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PATRICIA J. STEWART
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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Office: 126 Carnegie
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President hate -denied,
pleas for secre.t White .'‘Hovse
tapes by > Watergate
Prosecutor Archibald C6x and the
Senate Committee investigating
Watergate. In doing so, he has
denied the public’s plea for
Nixon has refused the tapes on
the grounds that he must maintain
the constitutionally guaranteed
separation of powers.
But Cox and the Ervin Com
mittee are requesting- not per
manent access to all White House
papers and tapes, but access to
only those tapes needed to clear
up inconsistencies ; in the
Watergate case. The request is
Intended not to challenge the
separation of powers bu,t rather to
aid in the pursuit of justice.
The present cloud surrounding
Watergate is of such proportions
that it covers the White House and
the presidency as well. The
speculation and the in
consistencies concerning Nixon's
involvement in the case do more
to erode the authority of- the
President than a one-time
dismissal of executive privilege.
The President must realize that
at this point his word is not
enough to clear the air. The public
and the Senate Committee and
Cox need concrete- proof to
establish his innocence. The
tapes may help accomplish this.
JOHN J. TODD
Business Office Hours:
Monday through Friday
9:30 a.m. to 4 p.m.
Presently, the public has little
reason to believe Nixon is not
involved. All actions seem to
indicate he has damaging
evidence to hide.
Thus far Nixon has denied
knowledge of the Watergate
break-in and subsequent coverup.
But by refusing to release the
tapes, he is playing a definite role
in the cover-up that has continued
in the White House since the
hearings and investigation began
an apparent plot to conceal any
information that might further
implicate Nixon or the White
The President has held firm
before Senate and Cox subpoenas
and now the stalemate is to be
settled in court. President Nixon
has said he will abide by the court
If the court places the pursuit of
justice above a one-time dismissal
of Nixon’s executive privilege and
orders access to the tapes, Nixon
should comply- as previously
If the court upholds Nixon’s
claims,.the President should re
examine his stand on Watergate
and assume a less rigid, more
He can best preserve the in
tegrity of the White House and
maintain the authority of the
presidency by aiding in the pursuit
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undergraduates and graduates. Anyone
interested in submitting a column
should contact the Editorial Editor, Box
467, State College, Pa. 1680 T. Telephone
865-1828. Offices in 126 Carnegie.
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Letters should be brought to The
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so proper identification of the writer can
be made, although names will be
withheld by request. If letters are
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contact the signer for verification.
By DIANE NOTTLE
of the Collegian Staff
At the 1973 Cannes Film' Festival, two
films shared the top honor as best film
of the year: “The Hireling," a British
class drama starring Sarah Miles, and
But while watching “Scarecrow,” one
wonders how the film could win the best
film prize at Cannes or anywhere else.
This is by no means to say that
“Scarecrow,” produced by Robert M.
Sherman and directed by Jerry Schatz
berg, is a poor film. Yet, despite all its
use of good film technique, it is at.best
unsatisfying because of a tendency to
ramble without meaningful action.
By STEVE IVEY
of the Collegian Staff
Is nothing sacred in this age of
“Jesus Christ Superstar” is a perfect
example of how not to make a musical.
"Superstar’s” major failing is that it is
First of all, it is a musical in which the
singers cannot sing. Andrew Lloyd
Webber’s music and Tim Rice’s lyrics
have been sung before, and better.
Ted Neeley's voice is too weak and
effeminate for the role of Jesus. When
he sings, it sounds as if someone were
Barry Dennen, playing the part of the
chief priest, iias the voice of a Brooklyn
gangster. He is better suited to a
Frankenstein movie than “Superstar."
