The Ranger (San Antonio, Tex.), Vol. 46, No. 1, Ed. 1 Monday, August 23, 1971 Page: 3 of 8
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Book’ examines
basic lifestyles
By MAX GILLASPY
F/ /
PBS slates
movie screenings
ALSO ‘ZERO’
’McCabe’ balances summer cinema scales
By CHARLES DECKER
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“The Red Tent”, an action-adventure
story starring Sean Connery, Claudia
Cardinale and Peter Finch, is set to
San
Central
two
and
The foundation is laid and Bree helps Klute but
discovers that each of her “office workers” is
being murdered one by one. Thus the suspense
begins. Is Bree next?
I think director Pakula realized that he did have
a gem in the person of Miss Fonda and never
interrupts her performance the way a foolish dir-
ector seeking effect would. Therefore the film
revolves around Bree as it should.
SUPERIOR TO ‘HORSES’
It is a good role for Jane Fonda, really superior
to the one in “They Shoot Horses, Don’t They?”
serious, funny, beautiful, dra-
matic events at the awakening of
a child into the paradoxical day-
light of adult life.
BE
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audiences; Eisenstein’s 1927 si-
lent, “Potemkin” (which is con-
sidered by many to be the
greatest film of all time); and
Truffaut’s homage to Hitchcock,
“The Bride Wore Black”, with
Jeanne Moreau.
ORIGINAL IDEA
This is an original idea for
television and plans are well
under way for the movie show-
ings, to be broadcast on a weekly
basis.
Efforts are also being made to
restore the older, silent films
and to add new subtitles to en-
hance the films and provide better
readability.
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Summer reading is supposed
to .be light. The heat waves must
curdle the brain so that in-
telligent thought is impossible.
At least that is what some sum-
mer reading lists seem to sug-
gest.
“The Book”, by Alan Watts, is
not light and so would not fit
into most summer reading sche-
dules, However, with the current
concern with finding a way, a
reasonable lifestyle and orienta-
tion, Watts belongs on all lists:
summer, winter, spring and fall.
This book follows the pattern
Watts set in “Psychotherapy East
and West.” It is an examination
of the Western/Christian ap-
proach to existence and the limi-
tations imposed by that approach.
In a way “The Book” is in-
spirational - not syrupy ser-
mony, but more conversational
and natural. In these times when
man is seeking to undo the
damage he has done to his en-
vironment, Watts is seeking to
undo the damage that man has
done to himself.
In a way this book is a return
to the approach of Thoreau,
Emerson and Whitman. The Zen
influence is important, not as an
exotic Eastern escape from mun-
dane Western realities but as a
comparative look at attempts to
discover just who you are.
premiere Friday, in its first
Antonio run, at Fox Twin
Park Theaters.
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Beginning in January, 1972,
the Public Broadcasting System
(KLRN-TV, channel 9) will fea-
ture retrospective showings of
foreign movie greats.
The three-month series will
feature recent as well as classic
films from all over the globe
and made by some of the world’s
greatest directors. Some of these
films are rare and are very
seldom screened in theaters due
to the scarcity and quality of
the prints available.
TENTATIVELY SET
Among those films tentatively
set to be shown are Bergman’s
carnal comedy, “Smiles of a
M
Also scheduled for the series
are Bunuel’s “Simon of the
Desert” along with “Zero for
Conduct”, Jean Vigo’s hilarious,
forty-four minute farce about life
in a French boarding school;
von Sternberg’s “The Blue An-
gel”, which introduced the legen-
dary Marlene Dietrich to
As Gloria, she was combatting the image audi-
ences shared of her (her role previous to Gloria
was the luscious comic-strip heroine Barbarella)
as well as heavy handed direction (by Sidney
Pollack) as well as carrying the load (in more
ways than one) of her dancing partner, a weak
performance by Michael Sarrazin. She simply
lacked softer tones.
ROLE WELL-ACTED
In “Klute” it is a more even, steady per-
formance, attesting to her growth as a fine dra-
matic actress. Her range is remarkable, and she
gets to use those marvelous hands with those long,
expressive fingers in repeated sessions with her
psychiatrist-especially well acted, I might add.
It is a tribute to Miss Fonda’s ability that “Klute”
becomes, I think, far better that it probably might
have been. It soars above the ordinary mystery
genre (on the level with “The Lady In The
Car”) to become a very intelligent, tactfully
directed character study of a call girl.
I would also like to mention, in a few para-
graphs, “Taking Off”which I particularly enjoyed
this summer. The Czech director Milos Forman
(who convulsed me with “The Firemen’s Ball”)
working for the first time in English, has struc-
tured a movie filled with every nuance of the
American people.
It’s a peculiarly unattractive looking film yet
it is stuffed with humor milked from places I
presumed were dry. The basis of the film is
children running away from home (taking off)
and Forman carries it off nicely considering
the fact that the premise itself has aged three
or four years.
Lynn Carlin and Buck Henry (who as a screen-
writer penned two of my favorite movies “The
Graduate” and “The Owl And The Pussycat”) are
very good as the overwrought parents and there
are several well-written, (by Forman himself)
funny scenes. There is also one song from the
movie, with an unprintable title and lyric, that is
absolutely hilarious.
