4
Friday, April 4, 1975
University Dally Kansan
ENTERTAINMENT
Musketeer sequel is madcap fun
By WARD HARKAVY Movie Reviewer
This may not be the golden age of period-piece adventure movies, but Director Richard Lester's "Four Musketeers" is one of the most lusty fun, sprinkled with morsels of black humor.
Don't confuse this movie with Lester's "Three Musketeers," a movie which was released last year, in version in town now is its sequel.
Both movies were made at the same time. In fact, the cast members thought they were making one movie. Some of them even threatened to sue the producers for more money covered two separate films were to be made from the footage.
Because of this production's subterfuge, the two movies are
very similar. Once again, rawboned Michael York plays the eager, energetic D'Antagnan; Oliver Reed, Richard Chamberlain and Frank Finlay play his Muskeeter comedy and Charlton Heston play the chief villains, "Milady" DeWinter and Cardinal Richelieu.
There are several touches of black, satric humor that recall Lester's previous movies. Such scenes as a magnificent duel in a church, with the swordswarm bathed in light filtered through a linen tablecloth, and picnic lunch eaten among stabblings and shootings on a
battlefield can probably be attributed to Lester's macabre sense of humor.
These two sequences are direct descendants of Lester's film "The Bed Sitting Room," in which the survivors of a nuclear war turn into parrots and pieces of furniture.
Another facet of "Four Musketeers" is its beautiful
depiction of the period right before Louis XIV. Nothing is shiny and new, except the villains' raiments. Everything else is suitably dusty, grimy and old.
The acting is, as in the first part, perfectly in tune with the movie's tone. Charlton Heston's worst fault in his previous films had been a severe pretension, and the film was unavoidable that he acquired this trait, having played Moses, Bur-Hur and other epic heroes.
However, in "Four Muskeeters," Heston's performance is definitely tongue-in-cheek. He exhibits a droll, though thought impossible would have thought impossible in so stereotyped an actor.
Raquel Welch does what she does best. She serves as the foil character and jokes and has very few friends. She is sensual and evil by Milady—
This Week's ENTERTAINMENT
(At 7 and 9:30 p.m. Friday and Saturday in Woodruff Auditorium.)
On screen
CINDERELLA LIBERTY—James Caan as a sailor and Marsha Mason as a whore in a depressing and sordid story. It brightened, though not enhanced, by a subplot involving the intimate son of Mason in an interracial Big Brother story. Fine acting by all. Directed by Mark Rydell in 1973.
BALLOONATIC—1923 short with Buster Keaton, which is a glowing recommendation in itself. This motion of an orphaned boy, starring Charlie Chaplin, Woody Glass and Dryity Work, starring Laurel and Hardy; I’ll Be Glad cartoon featuring Betty Boop.
(At 1:30 p.m. Sunday in Woodruff Auditorium.)
(At 7:30 p.m. Tuesday in the Kansas Union Ballroom.)
KISS ME DEADLY—Ralph Meeker as Mike Hammer in a psychotic gangster story with more energy than most other movies. You may not like Mickey Spillane, but that doesn't matter. This is a movie loved by the French, but relatively indirectly directed by Robert Aldrich in 1955 by Robert Aldrich, who also directed "The Dirty Dozen" and "The Longest Yard."
so evil it's hard to sympathize with her when she gets caught in her own web of intrigue.
II GENERAL DELLA
ROVERE-Film director
Vittorio De Sica in a brilliant
performance as a ne'er-do-well
who impersonates an Axis general during World War II. Directed by Roberto Rossellini in 1960.
(At 7:30 p.m. Wednesday in Woodruff Auditorium.)
Note: The following films are playing at Commonwealth Check local advertisements for time and place.
THE FOUR MUSKETEERS:
PART II—Great sequel to the one of last year's most enjoyable movies. With Michael York, Faye Dunaway, Charlton Heston, Christopher Lee, and Sherlock Holmes. Directed by Richard Leach in a madcap style
YOUNG FRANKENSTEIN—A new version of the 1831 book, with artwork peculiar to Borsch and humor. With Gene Wilder,
Probably the most well-known songs from the show are "If My Friends Could See Me Now" and "Hey Big Spender." Remember that one from the cigar commercial?
ALICE DOESN't LIVE HERE ANYMORE—An eloquent portrayal of a 35-year widow and her 12-year-old son. With Ellen Burstyn, Kris Jenner, Dianlai Diao and Harvey Weinstein, Martin Scorsese, who previously directed "Mean Streets." If you're tired of machismo movies, see this one. ESCAPE TO WITCH MOUNTAIN–Children's fare from the Disney Studios, will probably be boomed with it.
