The Courier-Journal from Louisville, Kentucky • Page 15

w.rv,r"'j"liri i i i t- i i i i i i i i i i i i The Courier-Journal, Saturday morning, September 20, 1980n Trampler's playing -44e. I I destroys old ideas about viola's traits n.t MUSIC REVIEW -r. Movie reviews 'Cheaper': Fair cast is totally wasted in this silly movie Dekker (Mac Davis) moves out of his house in "Cheaper to Keep Her," assisted by his buddy, Tony (Art Metrano.) By GREGG SWEM Curlr-Jurnal Critic Mac Davis is starring in one of the silliest movies to come along in quite a while. It's called "Cheaper to Keep Her," which opened yesterday at the Ox-moor Cinemas, Trans-Lux and Westland. Davis plays a man who's been thrown out of his house by his ex-wife, her boyfriend and their Do-berman pinscher.

While all this is happening, he finds there's a lien on his detective agency. So he sets, out with a pal to find a new home and job. Job hunting leads to a lawyer's office, where a female attorney hires him to investigate the lives of her clients' ex-husbands, all of whom are delinquent with alimony payments. It's something that should suit him perfectly, he figures. Much of the story focuses on Davis' gumshoe pursuits.

The remainder of the time deals with romance. Davis is a pretty efficient detective despite his Walter Trompler, violist, and lee Luvisi, pianist; presented in recital last night by the University of Louisville School of Music. The program: Maerchenbilder, Opus 113, by Schu- mann; Sonata, Opus 147, by Shostakovich; Sonata No. 2 in 0 major, by Bach; Sonata, Opus 25, No. 4 (1923), by Hindemith.

By WILLIAM MOOTZ Ceurltr-Jeurnel Critic A distinguished group of musicians has gathered at the University of Louisville School of Music this weekend to take part in a concert during which famed violinist Alexander Schneider will receive an honorary degree tonight in the school's new Recital Hall. Tonight's program (at 8 p.m.) will feature Schneider and his colleagues playing piano quartets by Mozart, Mendelssohn and Dvorak, and it's bound to be one of the highlights of Louisville's 1980-81 music season. But good concerts sometimes generate good concerts, and this happened at the School of Music last night, when Walter Trampler and Lee Luvisi, two of the artists who will join Schneider, teamed up for an intriguing program of music for viola and piano. The viola has never enjoyed the popularity of its sister stringed instruments in string-quartet literature. Less brilliant in sound than the violin, less rich and mellow than the cello, it is also supposed to be rather nasal in tone quality and difficult to control technically.

Violists, with little solo repertory of real distinction awaiting them for performance in the concert hall, can lead frustrated lives. But Trampler is an artist to give the lie to all our preconceptions about the viola. His program last night was arresting from first note to last, and he played with a mastery of his instrument any virtuoso of the strings might envy. The revelation of the evening was Trampler's performance of Shostakovich's Viola Sonata, Opus 147. The composer's final composition, it was ineptness at driving a car.

He gets his work done without delay, hoping to have more time with a certain lady friend. She's the boss' secretary, an attractive Latin American whose accent sends heat waves to Davis. In the movie's funniest scene, Davis tries to make love to Teresa, only to find out there are certain undreamed of complications that make their intimacy amusing. It would not be appropriate to discuss the details of their meeting, but as handled by director Ken Annakin there's nothing offensive. It's the film's highlight, but unfortunately, nothing else comes close to being as diverting.

"Cheaper to Keep Her" serves principally as a stepping-stone vehicle for Davis, who seems to be trying to shed his country-pop music image for a chance at film stardom. He's a personable man on screen a mixture of Southern country boy and Hollywood but the script affords little opportunity for any expression of talent. But, no doubt, we'll be seeing more of him. As for the rest of the cast, Tovah Feldshuh is a bland Ms. Locke, Davis' boss.

Art Metrano is satisfactory as his sidekick. Ian McShane is good as Dr. Alfred Sunshine, a pseudo-therapist who's duping his own wife. Priscilla Lopez is charming as Davis' love interest. And Rose Marie and Jack Gilford lend solid support in cameo roles.

