Weekend Preview
Lemming
Players
one of many
‘nifties’
featured
If you’re feeling lost this weekend here is a lot of
stuff to take your mind off it.
“Love, Spring, and Everything Between” starts
right away at 12:30 p.m. as part of the Music School’s
continuing Friday feature, Musical Smorgasbord. If you
are reading these words any time before half past noon
today, you still have the opportunity to grab your lunch
(or anything else that’s handy) and drag it over to the
Recital Hall. Other nifties on the program include Dave
Porter’s contemporary music concert performing
“Volumina XV” and “C-O-R-P-U-S-C-L-E” for speaking
chorus, and a rendition of T.S. Eliot’s “The Love Song of
J. Alfred Prufrock.” Admission is free.
Live performances at four places—the EMU,
Wesley Center, Gerlinger Annex, and the Odyssey.
People greet the announcement of another sock hop
at the U with about as much enthusiasm as the an
nouncement of another Apollo mission. But friends of
SEARCH is sponsoring another BIGGIE tonight in the
EMU Ballroom—the first spring prom this school has
seen since the ‘60’s. It’s called “The Last Kiss” and it’ll
cost ya 75 cents to get in—dress is “formal, but not so
formal as to scare people away.” Prizes too. Provide
your own entertainment at this do-it-yourself circus
tonight at 8:30. (You’ll never find this in “Popular
Mechanics.)
By MARTY WESTERMAN
Of the Emerald
At the Wesley Center there’s a treat—the “Lemming
Players”—a new University performance group, will
present two contemporary one-act plays, “Molly
Bloom”—done by Randi Douglas, an actress we’re
already familiar with for excellent theatre. Ms. Douglas
performed this original work at the University last term
for the Fine Arts Festival. The other play is “Krapp’s
Last Tape,” by Samuel Beckett. The story here is about
a faceless writer who has recorded his intimate thoughts
on tape every year as a birthday celebration. Now, an
arthritic old man with an inordinate craving for
bananas, Krapp (the writer) sits down to listen to former
tapes and make a cutting of “Krapp’s Last Tape.”
The Lemming Players have adopted the following
five principles as “a working agreement: 1) No board of
directors; 2) One dollar is your ticket; 3) We always
wanted to be in the circus; 4) The Lemming’s limit is the
cliff’s edge; and 5) The Lemming Players hope you
float.” Showtime both tonight and Saturday nights is 8,
and ticket price is $1.
At 353 Gerlinger Annex tonight, and Saturday night,
the University’s Cosmopolitan Folk Ensemble (the folk
dance repertory company) will perform folk dances
from around the world in “Shrovetide.” The Ensemble
has just returned from an engagement at the University
of Montana and they’re fresh, rehearsed, and ready to
put on a good show. The concerts both nights begin at 8,
admission price is 50 cents.
After each concert there will be an iastruction
festival in Gerlinger gym. Tonight the Ensemble will
teach Balkan folk dances, tomorrow night, Scan
danavian.
There’s also a folk dance workshop, free to
University students, Saturday afternoon from 3 to 4:30 in
Gerlinger gym, and another at the same time for ad
vanced students in the Dance Studio.
Regular open, recreational folk dance will begin
again Sunday, the 14th, and continue Sunday, Tuesday,
and Friday nights at 8 in Gerlinger gym until the end of
the term.
At the Odyssey Coffeehouse tonight acoustic
guitarist Steve Peaceful performs from around 9 p.m.
Admission is 50cents. Tomorrow night either Wheatfield
or Sonny King will be in the limelight—neither is definite
yet but admission price has been settled at 75 cents
Open poetry readings every Thursday night at the
Odyssey, and every Sunday night auditions and per
formance for KZEL’s “Farmer’s Almanac of the Air,”
which is aired live from the Odyssey at 10.
At the PLC Theatre (180 PLC), for the very first
time in Oregon, Akira Kurosawa’s masterpiece “Red
Beard” will be shown at 6 and 9:30 tonight. Admission
price for each showing of this 1965 Japanese film is a
single greenback dollar.