Hall to perform 'Sweet Charity'
"Charity Hope Valentine""- When you hear a name like that you realize it must belong to the author of the novel or a Broadway play.
"Sweet Charity," was a 1960 Broadway hit. It tells about Charity, a taxi dancer in the Fandango Ballroom in New York, and her attempts to escaped from Fandango and make a more full life.
"Charity's optimistic outlook on life separates her from the
LINDA LOVELACE FOR PRESIDENT—Porn star runs for President and the viewers lose. Terrible, and without the saving grace of being ranchy, M. Otread is a co-star.
"Sweet Charity" was written by Neil Simon, who also wrote "Plaza Suite," "The Old Couple," "Barefoot in the Park" and "Last of the Red Hot Lovers."
H charity Hope Valentine is just that, an appealing heroine and a true lover of music. "Sweet Charity" revolutes local musicals, "Sweet Charity has no lasting social bond but it can be entertaining."
Oliver Hall will present the musical "Sweet Charity" Friday, Saturday and Sunday nights at 8. The play will be directed by Jeff Fisler, Prairie Village senior.
other dancers in the musical," Fisler said Wednesday.
The other dancers represent pessimism, he said.
"The purpose of the production is to give individuals a chance to meet other and work to work together," he said.
Charity is played by playe Parcel, Wilmette, III, freshman. The other dancers are played by Jill Grubaugh, Heuerto, freshman and Sue Heuerto, Lyons sophomore.
"They accept their fate and make no efforts to change their lives."
Fisler said most of the cast had had no previous acting experience.
"The only major problem in the whole production that we've encountered was constructing a building we'd be used again," Fisler said.
Fisler, a design major,
designed the set, which was
then constructed completely by
the cast.
Other students in the play are Bob Braun, Kansas City, Kan; freshman; Joe LeClusey, Lenexa freshman; Lynn Robertson, Overland Park freshman; Ron Marpe, Tochka freshman; and Demis King, St. Joseph sophomore.
Peter Boyle, Marty Feldman and Madeleine Kahn.
DAY OF THE JACKAL and ODESSA FILE- Two movies based on novels by Frederick Gaynor, a documentary-style political thriller about a fictional attempted assassination of John Wesley. "Odessa" stars Jon Voigt as the Odessa tracker a tracing of a coelon-neo:
(At 8 p.m. Friday and Saturday in the William Inge Memorial Theatre.)
THE PICTURESQUE AND MECHANICAL THEATER: AN EVENING WITH ADULT PUPPETS—Five scenarios using several different types of puppets.
On stage
In concert
SWEET CHARITY — Broadway musical about an endearing dancer. (At 8 p.m. on Sunday and Sunday in River Hall.)
MARY ANNE DRESSER,
CELLIST—In a junior recital.
Anch Sornick, accompanist.
Works by Bach, Schumann and
Saturnin. To be performed.
At 4 p.m. Friday in Swarthout
Rental Hall (F).
CONCERT CHOIR-Burt Allen, director. With Antonio Perez, guest soloist, and John Kowalczyk, composer. The program: Bach's "Lobet den Herrn" (Psalm 117); "Neue Liebeslieder" waltzes; by Brahms, "Four Choruses from the Song of Orcf" Orff; "Tres Chansons"; by Debussy, "Behold, I Build an House," by Lukas Foss. At 3:30 p.m. Sunday
(At 3:30 p.m. Sunday in University Theatre.)
LAWRENCE CIVIC CHOR- H. Leslie Adams, director. (At 7:30 p.m. Sunday in Haskell Junior College student union.) U S A N S M I TH ORGANIST—In a senior recital. The program includes the five organ music, including variations on "Mein Junges Leben Hat ein End." Brahms's Chorale Preludes, Op. 122; Liszt's Prelude and Fugue on B-A-C-H; and Hindemith's Sonata ulte aber Voilierleider.
ORIGINAL COMPOSITIONS-By Richard Schutte. Works for piano, voice, string trio and woodwind quartet. (At 8 p.m. Thursday in Swarthout.)
Off the shelf
VICTORIA RIDER NEVE,
PIANIST—In a doctoral recital.
Works by Bach, Mozart, Liszt,
Schubert and Beethoven.