However, a sharp cast can't save "Cheaper to Keep Her." There's too much dull nonsense going on. Rated R. The language is bold. The aforementioned bedroom scene is suggestive but mainly intended to be funny. No nudity.

that marks so many of Shostako-'" vich's last symphonies and string quartets, this intense and lyrical Viola Sonata comes as something a shock. Shostakovich seems to have written it in a mood of quiet contem-' plation. Aside from a second movement that sometimes sounds like a mordant Danse Macabre, the utilizes the simplest of harmonic arjd melodic means. The writing is often in only two parts, moving calmly to. ward an ultimate atmosphere of peace and resignation.

Wo f.y, Finally, in the last movement, Shostakovich pays homage to ven in music that quotes the of the "Moonlight" sonata. The music spins out long legato lines. 0 that sink every more deeply into se- renity. The work ends, or maybe 'i "expires" is the word, with a wistful, sigh in the key of major. Shostakovich's Viola Sonata is sure- ly a masterwork, and its ance by Trampler and Luvisi last night was uncommonly moving, -j.

The rest of the program was more; conventional. Trampler's way with j-Bach's major Gamba Sonata was-, hearty, and he made Schumann's lyrical "Maerchenbilder" emergc as-C a small suite of fanciful miniatures, If Schumann's inspiration seems dry- and forced, Trampler played these four short works with captivating musical imagination. The final work on the program, Hindemith's Sonata, Opus 25, is a recent Trampler discovery. Ali' though written in 1923, it was not: -unearthed from the archives of Hini--demith's German publisher until a few years ago. Aside from a reflective slow movement, it's as extro-' verted as Shostakovich's Sonata is trospective.

For an encore, Trampler added-the third movement from BrahrnsC Sonata in minor, originally written" for clarinet, but often appropriated by violists. Its mood is autumnal, and. Trampler played it with ravishinglyt beautiful tone. Of arms and the man: 'The Big BrawV works "Brawl" is Chan's first American film produced by the same people who brought you Bruce Lee's "Enter the Dragon," which is unquestionably the best pure martial-arts film to date. Ironically, Chan, with his boyish innocence and handsome features, may be what the kung-fu fans have been waiting for to put Lee's legend to rest.

Chan is not a Bruce Lee look-alike. His blows come at hyperspace speed, but his movements are intelligent and dancelike. Unfortunately for his opponents in the film it usually turns out to the last tango in Chicago. "Brawl" doesn't deserve its rating. There's no bad language, no nudity and very little blood.

There are many surprises along the way to the closing credits. One of the funnier surprises comes when Kwan's brother unknowingly has his future bride switched for one of the mobster's local Oriental girls from one of his "businesses" so Kwan has someone to give his brother before the truth is known. The film moves rather quickly, packed with cute scenes, thrills and amazing martial-arts acrobatics by Chan. There are holes, though. The costumes, automobiles and furniture all check out to period, but the people don't act like folks did 50-odd years ago.

And sometimes Chan is too much the clown. But much of the movie's success must go to Jackie Chan. ily at their restaurant-home in 1930s Chicago. Chan, 26, plays a well-meaning kid who loves his family, respects his culture but loves the art of fighting despite his father's wishes for him to lay down his arms and take up egg foo yong. But local gangsters, led by a young mobster (Ron Max) being schooled by his all-powerful uncle (Jose Ferrer), wants the family business to pay its fair share of "protection" money.

Kwan's dad refuses. Meanwhile, after Kwan beats up on the protection boys in some belly-splitting antics that make the gangsters look like some embattled Three Strooges, the all-powerful uncle wants Kwan to fight for him in a big brawl being staged in Battercreek, Texas. completed two months before his death in 1975. Trampler gave the New York premiere of the work in December 1976. Even if one is accustomed to the seething anguish and bitter despair By MICHEL MARRIOTT Caurlar-Jcurnal Staff Wrlttr Here's one karate chop that's well done.

