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—The Daily Collegian Friday, July 30,1976
Hollywood flops parodied
Mel Brooks, eat your heart six lines ahead of time that a Nothing is sacred in "The
out. A nobody named James joke is coming. He just throws Big Bus,” especially not even
Frawley has just shown you them out and says, “Laugh, the jokes. “The Big Bus” ribs
how to direct a parody that everybody!” And everybody “Airport,” “Airport 1975,”
doesn’t take itself too does. . “Alive,” the “Hindenburg”
seriously. and “The Big Bus." Not to
“The Big Bus,” which just Stockard Channing looking mention “West Side Story,”
opened at the Flick, has like a pear-shaped Liz Taylor, “The High and the Mighty,”
dozens of gags parodying Joseph Bologna doing a Hes- John Wayne westerns and “A
every disaster film Holly- ton-cum-Bogart, Ruth Gordon Night to Remember.” Only
wood has ever seen fit to in- as a dirty old Helen Hayes and “That’s Entertainment, part
—— Lynn Redgrave doing an I- II” has more movies in it than
mnwia r/ai/ZcilA/ don’t-know-who are just a few “The Big Bus.”
movie review Of the crazies who run away us „
with this film. The pace is so u- aK
flict upon us, and most of them fast that the impossibility of b JF st '
are gems. Best of all, Frawley the premise an atomic- i"rpLf ® f ali
doesn’t belabor the point, powered bus run amuck me Dig bus.
telegraphing to the audience never catches up with you
Kap/ow J exuberant ' in finale
Watching Maurice Kaplow direct the evening’s best performance jubiliant and
Pennsylvania Orchestra Wednesday night • exciting.
made me sorry I had ever used the word Kaplow conducted the symphony from the
“exuberant” before. I should have reserved * heart, his grin saying to his musicians and to
the word exclusively for Kaplow to describe the audience, “Enjoy this with me, my
his enjoyment of his art. At the Pennsylvania friends.”
Orchestra’s third and final shirt-sleeve The orchestra’s fine performances nearly
concert of this year’s residency, Kaplow overshadowed the light touch of the New
conducted his own work,. “Return,” and York Renaissance Band brought to the
Beethoven’s Third Symphony, the “Eroica.” evening’s start. Continuing their
co A m ss!fr a e pto r? rn r ,u,ea " dla^! ha, Effin’SSSfHarfflSS
nfK nwn wwk conduc music using a variety of antique instruments.
Z°Ii ied ,i Corneto, rauschpfife and recorder were
“Rf.hipn” h holnrfi.n erf ° rme^H- the u among the instruments played and
Return beautifully, responding as much to described H J ✓
the conductor’s emotion as to his direction. Although Wednesday was the orchestra’s
final performance, the New York
The Eroica, the last work on the Renaissance Band will be performing once
program and the last of this fine season, has more, at 8 p.m. next Thursday in the Recital
a special significance for Kaplow. The third Hall of the Music Building
symphony of Beethoven means the or- The next Penn State performance of the
chestra s third year at Nittany Mountain Pennsylvania Orchestra will be at Nittany
Summer, and Kaplow is already looking Mountain Summer, 1977. The audience which
forward to Beethoven s Ninth. Kaplow called Maurice Kaplow back five times
described the Eroica” as a “joyous ex- Wednesday night will be waiting,
plosion, a “humbling work,” and it was the —Kathleen Pavelko
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old drama theme
“The Girls in 509” is a
most apropos play for this
election year, lest we
forget how shallow politics
can be. The old theme that
promises are meant to be
made and not kept never
seems to change.
The plot of “509,” now at
the Boal Barn Playhouse,
is cute. R’s a satire on
the elephants and donkeys..
Two women, one in her
sixties and the other in her
mid-thirties, lock them
selves in a hotel suite in
1932 and vow not to come
out until a Republican is
once again in the White
House. 1932 to 1953 is a long
time, but 26 years to these
women is like a day to
Astaire, Kelly display exuberance, class
By JIM LOCKHART
Collegian Arts Writer
In one of the newly-filmed segments of “That’s
Entertainment, Part II,” Fred Astaire, 77, and
Gene Kelly, 64, do a soft-shoe dance reminiscent of
the dozens of numbers they did in MGM musicals of
the past. Completely out of any context,, with no
props or specific set, the dance underscores the
qualities these men brought to the' American
Musical: exuberance and class.
Astaire is the perfect gentleman'As the narration The movie devotes large segments to certain 1
points out, even when he dresses as a hobo in stars of themes. A section on Spencer Tracy and
“Easter Parade," he is wearing a top hat and tails. Katherine Hepburn shows how much sexual tension
He is to elegance what Harlow and Garbo are to two good actors could create without taking off their
glamour. 'clothes. A salute to Paris seems like one of the inane
travelogues satirized elsewhere in the film. The
A movie showihg the past and present ac- [' na^e > an Esther Williams water skiing ex
complishments of these two men would be enough to travaganza, is nearly as funny as the Marx
guarantee a hit, but like its predecessor,. “That’s ■ rotherS
„ „ ... ... .. . , , - Entertainment, Part II” goes much farther. But when the last song is oyer and the last joke
'_ ~ yJ s *” e ,! c ant * 8f aceful of the two. Spanning the time from a Jack Benny short in 1929 bas been told, it is the image of Kelly and Astaire'
Roller-skating in It s Always Fair Weather, "or to “Gigi" in 1958, the movie presents clips from all that remains. Two enormously talented men who
matching steps with cartoon characters in types of films. The songs and dances are there, but have outlived their craft and a time when a song and
Invitation to the Dance, he displays an energy so are segments on the Marx Brothers, Abbott and dance could solve any problem. jj
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(Present This Ad)
Friday - Sunday, July 30 - Aug. 1
Friday, July 30
Tour of Museum of Art, 1 p.m.
