Editorial
opinion:
Open
the door
Sheila:
bizarre
suspense
By STEVE IVEY
of the Collegian staff
Few movie mysteries are as bizarre or
as well executed as "The Last of Sheila.".
Boasting such fine performers as
James Coburn. Joan Hackett, Richard
Benjamin and James Mason, “Sheila”
captures and holds the viewers in a web
of suspense.
James Coburn delivers an outstanding
performance as Clinton, the games
playing producer with a penchant for
mild sadism. Coburn is perfect for the
role, delivering sarcastic digs and
taunting insults__with relish.
Clinton's wife Sheila, a call girl turned
columnist, was killed in a hit-and-run
accident. A year later, Clinton invites the
same six people who" were present the
night of Sheila's death to spend a'week
aboard his yacht in the Mediterranean.
Nightly games lend an air of suspense
as Clinton forces the six passengers to
.play "The Sheila Green Gossip Game" at
each port-of-call. ‘
The gossip which involves secrets
about all -of the passengers, such as
homosexuality, continues until a fatal
"accident" ocqurs.
"Sheila" offers Coburn the chance to
return to the double meanings en
countered so often in his “Flint” films.
"Sheila" is filled with so many hidden
puns and double meanings that the
second watching is more enjoyable than
the first.
"Sheila's" bizarre suspense is offset
by the black humor written, in by
screenplay writers Anthony Perkins and
Stephen Sondheim.
James Mason portrays Philip, the
broken-down director, with real aplomb.
He gives the role the' iow-key in
tenseness needed to make it believable.
Joan Hackett is superb as Lee, the
rich, devoted wife of Tom (Richard
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the first step.
The University Board of
Trustees has been holding closed
meetings for over 100 years. But
because the Board cannot resolve
differences on how far to open the
door, the meetings have remained
tightly closed.
The trustees should begin today
to replace the air of distrust en
couraged by their secrecy with
o'ne of openness. They can par
tially open the meetings to the
public by inviting members of the
press.
The Board has in the past
voiced favorable opinions con
cerning open meetings. Both
REVIEWS: Now playing downtown
Benjamin). Both performers are
believable and are the keys to the film’s
successful suspense.
Dyan Cannon plays the role of
Christine, a theatrical agent with
nymphomania in her veins. She turns in
a marvelous job of a woman in shock
after she narrowly esca'pes being
chopped into fish food. 1
The only really awful performance was
by Raquel Welch as Alice, a plastic (or
silicone) actress with no talent what
soever.
lan McShane plays the role of An
thony, Alice's husband. Although not a
dynamic actor, McShane manages to
make Anthony more real ,than Welch
does Alice.
Producer-director Herbert! Ross does
wonders with a film that dould have
turned out to be a remake of Rene Clair’s
“Ten Little Indians.”
The photography is excellent,
although some scenes are done rather
poorly. This is especially true of the
scene in which Alice unburdens her souf
to her secret lover, which comes off
hokey and overly melodramatic.
The entire film is bizarre. The end
song, “You’ve Got to Have Friends" as
sung by Bette Wilder, is t(ie peak of
irony and adds just the right finish.
Overall, Billy Goldenberg's score is
uninspired and lacks vitality and life.
Fortunately, the fine, acting by Coburn,
Mason, Hackett and Benjamin more than
compensates for any flaw'in.this film.
“The Last of Sheila" is a film that any
Coburn fan will enjoy.- For good clean
suspense!and mystery, as well as bizarre
comedy, “Sheila" cannot be beat.
-Collegian
PATRICIA J. STEWART
Editor
Successor to the Free Lance, est. 1887
Member, the Associated Press
Editorial policy is determined by the editor.
Opinions expressed by the editors and staff of The Daily' Collegian are not
necessarily those of the University administration, faculty or students.
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237-1481 i
President Michael Baker Jr. and
Vice President William Ulerich
have indicated they would like to
open the meetings to the press
and invited guests.
At the March 16 meeting, Baker
said he did not want to move
hastily in changing the present,
century-old policy. However, the
Board has given much con
sideration to the question of open
meetings, and the'“press and
public are awaiting its answer.
One of the main stumbling
blocks in the past has been
defining the term “invited guests”
in deciding how open the
meetings should be. But the
general consensus of the Board
seems to be that some sort of
change is needed.
Class:
strong
actors
By DIANE NOTTLE
of the Collegian Staff
A touch of romance, a touch of light
comedy, a touch of ' jet-set
sophistication. The three fit together like
vodka, orange juice and. Galliano to
induce a small but intoxicating comedy
called "A Touch of Class.”
Produced, directed and co-wrltten
(with Jack Rose} by Melvin Frank, “A
Touch of Class" is quite limited in plot
but rich in other areas, notably the
performances of .George Segal and
Glenda Jackson in jfhe leading roles.
, The "touch of class" in the title ap
parently. is meant to characterize Segal
as Steve Blackburn, an American in
surance executive who lives in London,
attends charity concerts with his well
bred wife, and is "never unfaithful to my
wife...in the same city.”
Enter into his chic world Jackson as
Vicky Allessio, a divorcee with two
children, who makes her living by
stealing high fashion designs for mass
production.
After a number of attempts to sedtfce
each other in London, the two arrange a
week together in Spain, only to be driven
apart by arguments and then introduced
JOHN J. TODD
Business Manager
University Mennonite
Fellowship
112 Chambers Bldg.
10; 00 a.m. Sunday
c Although some Board members
favor certain meetings that are
more open than \ others, most
trustees agree that the meetings
should include members of the
press, except when matters such
as personnel are discuss'ed.