J. S.BACH'S SINFONAS—Lecture-demonstration and performance by Richard Reber. Wednesday in Swarthout.)
(At 8 p.m. Monday in Swarthout Recital Hall.)
Gothics: THE BURNING LAMP, by Frances Manning COURTESAN, by Lozano PROle: WHISPER OF
Look for Roy Kinnear as the Muskeeters' manservant. He's terrific, especially in the lunch-on-the-battlefield scene. It's rare to see such fine character in a book. Chapin's daughter, Geraldine, also has a bit part as the Queen of France.
( At 8 p.m. Tuesday in Swarthout Recital Hall )
HEATHER, by Lym Benedict;
the LUCIFER CULT, by Lym Benedict;
by Dorothy Daniels—A set of romantic thrillers about damels in distress in old houses, in cemeteries, on cliffs, among ghosts, in royal courts, that good sport, but predictable. (Pocket, 50 cents pach.)
HONOR BRIGHT, by Frances Parkinson Keyes—Another of those big, glittering tales by the grande dame of historical suds. It's about the Stone family of Boston in the decades after the Civil War. (Pocket. $1.50.)
TIME OF THE ASSASSINS, by Henry Miller—A study by one eminent author of another figure, the 19th century French poet Rimbaud. Miller so identifies with Rimbaud that the book is almost autobiographical. (Pocket, $1.95.)
WEBSTER'S SUPER NEW SCHOOL AND OFFICE DICTIONARY—896 pages of handy, comprehensive information on many new terms, a key to pronunciation, a gazetteer, tables of weights and measures, a perpetual calendar and a calendar of holidays. (Crest, $1.25.)
On records
GONG, "You-" Highly-impressive Australian-French-British group's first American release blends jazz, rock, even pop with the humorous offerings, reminiscent of Tull. Drummer Bill Bruford (yes, King Crimson) was recently added to line-up for upcoming second album by the band, what the Art Ensemble of Chicago is to jazz, avante-garde but cohesive, Vinage 13-113).
SECOND album by Passport, a four-man group from Germany. A fine follow up to the group's first album, "Doldinger," named after the leader, writer and producer of the group, Klaus Doldinger. Passport's first single is a dynamic blend of powerful rhythmic concepts, free-flowing melodies and improvisational solo flights. Especially tasteful is Doldinger's work on Meogun, a motion片 Good funk listening. (ATCO SV 38-107, stereo.)
MUSEUM OF ART—"Mary Hunting, Graphics" in the Print Room until April 20; "Sitches in Time: Samplers in the Library" on Sunday; "Photo Flashback—1974" until Sunday.
At the gallery
KANSAS UNION
GALLERY-Design Department Students, until April 18.
LAWRENCE PUBLIC LIBRARY-U.S.D. 497 student painting exhibit.
MEDICAL ARTS BLDG-
Lynn Schumacher paints,
pen and ink. (At 4th and Maine.)
LAWRENCE MEMORIAL
HOSPITAL-Jim Pendleton,
photography.
The swordplay is magnificent. Michael York is certainly not Douglas Fairbanks, but he compensates by, with exhibiting the skill, his has directed flight sequences for films for many years, should be congratulated for a fine job here. The sword duels are realistic and energetic and the screen on the screen for many years.
Special mention is due David Watkins, who whose cinematography is an important part of Lester's often unforgettable films. He never garrish and the lightings are always appropriate.
There's really no need to bore you with the plot of "Four Musketeers." Most people have already read the Classics and a description of Alexandre Dumas' epic tale, "The Three Musketeers."
There have been other movie versions of Dumas' story, including one with the Ritz Brothers, a 398 comedy team, and one with Gene Kelly, whose acrobatic swashbuckling sometimes approached ballet. Those versions played the story straight, for the great adaptation, Leo McKinnon, however, has injected his peculiar sense of comic timing and black humor into a straight adventure story and has produced a winner.
Portrait of a uoung woman
"Fredda" is one of 19 examples of graphics by Kansas artist Mary Hunton. The graphics are on display at the Museum of Art through April 20. Hunton was a first registered art therapist.
Miles Davis' 'Get Up' gets down
Miles Davis "Get Up With It" Columbia KG 33236
BY ROBERT A. GAVIN
Records Reviewer
Miles Dewey Davis is jazz greatest living legend. He is music's Hemingway—the master of the lean, economical line. Like Dylan, Davis doesn't look back. Constantly pushing forward, he has stayed on top because he has listened.