Interlandia Folk Dance Club, 7:30 p.m., HUB terrace and ballroom.
Festival Theatre, “That Championship Season,” Playhouse Theatre. Behind-the-
Scenes program 3 p.m.; performance 8 p.m.
GSA Commonsplace Coffeehouse, Buddy Ungson & Friends, 8 p.m., Room 102 Kern.
Pennsylvania Ballet, 8 p.m., University Auditorium.
Festival Theatre, “Little Mary Sunshine,!’ 8 p.m'., Pavilion Theatre. ■.
Catherine Havens, soprano vocal recital, 8:30 p.m., Music Bldg, recital hall.
Shavers Creek Nature Center, “Ghoulies and Beasties and Things that go bum). - ■ ‘he
night,” 8 p.m., Stone Valley!
Saturday, July 31
Tour of Museum of Art, 1 p.m.
At Ease with the Pennsylvania Ballet, 4 p.m., University Auditorium.
Festival Theatre, “That Championship Season,” Playhouse Theatre. Matinee 2 p.m.;
evening performance 8 p.m.
Festival Theatre, “Little Mary Sunshine,” Pavilion Theatre. Matinee 2 p.m.;
evening performance 8 p.m.
Pennsylvania Ballet, 8 p.m., University Auditorium. -
Shavers Creek Nature Center, evening program, 9 p.m., Stone Valley.
Sunday, August 1
Festival Theatre, “Little Mary Sunshine,” 7:30 p.m., Pavilion Theatre.
Festival Theatre, “That Championship Season,” 7:30 p.m., Playhouse Theatre.
Shavers Creek Nature Center, nature-ecology walk, 3 p.m.; evening program, 9 p.m.,
Stone Valley. ,
Reception for Aliza Thomas, 8 p.m., Kern. ‘
Thursday, July 29-Sunday, August 1
ARHS film, “I Take the Money and Run,” 8 and 10 p.m., Pollock Rec Room.
Friday, July 30
GSA film, “Lolita,” 7 and 9:30 p.m., Room 112 Kern.
Saturday, July 31
GSA outdoor film, * ‘The General’ ’ (silent film with piano), 9 p.m., Fisher Plaza.
Kern Gallery: Constantine Kermes, Multi-Media Amish Theme, through July 31. Ann 1
Fisher, Paintings and Drawings of Central Pennsylvania Amish, through July 31.
Aliza Thomas, Prints, opening August 1. Printmakers in Art, opening August 1.
Aunt Hattie and her niece
Mimsy are fanatical, to be
sure, but their charm, old
“damns” and “goddamns”
make them easy to take
The niece (Nona Uhler)
is less poised and
sophisticated than her
aunt, but what she lacks in
knowledge she makes up in
Helen/ Bechdel, Aunt
Hettie, is superb. She is a
dream to watch and
without her the play would
be mediocre. Uhler is
funny as the man-starved
The set is simple, the
acting is good, but aside
from the leads, nobody
Film's madness puzzling
. Trelkovsky, (Roman Polanski), title
character of Polanski’s “The Tenant,” is a
stranger. Never mind that he, a French
naturalized Pole, is the only person in Paris
with a French accent. He is the but
unlike Camus’ protagonist Meursatut, Trel
kovsky is not a master of his own fate.
His alienation is a product of French in
tolerance and his own neuroses. Dogs snap at
him, doors close on his head, and the coffee
shop owner will sell him only Marlboro
cigarettes because the woman who lived in'
Trelkovsky’s apartment previously a
suicide victim —smoked them.
Trelkovsky meets the dead girl’s friends,
the only people he can trust, by becoming a
partner to their sorrow. But it is a grief he,
having never known the dead girl, has no
right to share and is a stranger even to them.
Trelkovsky becomes convinced that the
girl was forced to commit suicide by the
other tenants in the building and that they
are determined to make him jump out the
window as well.
that carries him beyond any obstacle he may find in Costello, John Barrymore, Carole Lombard, Clark
his way. Gable and many other non-musical stars. *
140 N. Atherton St.
('A block N. of College Ave.)
By RICHARD HEIDORN JR. '
Collegian Arts Writer
People stare at him from the other side of
the courtyard. He tries to stab a hand that
reaches in through his fifth-floor window, and
he cuts himself smashing his hand through
the glass. In church the priest’s sermon >!■
becomes demonic, and he runs out of the
chapel in a cold sweat.
Finally, one night all of the tenants are out
on their courtyard balconies applauding him
as though they were in an opera house. They
want him to jump, so dressed in the dead
•girl’s clothes, he does.
But for once lie is in control of the
No,'he won’t give them the nice clean death
they all want. -
What is the meaning of ail this? Has
Trelkovsky stumbled on to some Satanic cult
or into the dark corners of his own psyche?
,We never find out. All the'clues are from
different jigsaw puzzles and they never fit j,
Perhaps that is Polanski’s point, but
because there seems to be little method to the
madness of Polanski the director, the images
created by the madness of Polanski the,
tenant are incomprehensible. In the end we
are never sure whether Trelkovsky suffers
from paranoia or the director from LSE)'
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