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Koloc no American Pie'
By JIM BAKER
Collegian Junior Reporter
It always has surprised me to see how
many fine musicians there are these days
and to see how few of them ever achieve
recognition.
I doubt that Don McLean would have made
it had he not received one of the heaviest
promotional campaigns I've seen in the folk
rock field. I had heard him before he hit, he
did have an album of reasonably good folk
fare out two years ago called "Tapestry,"
but I never imagined he would gain the at
tention he did over such a nebulous song as
"American Pie."
I remember asking the'CßS producer of a
news special on Don McLean why she
thought he had been given so much
promotional backing. She said, "The agency
who handles him knew a good thing when
they saw it."
I knew then my concept of a "good thing"
and her concept of a "good thing" were far
apart. It seemed clear to me that the quality
of the performer was no longer attached to
his ability to write a moving song or play a
masterful guitar, but to what degree the
booking agency sees the musician as
"promotable."
This has all been said to point out that there
is someone new in the folk-rock-blues field
and, despite her obvious talent, she has
passed almost entirely unheard to date.
Her name is Bonnie Koloc.
In fact I doubt I would have heard of her if I
had not, by a stroke of luck, received a free
copy of her first and only album "After All
This Time."
The music is generally low key, and Koloc,
who sings and writes most of the songs,
dominates the whole album. Her voice is
IT'S COMING
MAY Bth & 9th
NEW MONTESSORI
WORKSHOPS
Montessor for Parents—
June 6-8, 1972
Introduction to Mon
tessori—June 11-16, 1972
Advanced Math
Materials—June 26-28, 1972
Teaching Reading More
Effectively—June 29-30,
1972
Penn-Mont Academy,
Dept. 200, 2733 Sixth
Avenue, Altoona, Pa.
UNIVERSITY
CALENDAR
Monday, May 1, 1972
SPECIAL EVENTS
Black Arts Festival talent show, 8 p.m., HUB ballroom. Singing, dancing, and bands.
Thalia trio recital, 8:30 p.m., Music Building recital hall.
MEETINGS
Interfraternity Council, 7:30 p.m., Delta Sigma Phi.
INTEREST GROUPS
Eco-Action group, PSOC, 8:30 p.m., Room 303 Boucke.
Archery Club, 7 p.m., White Building range.
SEMINARS
Population Research, 7:45 p.m., Room 26 Mineral Sciences. Gladys Bowles,
University of Georgia, on "Changing Migration Paterns of Pennsylvania."
Food Science, 4 p.m., Room 202 Borland, Dr. Ralph E. Kunkle. University of
California at Davis, on "Recent Developments in Wine Microbiology."
Animal Science, :10 a.m., Room 111 Animal Industries. D.E. Younkin and Dr. J. L.
Gobble, on "A Review of Non-Credit Intructional Programs of the Department of
Animal Science.
Aerospace Engineering, 2:20 p.m., Room 232 Hammond. E.J. Hinch, Trinity College,
Cambridge University, on "The Rheology on a Suspension of Particles Subject to
Brownian Rotations."
Environmental Pollution and Plant Pathology, 11:10 a.m., Room 213 Buckhout. Loral
Castor, on "Saline Waters and Plant Disease."
EXHIBITS
Pattee Library—Main Lobby, art works of Oliver LaGrone, lecturer in arts and Afro-
American history, Capitol Campus, Rare Books Room, "American Wildflowers,"
until May 20.
Kern Graduate Building—Photographs by Barton Smookler, Camera Club, until May
14. Collages of May Reisz, until May 14. Jewelry of Bill Russel, until May 31.
HUB Gallery—Bronzes and castings of John Cook and Paintings of Stuart Frost.
Black Cultural Center—Local artists' works; also in HUB main lounge.
(Note: Items for this calendar should be sent to Room 312 Old Main by the morning
preceding date of publication.)
view. Signed columns reflect the staff
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ALTHOUGH THE COLLEGIAN
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almost magical, very much like Judy Collins,
and she uses it with perfect style and a
versatility I've never heard before among
singers of her genre.
She's backed up by a tight but quiet band
with the usual guitar (electric and acoustic),
harmonica and drums. However, like Koloc's
voice, they're used in an unusal manner and,
again, with versatility uncommon to most
bands.
The whole band holds back for almost the
entire album, providing only the essential
music and rhythm necessary to support
Kolac's singing. However, a couple times the
harp player and guitarist, in ' particular,
break out and show you what they can really
do.
The guitarist, for instance, leads the band
for rift that lasts possibly 15 seconds on the
last cut of the album. No where else on the
record does he really show up, but during
those 15 seconds he does everything Robin
Trower and Eric Clap Ton ever knew about
guitar and then again fades into the
background.
If reviews of the group's past per
formances are any indication Koloc and her
band will be getting around soon. Recently
Koloc filled in for David Blue as an opening
act for Tim Hardin at the Main Point outside
Philadelphia. According to one reviewer,
Koloc damn near stole the show from veteran
performer Hardin. Other reviews have
typically read the same.