“Scarecrow's" plot, or non-plot, tells
of the advenlures of two drifters who
travel across the country together after
meeting accidentally while trying to
thumb a ride
Maxy (Gene Hackman), a middle-aged
ex-convict, dominates the pair with his
plans to use jhis savings to open a car
wash in Pittsburgh. Once led to crimeiby
what he called a lack of planning, Maxy
has resolved (never to be without plans
His much younger sidekick is Francis
(Al Pacino), an ex-sailor whose life is
controlled by) a dream of seeing his
illegitimate five-year-old child, whom he
abandoned even before its birth.
Together tlje two travel across the
United States, sharing rides on freight
trains, a few days with a pair of female
junk dealers and a month on a prison
In many respects, "Scarecrow" is
reminiscent of “Sounder,” last year’s
black epic. The two films share, above
all else, a sense of absolute realism,
focusing on instead of running from the
more sordid side of life.
The world.’ of Maxy and Francis
consists of cheap bars, cheap women
Still worse', his assistant sings like
Yvonne Elliman still plays Mary
Magadelene,.;the part she had in the
original album. Her singing is ac
ceptable but a bit nasal and lacking in
One of the better singers in the cast,
Carl Anderson, is hindered in that as
Judas he cannot act.
Pilate is excellent and the only actor to
make his character come alive.
Although hjs singing is not superb,,
his acting compensates. Pilate is real,
the other characters'fake.
The choreography leaves much to be
desired and is reminiscent of the worst
of “The Dean jMartin Show."
The dances) are too commercial, and
the dancers act like they are monkeys on
fire or as if tljiey have the DTs.
The photography is generally poor.
Close-ups on (the actors singing make
them look like horses neighing.
The shots) of Masada and the
surrounding desert and rocky crags are
well done, however.
Producer-director -Norman Jewison
attempted the impossible and utterly
failed. In an attempt to make “Superstar"
simultaneously historical, relevant to
today’s youth), religious but not too
religious, and; a light comedy, Jewison
came up with* a disaster.
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and short-term menial jobs that always
seem to end in fist fights. It is, in
essence, the world of the stereotyped
hobo, brought up to date with a modern
setting and placed on a slightly higher
Fortunately, the director wisely chose '
to stress the crude, even vulgar aspects 1
of their existence. In addition to .
enhancing the film’s realistic qualities, "
this also creates a number of amusing
scenes most notably one in which
Maxy performs a strip routine in a"
railroad dining car. 1
Hackman and Pacino fit into their
roles remarkably well with a minimum of'
obvious acting devices. ! Pacino
especially shines, playing both his ’
comic lines and his more emotional
scenes with equal ease and effect.
“Scarecrow’s” most satisfying effect
is undoubtedly its photography and ’
editing. Most scenes.are shot in normal
colors; others achieve highly artistic
effects by sharply contrasting tones of
dark and light.
"Scarecrow" certainly is a well
planned, well-constructed film, but
overall its impact is somewhat less than ;
Discounting the historical inac--.
curacies, Jewison’s bid for relevancy by£
introducing modern gadgets is "•
ludicrous. * “
There were better methods of makingT
it relevant than opening with a shot of a
bus with a cross on top, putting cash
registers and postcard stands in the...
Temple scene, and arming the guards ■
with submachine guns and spears.
To top it off; Jewison has a
sense of humor. When the Pharisees «
went to talk to Judas, they sent cen- ”
turians after him. In the movie, however, -
they use centurian tanks. =»
Humor and irrelevant religion team upS
to make Jesus’ encounter with Herod”
offensive and disgusting. Jewison has-.*
Herod wallowing in a Coney Island on a).'
lake. • "
Jewison does succeed in some I
scenes. In particular when Jesus tries to
help the sjck and the grief and anguish
on Mary’s face when Pilate condemns
Jesus to be crucified. -
Unfortunately, the development of a -
realistic mood is always ruined by the i,
intrusion of modern-day artifices. By far,
the best scenes are those
anything modern in them. “
“Jesus Christ Superstar” is a mockery “
of what a musical should be. But it is a
film that will make money in spite of its »
poor quality and poorer taste. ■“
That is the
114 S. Garner St.