in Woodruff Auditorium.)
THE LITTLE FOXES—Bette Davis heads the cast in an adaptation of Lillian Hellman's a story about a corrupt Southern family.
THE MAGICIAN—A dark, haunting, and very unusual film set in 19th century Sweden. Ingmar Bergman directed this 1969 film and it uses members of his excellent stock company, including Max Von Sydow and Inrid Thurill.
(At 7:30 p.m. Wednesday in Woodruff Auditorium.)
THE WHOLE TOWN'S
TIMESMAN Edward G.
Robinson in this drama.
Ford directed this entertaining
comedy in 1935. Fine per-
formances by Robinson, Jean
Arthur and, as always, Donald
(At 7:30 p.m. Monday in Woodruff Auditorium.)
DEEP END—A film about strange occurrences in an English bath house.
(At 7:30 p.m. Tuesday in Woodruff Auditorium.)
This Week's
ENTERTAINMENT
LINDA LOVELACE FOR PRESIDENT—This is worth seeing if you accept the fact that the KU campanile steals the show—and that doesn't say much for the actors.
THE FOUR MUSKEERS—Good sequel to "The Three Musketeers," with a little adventure and adventure than comedy.
YOUNG FRANKENSTEIN—Very funny parody of the original Frankenstein movie. The movie, contrived they really are good.
ALICE DOESN'T LIVE HERE ANYMORE - Good story about 35-year old widow making a new life for herself.
In concert
VASSAR CLEMENTS, JOHN HARTFORD and NORMAN BLAKE-In a bluegrass con- troll in towng in the hoch Auditorium.
HARVEY PHILLIPS, tuba artist. In a solo performance and master class clinic. (At Swarah about Recital Hall.)
COLLEGIUM MUSICUM and the KU FOLK DANCE CLUB—A program of Renaissance music from Milton Steinhardt, retiring chairman of the department of music history and literature. The program will include two motets from from four complete works of Jacobus Vaat, dances and chansons from the late 15th and
LAWRENCE CIVIC CHOIR—
H. Leslie Adams, director
LAWRENCE CIVIC CHURCH
H. Leslie Adams, director.
(At 5 p.m. Sunday in St.
John's Catholic Church.)
The program includes a concerto for tuba by Ralph von Williams and a humorous duet "The Elephant and the Fly," as written on错件 pieces. at 3:30 p.m. Sunday in University Theatre.
CONCERT BAND—Lee A. Mendyk and George Boberg, conductors. With guest artist Harvey Phillips. Assisted by Joan Johnson, piccolo. with Joyce Johnson, David Bushouse, conductor.
early 18th centuries and Italian magdials of the 18th century. (At 2 p.m. Sunday at the Museum of Art.)
(At 8 p.m. Monday in Swarthout Recital Hall.)
(At 8 p.m. Monday in Battenfeld Auditorium at the KU Med Center.)
ROBERT WARD, pianist—
Selections by Mozart, Schubert,
Gottschalk and Ives.
THE UNIVERSITY SINGERS—James Ralston conductor, Donald Eaton, conductor of The Frosty Hastert, accompanist. The program includes Handel's stunning Coronation Anthem No. 4; Mozart's "De Profundis" and Bartok's "Brahms, Brahms and Parsifalt."
(At 8 p.m. Wednesday in Swarthout Recital Hall.)
MICHAEL RADULESCU,
German organist. — In a master class, the topic is "J. S. Bach as Transcriber for Organ: The Six Schueber Chorales, the Concert after Antonio Vivaldi, the Aalto and minor. (A 2:30 in Swarowth Retall Hall)."
(At 8 p.m. Wednesday in the White Concert Hall at Washburn University, Topeka.)
ROD MCKUEN, composer and poet—Presenting a mixture of classical and new popular music, including his new symphony “A Piece of the Continent . . . A Part of the Main.”
PERCUSSION EN-
situated in a conductor.
Works by Carlos
Chavez, Zita Carno, Shelly
Amadeuado Rodan and Paul
Levine.
(At 8 p.m. Thursday in Swarthout Recital Hall.)
O nan Lea Edh D R cou bwe yea W T Lea
At the gallery
KANSAS UNION GALLERY-Design Department Students exhibit. Until April 18.
FIRST ANNUAL PAINTING
EXHIBITION-At the
Lawrence Arts Center (9th and
Vernon). May 4.
MARY HUNTOON, GRAPHICS—A 19 piece collection of etchings, engravings and illustrations, Univ. April 20 in the Museum of Art.
EVONNE KUDLAS EN-
GLISH—Various media at 7E7
Gallery.
Art Center's show diverse
By ROGER B. WARD
Art Reviewer
A special feature of the opening activities of the Lawrence Arts Center is the First Annual Painting Exhibition, on display in the Center's gallery until May 4.
The predominant characteristic of the exhibit seems to be eclecticism. Acrylic, oil and watercolor are all substantially represented, and styles range from the fluffy, impressionistic techniques of Addie Penny's painting, to Pauses's "Defenses," a rigid, geometric, hard-edge abstraction.
Paul Penny's "River" with its view of the bridge, dam and Lawrence skyline as seen from
The show compromises 18 works by 14 artists, selected by R. J. Hunt, director of the Muvane Arts Center in Topeka. Works were selected from 132 paintings submitted by 33 area artists.
Such diversity precludes any real focus or sense of unity in the show. The scanty lighting in the rooms, sometimes distracting, but it doesn't prevent one from enjoying the works individually. There are several noteworthy features. The one we show an impressive quality.
Gee's work was one of the exhibit's two prizewinners selected by Hunt.
The other award-winning painting was Colette Bangert's "Sun Bleach" from her "Grassland" series. An intricate, undulating mass of lines in soft paste-colored overlays is used to achieve what seems to be a microscopic view of grass blades or wheat stalks swaying under Bangert's shape, which is definitely stronger than "Winter" of her "Grassland" series, which seems rather muddied and drab in comparison.
At the other end of the spectrum, in both subject matter and rendering, is Norman Gee's "Chinatown Series with Dragon and Screen." Here the combination of layered bands of Oriental motifs and bright flat colors, produced by incisive lines, produces a usually stunning pattern effect.
The smallest work in the exhibit—an absolute gem—is
the north bank of the Kansas River is engaging because of its straight forward realism. Done in a manner somewhat reminiscent of Thomas Hurt Benton—its simplicity is quite appealing.
Robert Zerwekh's "Distortions" A still life composed of a bottle, two eggs, two jiggers and a plate, the painters explores several optical effects: light glass reflection of solid object glass and refraction of a solid object through glass.
Done in brown, tan and gold
tones and with a smooth,
enamel-like finish, the surface
of Zerwelk's miniature also
light. It is an intriguing
piece and should not be by-
passed.
Perhaps the most captivating painting in the exhibit is John Gary Brown's "Rose Water No. 1." The horizontal fields of color which modulate subly from lilac to magenta to pale violet, gave the work a soft, warm touch, while it relaxed calm and quite relaxing. Its absorbing work, which despite its disadvantageous position, becomes more engrossing the longer one looks.
Ann Evans, director of the Arts Center, and members of the Arts Commission should be warmly congratulated on their inaugural exhibit. The show is something of which the artists and the Lawrence community can be proud.