Davis, however, has always been respected by his fellow musicians. He has been the
Davis' work has affected the color, melody, harmony and rhythm of music. From his early career as Capitol's 1949 "Birth of the Cool" to his tone poems of 1959, "Kind of Blue," to his polyphonic "In a Silent Way" sessions of 1969, Davies has written more than 25 years, and not all of them have been acclaimed.
Davis' albatross has been his rude, pugnacious manner. He has walked off stages, canceled concerts and called himself Columbia Records' company nigger. The lighter in him mimics albatrosses is now 48 years old and standing on sore lice.
foremost developer or jazz talent, and his school of disciplines includes more than a hairdresser who are now stars in their own right.
"Get Up With It" Davis' latest album, creates an entirely rhythmic orchestra. He uses rhythms as melody in the same way Shrivakny used the drum kit to create the "Rite of Roping." The hot, pulsating rhythms are jagged. The sounds are African.
He was the first jazz musician to play the Fillmore, the first to insist that jazz be promoted as a national art form, and the first in fashion. He has said the most with the least, and his short, isolated bursts have been copied by every aspiring trumpet player for the last 25
The whirpool of sound is enhanced by Davis' wah-wah trumpet darting through an intricate mosaic of sounds. Michael Henderson's REB ostratina bass, Al "Frost" Ayers, James Ward and Pete Cosey's guitar create rumbled, huggle-like sounds.
"Get Up!" is Davis's best effort since "Bites Brew." The album spans nearly two hours of melodic bass.
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"He Loved Him Madly," dedicated to Duke Ellington, is nearly 30 minutes long. It sounds like a funeral march proceeding slowly and solemnly through the city to the chapel.
"Calypso Frelimo" is a biting piece that contrasts a pounding, primitive low sound to Davis' electronic keyboard highs. A bass line from "Calypso" is Davis' definitive work since "Bitches Brew."
"Get With It" is a further exploration of Davis' 1970 rhythmic textures. He is farther away from "Porgy and Bess" and "Sketches of Spain" and closer to a funkier, electric
sound. Traditionalists could never enjoy this album—it's just too much. They may have changed, but many of his listeners haven't. For every "Play some jazz" shouted by the audience, an opponent "Loose" has been playing.
"Get With It" stands as further evidence of where today's jazz-rock is going—getting up by getting down.
Editor's Note: Miles Davis appeared on March 20 at Kiel Auditorium in St. Louis, Mo. Davis is making his first concert of the decade. Appearing with Davis was the Herbie Hancock band.
Rv CHRISTOPHER M. RIGGS
Kansas Book Review,
"Death by Choice" by Daniel C.
Maguire, Doubleday & Company
Inc., 224 pages. $2.95.
Arguments set forth support euthanasia
When one reads "Death by Choice" he can't help but think about the similarities of the arguments for euthanasia and for abortion. Magnure exemplifies both issues very well.
Maguire writes that there are many problems connected with the issue of euthanasia. One big problem is whether a choice is murder if performed without malice. Maguire states that Uruguay, Germany, and Switzerland have laws concerning that are fairly lenient.
Uruguay's law provides for the complete exoneration of a mercy killer when the death was performed upon the "victim's" own request. The law states: "The judges authorized to forego punishment whose life could have been honorable where he commits a homicide motivated by compassion, induced by repeated requests of the victim."
A problem many physicians have encountered is the lack of knowledge of when death really occurs. It is now possible to sustain life in a patient whose brain is damaged or has been stopped by holding them to a machine to carry on the vital functions.
A typical problem is that of a patient who has a terminal
illness and is unable to take nourishment by mouth. Often he is in extreme pain and has gradually established what physicians call "toleration" of any drug. The physician then remembers that there is one intravenous feeding, which fering. He can cut off the intravenous feeding and the patient will die.
Maguire includes in his book examples and explanations of moral reasons for euthanasia and suicide.
I expected the author's attitude toward abortion to be the same as it is toward euthanasia but I was wrong.
"The judges of the Supreme Court of the United States," she wrote, "ruled differently on abortion had they seen and touched a few fetuses whose life processes were interrupted in the first instance."
The author raises many thought-provoking questions throughout the book. He discusses the objections to declaring mercy killing by itself, a partner, the family, or a committee.
The book discusses the morality of euthanasia, abortion, killing in war, and capital punishment. The book discussed more than the others.
"Death by Choice" may not have the appeal of the latest best sellers, but it will help one decide his unanswered questions about literally everything concerned with death.