Down the avenue at the 150 Science Theatre a
wonderful wierdie show complete with the Fabulous
Furry Freak Brothers—“Brand X”—is on at 7 and 9:15
p.m. Greenback to get in.
Tomorrow night at 6:45 and 10 at the PLC Theatre
you can see a double feature—the great Harry Houdini
starring in “The Man From Beyond” and W.C. Fields in
“You’re Telling Me.” Students for McGovern who are
sponsoring the shows, didn’t list a price, but I would
refuse to pay anything more than a dollar.
And at the 150 Science Theatre another film in the
wacky world of W.C. Fields—yup, you guessed it—“My
Little Chickadee.” With the added attraction of Mae
West, that tiger-woman. It shows at 7:30 and 9:30 for 75
cents.
Sunday night the ASUO Cultural Forum sponsors
“Zabriskie Point” for you all at a 6 o’clock and a 9
o’clock showing. Admission for a dollar, location of
showing is the PLC Theatre.
And all weekend at the Valley River Cinema you can
see “The Last Picture Show” for something more than a
dollar at times listed in your afternoon paper. Or call
them if you don’t get the afternoon news.
And provide your own live entertainment again
Saturday at the SAE Thing. Yes, the Thing is the only
one in a non-existent series of goings on which this
fraternity IS sponsoring for the benefit of the Triple “H”
Ranch for Children. It’s 15 cents a beer, seven beers for a
buck. Live bands vcoilege i.d. required) from 4 p.m. to
???!!! Bring your styrofoam!
And that about wraps it up.
‘Comic genius * returns
HOLLYWOOD — For 20 years, they have been
unable to forget—and their letters prove it.
“A traitor to this country . .
“To date, Charlie Chaplin’s North Viet Nam (CQ)
friends have murdered 45,000-odd American boys.”
"... Comrade Charlie’s friends..
“To have a group of so-called Americans and
supposedly responsible people bestow an honor of
any kind on such a person is very alarming. No
wonder this country is slowly going down the
drain.”
The letters were sent to the Hollywood Chamber
of Commerce after plans were disclosed to place
Chaplin’s name on the walk of fame, along with the
names of 1,551 other entertainment personalities.
Most of the letters appeared to have been written
by elderly people and mentioned Chaplin's alleged
leftist leanings—he was the object of a House Un
American Activities Committee investigation
before he left the United States in 1952—and his tax
problems with the government.
Ironically, Chaplin, who lives in Switzerland, was
born in England and was never a U.S. citizen.
Monday night, Charlie Chaplin was driven to the
Los Angeles Music Center where he received a
special Oscar from the Academy for “The in
calculable effect he has had in making motion
pictures the art form of this century.”
The last time Chaplin was in Hollywood,
President Harry S. Truman had only recently
relieved Gen. Douglas MacArthur of his command
in the Far East.
Hollywood was a thriving entertainment mecca
and Charlie Chaplin was one of its kings. It was on a
vacation trip to England in 1952 that Chaplin
learned the U.S. Justice Department had refused to
grant him a Re-entry Visa.
U.S. Atty. Gen. James P. McGranary said the
action had been prompted by “public charges”
associating Chaplin with Communism and “grave
moral charges.”
The comedian would have to appear at a hearing
to prove his "moral worth” before he could return.
Chaplin, who is still a British Subject, refused to go
through such a hearing and moved to a mansion
overlooking Lake Geneva in Switzerland.
As the years passed, both Chaplin and the times
changed and, in an interview in London in 1962, he
said:
“I have no bitter feelings about America now. It is
not a thing one can carry on. Some of my best
friends are Americans.
“What happened to me, I can’t condemn or
criticize the country for that. There are many ad
mirable things about America and their system,'
too. I have no ill feelings. I carry no hate.
"My only enemy is time.”
Los Angeles Times-Washington Post Service
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| A film by Michelangelo Antonioni
Sunday
April 16
‘1.00
6 & 9 p.m. 180 PLC
MOVIES OF THE WEEK
(Paid Advertisement)
The Last Picture Show
"The Last Picture Show," A BBS Production for
Columbia Pictures directed by Peter Bogdanovich,
based on the novel by Larry McMurtry and staring
Timothy Bottoms, Jeff Bridges, Ben Johnson, Cloris
Leachman, Ellen Burstyn, Eileen Brennan, Clu Gulager
and introducing Cybill Shepherd, is about a time and a
place just twenty years gone but seemingly light-years
away. It's about growing up in a town running down,
where being free means getting out. And it's about the
nineteen-fifties.