The board can take that first
step opening the meetings to
members of the press and later
expand the invitation list as they*
deem advisable. I
The board must begin now at
this afternoon’s meeting..
Members of the University
Board of Trustees: begin today to
replace the air of distrust and
secrecy with one of openness.
Inspire public trust by opening
your meetings to members of the
press.
by Blackburn’s unsuspecting best
friend.
Eventually Blackburn realizes the two
cannot continue their affair in secret and
decides to break it up, spurred by his
friend’s question, “Do you love her
enough to gffie her up?" Whatever that
means. " "
Obviously the plot is neither very
original nor very exciting. Yet the film is
fairly entertaining, thanks to one or two
other factors. Of these, the cast un
doubtedly contributes-the most. -
Segal fits perfectly the part of the
urbane, witty Blackburn. He is com
pletely at ease with :his role, at every
moment from Blackburn’s first attempt
at a pick-up t& the romance’s final
goodbyes. Moreover, he is absolutely
charming throughout jthe film.
Jackson’s performance is at least
equal to, and probably even better,thanj
Segal’s. Her role mixes the type of in
dependent woman! portrayed by
Katharine Hepburn in many of her films
with the free-thinking 1 female that has
developed on the screen with the sexual
revolution.
In “A Touch of Class” Jackson blends
Hepburn's self-assurance, the polish
and femininity of Diana Rigg, and the
strong personal dominance of her own
television characterization of Elizabeth L
The result is a character who, though
sometimes frank to the point of
brutality, is thoroughly likeable and
thoroughly human.
While the script is lacking, in general
plot, it certainly offers an abundance of
funny lines and comic situations. In this
respect, too, “A Touch of Class” is
reminiscent of the Tracy-HepbOrn films
in its witty repartee, its character types,
and, most important,] its comic treat
ment of the battle of !the sexes.
Unfortunately, other aspects of the
production are less interesting. The sets
and camera work are adequate, although
better work could hiavei been done.
Similarly, a number) of bubble-gum
background tunes by George Barrie and
Sammy Cahn break up 1 the dialogue but
add little else.
“A Touch of Class" is a rather
disappointing film, built as it is simply
on the talent and charisma of Segal and
Jackson. But their natural charm salvage
some of its potential, turning what could
have been a' fiasco into a genuinely
amusing film.
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UNCLE
Di I linger:
overly
violent
By RICK NELSON
of the Collegian Staff
The Supreme Court may be trying to
cut down "on’ pornography, but a more
insidious ‘form of perversion is still
bringing movie producers money.
While wajching “Dillinger,” the
audience wonders what possible social
value the violence depicted in the film
could have. jTde plot focuses on the
demented gangster Dillihger and Melvin
Purvis, the almost equally demented FBI
agent who pursues him.
As the viewer watches Purvis chase
Dillinger thrdugh scene after scene of
gushing blood and writhing bodies, he
just hopes Diilinger will hurry up and get
it so the filrrj can end.
‘‘Dillinger’s!’ story of gangsters in the
30’s is reminiscent of “Bonnie, and
Clyde.” In fact, for the first few minutes,
the viewer feels he is watching a version
of the '67 film with the names changed.
But further into the film, the viewer
wonders what made "Bonnie and Clyde"
so good andj“Dillinger” so bad.
The acting Jin “Dillinger’.' is adequate.
Warren Oatsi gives a convincing per
formance as Dillinger, and Ben Johnson
provides a good „ portrayal of the for
midable, bloodthirsty lawman who vows
tp smoke a cigar over the corpse of every
man he seeks.
But director John Milius fails to give
the audience: an opportunity to em
pathize or sympathize with any of the
characters. Dillinger’s grabbing a woman
at a bar and taking her with him does not
have the romantr6 appeal of Bonnie
Parker jumping into the arms of Clyde
Barrow. • I
Furthermore, the relationship between
Dillinger and]“Billy" is not developed
sufficiently. She jumps from slapping
his face to pleading that she be spared
seeing him killed with no explanation of
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the changes in her feelings.
Michelle Phillips gives an acceptable
performance as Billy, but the part
doesn't give her a chance to compete
with Faye Dunaway's performance in
"Bonnie and Clyde.”
Billy does not take an active part in the
activities of Dillinger's gang; certainly
not a condition that would deny her a
chance to demonstrate her acting
abilities. But with the film centered so
much on the violence of the plot and so
little on individual characters, her
performance is nothing more than a
sidelight.
Also missing from this overly dramatic
movie is the type of comic relief provided
in "Bonnie and Clyde" by Estelle Par
son’s performance. There are only a few
poor attempts at jokes. (Dillinger
comments on social security, “It could
ruin the country. If people want money,
they should go to work.")
The promise of an interesting sup
porting actress role suggested by Cloris
Leachman’s name in the advertisement
is not realized, since she appears only in
a small segment near the end of the film.
Her performance as a prostitute who
gives Purvis the final clue he needs to
track down Dillinger does nothing to
lighten the (jlot.
A member of Dillinger’s gang com
ments on learning of Bonnie and Clyde’s
death that lesser criminals ruin things
for everyone else. “Bonnie and Clyde"
certainly ruined any chance of success
"Diliinger" ever had.
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