***
Truly memorable characters in movies are
rare enough but now Jane Fonda has given us two
in a row. First, as the defiant Gloria in “They
Shoot Horses, Don’t They?” and now as Bree
Daniels, high class hooker, in “Klute.”
“Klute” is a pleasing, above average, downright
scary thriller directed by Alan J. Pakula (who
made that wonderful little movie “The Sterile
Cuckoo”).
Klute, nicely played by Donald Sutherland, is a
country police detective sent to New York to in-
vestigate the murder of a man believed to be a
former “client” of Bree’s.
SUSPENSE BEGINS
........
Due at Fox
one for it is easy for a performer to overact, to
become showy. However Warren Beatty consistent-
ly stays within character and gives a fine, regulated
performance. It is an excellent example of under-
playing used to good effect.
I believe the photography of this film deserves
special mention and yet I cannot recall the cine-
matographer (it’s a long, ugly sounding foreign
name).
Muted hues as if photographed through mesh and
winter scenes of Presbyterian Church silhouetted
against the snow are simply exquisite, like some
great decoupage technique.
“McCabe and Mrs. Miller” is a very good movie,
elegantly understated and richly embellished. How-
ever, it is more than that; it is a promise of things
to come.
HUT
'Summer’ tells story
of sensual awakening
By MAX GILLASPY
“Summer of ’42” is a recrea-
tion of a timeless past that every
man encounters as he emerges
into adulthood. Older cultures had
special rites to welcome the
young man into adult responsi-
bilities and pleasures.
In our culture young men are
left to their own devices to herald
this momentous change, but sen-
sing the importance of the
changes, devise their own rites.
Any man, safely beyond these
awakenings, must have laughed,
and maybe cried, witnessing this
second birth of Hermie. The
cast includes three intrepid scho-
lars in the pursuit- of sexual
knowledge, a more knowledgeable
girl, and the beautiful, idealized
woman. The props include a me-
dical textbook (. . . “How do you
suppose they take pictures like
that? ... I guess they have-
special cameras.”), the sand
dunes, and the friendly neighbor-
hood pharmacy.
Hermie learns that emergence
into manhood goes beyond the
props and frantic grapplings in
the sand. He learns that true
feeling is not merely mechanical,
nor bio-chemical.
Hermie becomes man and
human because he learns of life
from Jennifer O’Neill, the cap-
tivating, lonely woman who has
come to summer on the island
while her husband is off fighting
World War II.
He is welcomed into life when
he realizes the paradox of some-
one who can make him feel so
important and yet so insignifi-
cant at the same time.
“Summer of ’42”, directed by
Robert Mulligan is in its way a
coming of age for the American
cinema. It neither leers nor
blushingly turns its head at the
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Summer for me was “McCabe and Mrs. Miller.”
Director Robert Altman has given us a ripe full-
bodied, film; one that satisfies and quenches, ex-
tending filmmaking to the level of art-that elusive
plateau that so few American movies have been
able to reach.
Working in an unfamiliar setting- the turn-
of-the-century American West-Altman has man-
aged to overcome the problems that have besieged
other directors and come through with an intel-
ligent, sophisticated film that restores faith in
Hollywood products.
The action in “McCabe and Mrs. Miller” takes
place in Presbyterian Church, a Northwestern
mining village built through the cooperative ef-
forts of a gambling man (Warren Beatty) and an
ambitious madam (Julie Christie).
BEAUTIFUL SETTING
Presbyterian Church is a town whose revenue
is derived from the mine, the saloon and the brothel.
It is a fairy tale town, probably the most beautiful
I have seen on the screen; rustic yet somehow
believable.
I never for a moment doubted the existence of
real townspeople. And here they come-brawling in
the streets, exchanging anecdotes in the saloon,
sloshing about in the omnipresent mud.
For “M*A*S*H,” Altman selected actors notfor
star names but to convey the mood and feeling
of the film. In “McCabe” he has again made all
the right choices. Both Beatty and Miss Christie
are perfectly suited to their parts.
As the opium smoking Mrs. Miller, Julie Chris-
tie adds a charming Cockney accent and brings
warmth to a role that possibly could have been
one-dimensional. And she is extraordinarily beau-
tiful with her tightly wound tendrils of hair and pale
wan-like makeup. It is undoubtedly her finest
performance.
WARREN BEATTY STARS
The role of the brassy McCabe is a difficult
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Summer Night”; Antonioni’s vi-
sion of upper class morality in
Italy, “L’Avventura”; Fritz
Lang’s magnificent “M”; and
Cocteau’s two masterworks,
“Orpheus” and “Blood of a
Poet”.
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Page 3
THE RANGER
August 23, 1971
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San Antonio College. The Ranger (San Antonio, Tex.), Vol. 46, No. 1, Ed. 1 Monday, August 23, 1971, newspaper, August 23, 1971; San Antonio, Texas. (https://texashistory.unt.edu/ark:/67531/metapth1350388/m1/3/?q=Lamar+University: accessed July 17, 2024), University of North Texas Libraries, The Portal to Texas History, https://texashistory.unt.edu; crediting San Antonio College.