But will she ever gain recognition by the
mass audience? Will she reach the stardom
of a Don McLean and fade as quickly? It
probably doesn't matter. I have a feeling
talent like hers is here to stay despite what
the promotional agents of the top-40 set feel.
She's no "Miss American Pie".
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French comedy at 'Flick'
'Murmur' one of best-
By JOE MEYERS
Collegian Film Critic
Louis Malle's "Murmur of the Heart" ("Le Soufle Au
Couer") ranks with the best French films of the past ten years
or so, including great films like "Jules and Jim," "Weekend"
and "The 400 Blows." But unlike those masterpieces, Malle's
latest film is a highly entertaining, and commercial, comedy.
The picture is so good, and the material it deals with has
such universal appeal, that I think nearly anyone would have
a great time at it. It is one of the few recent films that you
come out of feeling happy, and entirely satisfied. This is the
rare movie for which that old cliche "If you only see one
film this year ..." seems entirely appropriate; I can't think
of a single movie this past year that I enjoyed more. For
bringing it to State College, one can almost forgive Associated
Theatres entirely for all of its past transgressions.
The film would, I suppose, properly be labelled as belonging
• to the boy-becomes-man genre, a la "Summer of '42" or "The
Last Picture Show," but the wisdom and wit of Louis Malle's
treatment of the material far surpasses that of the two
American films. Despite its being a French film, I felt much
closer to young Laurent and his mother in "Murmur of the
Heart" than I did to any of the characters in the Bogdanovich
and Mulligan films.
Malle's portrait of middle class home life and family
relationships is closer to my own experience than anything
else that I've encountered in films. While it has become
common practice in American movies to both patronize and
condemn middle class life, Malle views it with warmth and
compassion much like Renee Taylor and Joe. Bologna's
screenplay for last year's best American comedy, "Made For
Each Other."
"Murmur of the Heart" is remarkably accurate in ob
serving the love-hate atmosphere in family life. The scenes
involving the relationships between the three brothers are
extremely well done. It seems incredible that the young actors
aren't actually related.
The film has several scenes of practical joking between
members of the family that quickly brought back memories of
my own experiences. Early in the film, for example, one of the
brothers switches one of his father's valuable paintings with a
cheap copy. Several weeks pass and the father doesn't notice
the change. So, one night while the parents are entertaining
friends, the son jumps up from the table, says that the paint
ing is bourgoise trash and proceeds to slash the canvas.
The father turns purple with rage. To some, it may seem a
hideous thing to do to a person, but events similar to this
happen often in my family, and we have come to relish the
skillfully constructed practical joke.
"Murmur of the Heart" takes place in Dijon in 1954 (there
are many references to the French involvement in Indochina)
and involves an upper middle class doctor and his Italian wife
(Lea Massari) and their three sons. The picture's main focus
is on the youngest son Laurent (Benoit Ferreux) and his
sexual awakening. Midway through the film, Laurent comes
down with scarlet fever (hence the title) and goes off with his
mother to a spa for recuperation.
Following a long, drunken Bastille Day celebration, the
climax of the film comes when the boy and his mother make
love. The next day, she tells her son that the previous night's
incident will of course never happen again, but that she will
look back on it as a "tender and happy" moment in her life,
and that she hopes he will do the same. The scene is so
credibly prepared for, and so tastefully done that I doubt that
even the stodgiest members of the audience will be offended.
Lea Massari couldn't be any better as Carla, the boys'
mother. This Italian actress (who you may remember as the
disappearing girl in "L'Avventura") has the beauty, charm
and sensuality of the young Sophia Loren. Very few actresses
SSB
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could carry off the difficult incest scene as skillfully as Miss
Massari does.
Surprisingly enough, though, she lost out for the best actress
award at Cannes to Kitty Winn's shrill, unimpressive per
formance in "The Panic in Needle Park." Lea Massari's
performance joins the ranks of classic movie mothers right
up there with Angela Lansbury's work in "All Fall Down" and
"The Manchurian Candidate."
As Laurent, Benoit Ferreux gives one of the most appealing
performances by an adolescent since Jean Pierre Leaud's
debut in "The 400 Blows." And, his resemblance to the Lauren
Bacall of the 40's is startling, to say the least.
Writer-Director Louis Malle, who has been neglected by
most film historians, is probably best known in America for
his scandalous film of the fifties, "The Lovers," and "The Fire
Within," his extraordinary study of alienation and suicide
(Malle's legendary six hour documentary on India,
"Calcutta," will have its American premiere next month in
New York). "Murmur of the Heart" should belatedly
establish his rightful place among the best European direc
tors.
If you let "Murmur of the Heart" slip by you during its short
stay here, you are foolishly (and recklessly) denying yourself
one of the richest and most pleasurable experiences in recent
film history.
d t a h iry c o li egian
PAUL H. SCHAFER JOHN R. MYERS
Editor Business Manager
Successor to The Free Lance, est. 1887
Member of the Associated Press
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