The fifties. You'll remember what you've tried to
forget: romances beginning and ending in the front seats
of pick-up trucks, rusting Hudsons and gleaming Ford
convertibles. Hands that could take apart motors
becoming useless when confronted by brassiere hooks,
hands getting slapped down an inch above the knee. Guys
wandering through Saturday nights burdened by
virginity until the surprising and peculiar moment when
somebody, maybe their girl friend, maybe their girl
friend's mother, says yes.
It's 1951 in Anarene, Texas, when boredom sits so
heavy that boys like Sonny Crawford and Duane Jackson
talk about leaving for good, even for Korea (and those
yellow skinned girls!), while girls spend their days
growing plump and linesome, leaning anxiously toward
their mirrors. There was a time when people still went to
the picture show, to meet, laugh and cry in the darkness,
but television is making its inroads and now only a few
couples kiss in the back rows. Their parents sit home,
getting drunk or just getting old, watching "Strike It
Rich." And so even the picture show closes up.
For BBS Productions, which has produced a series of
poignant contemporary probes—"Easy Rider," "Five
Easy Pieces" and "Drive, He Said"—"The Last Picture
of the way it really was. And filming the way it was
meant capturing the way it looked and the way it felt to
be young and vulnerable in a northern Texas town in 1951
and 1952.
Zabriskie Point
As everyone must know by now, it is set in the United
States. Mark, a young radical, meets Daria in the
Southern California desert. He is fleeing the Los Angeles
police who think that he shot a policeman at a college
protest. She, although temperamentally a swinger, is
working at the moment as a secretary in Los Angeles and
is driving to Phoenix where her boss is having a business
conference in his desert home. Mark, who has stolen a
plane in L.A., runs out of gas after he has teasingly
buzzed Daria's car. She arrives where he has landed and
agrees to give him a lift to get more gas. En route they
reach Zabriskie Point in Death Valley, the site of Ancienf
lakebeds, now a frozen heaving sea of borates and
gypsum. There, after some talk, they make love.
Later that day, he flies back to return the plane in
Los Angeles. (When she says it is risky, he says, "I want
to take risks.") The waiting police kill the presumed cop
killer, who actually is innocent, when he doesn't stop
taxiing promptly. Daria hears the news on her car radio.
She arrives at her boss's house but very soon leaves. She
stops and looks back at the I uxurious house, and in her
mind she sees it explode, over and over again, its con
tents floating dreamily in space. Then she drives out of
the last shot, leaving us to look at the sun in the west.
There are genuinely beautiful moments. Not the
shots of the desert, well done though they are, because
the desert is a subject that a cinematographer like Alfio
Contini could hardly fumble. I mean such moments as
the shot from a helicopter that spirals down next to the
grounded plane in which the dead Mark is lying,
surrounded by police cars; it is like the descent to earth
of a snared spirit. There is a shot of Daria's boss in his
high office, with a huge flag billowing outside his window
and another skyscraper beyond it, that goes past satire to
a poignant statement of slick, barren "office"
civilization. A highway patrolman stops Daria in the
desert (he thinks she is alone; Mark is hiding), and after
she has made an impertinent reply to a routine question
of his, he looks all around the huge solitude slowly,
presumably toying with the idea of ravishing this
luscious, irritating piece—then gets back in his car. His
long pause is one of the few truly implicative moments in
the film. When Daria imagines the explosions of her
boss's house at the end, the first of fhose explosions is
silent—an excellent touch which adds to the shock and
which acts as the necessary bridge into her fantasy. And
the shots of things floating slowly—materials, not people,
because the enemy is things—are nicely sardonic.
GEORGE C.SCOTT
“THE HOSPITAL"
GP United Artists
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BRAVO. BRANDO'S
GODFATHER
— New York Times
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