"The Big Brawl" opened last night in area theaters and drive-ins. And despite its name, this film is not just another offering in a seemingly endless glut of martial-arts movies that lack plot, character development, style and good taste. Warner Brothers, which has released the film, is probably hoping to snare the die-hard kung-fu fans with the clenched-fist ad campaign showing the film's star, Jackie Chan, painted as if he is ready to bite the heads off nails. But "Brawl" breaks more ground than ribs by becoming a good Oriental-American film that simply uses martial arts much like "Rocky" used prizefighting to tell a nice story. This movie has an abundance of believable characters, outstanding acting and a fairly reasonable plot.

Moreover, Brawl possesses a playful spirit that permits writer-director Robert Clouse's story line to cross over into adventure as well as into comedic territories. The film's acting is greatly enhanced by Mako's contribution as a Chinese chiropractor bent on teaching his nephew the ancient arts of oriental-style self-defense. The story is simple. Jerry Kwan, played by Chan, is a Chinese-American living with his fam Winner take $15,000. Young Kwan says no.

Kwan's brother is awaiting his bride GEORGE BURNS SAYS "TH NK to-be to arrive from China. The two have never met but have written 10,000 letters over the years in this ri.n.'..j..:r-i I mf'FW'LJ I 1.H LJtmSBSSLJt Dekker thinks he's Gods gift to Women! family-arranged marriage. Kwan is sent to San Francisco to LZS2S3LJ fetch her. She is kidnapped by the mob and held ransom, ensuring that Kwan has r-rr-LH-Tl Jf Ui to fight a parade of musclemen and an other mobster's fighter called Billy Kiss (he kisses his opponents before Ml A crushing the life out of them). Kwan sweetens the deal, by making the mob promise to leave his family alone if he IN WAR, YOU HAVE TO KILL TO STAY ON THE STREETS OF NEW YORK, ITS OFTEN THE SAME.

wins. ft; Well, of course, Kwan agrees to fight to save his future sister-in-law's life. cr 33- THE EXTERMINATOR man they pushed too far. TAVCO EMBASSY PICTURES Release -3- 'He Knows You're Alone9 isn't the cliche it appears tn Intelligent. When characters aren't be ing murdered, they're usually either I I.M..

1.1.1:1-1 Jft Wrffl' CAN YOU FIND THE AIRPLANE Y'' fS IN THIS PICTURE? PG a HEtWDS A fmv slnry about uttrrwris right Ufftti. also Starring TOVAH FELDSHUH PRISCILLA LOPEZ JACK GILFORD ROSE MARIE ART METRANO I Vtf '1 The acting by all is superb, By JOHN HERZFELD Curlr.Jurnl CMtrtfeutlnf Critic Psychopathic killer pursues pretty woman. It's an old horror-film plot that has been driven into the ground. And at first glance, it appears that "He Knows You're Alone" will be just another version of this hackneyed suspense formula. In "He Knows You're Alone," now showing at theaters in the area, the killer is jilted by his girlfriend.

On her wedding day, he kills her. And ever since then, he's had the perverse hobby of killing other brides-to-be. The movie opens with a familiar horror-film device: a couple necking at night in a deserted rural area. The girl thinks she hears a strange noise in the woods. The boy's thoughts are elsewhere.

To convince her that nothing is wrong, he investigates. Not too surprisingly, he gets it from a masked killer. 'Disappointment sets in immediately. We've seen this movie before. So has Armando Mastroianni, the director of "He Knows You're Alone." The opening scene of the movie is just that the opening scene of a movie.

Mastroianni (a cousin of Italian actor Marcello Mastroianni) begins his actual narrative with two characters who are watching this movie. That wry twist is a nice way to start off his story. Although the plot of "He Knows You're Alone" Isn't very different from the usual killer-pursues-wom-an fare, it has some nice little touches. Unfortunately, those little touches are not always adequate compensation', for the weaknesses in the dialogue and characterizations. The screenplay makes the characters seem either very stupid or impossibly talking about sex or preparing to have sex.

But one character, a plainclothes detective who doesn't seem to care about sex, comes off as being too smart. Using extremely flimsy evidence, he is able to correctly identify the psychopath's prime victim. Granted, horror-film characters are usually slow-witted. It takes them some time to catch on to what the audience already knows. And when they finally do understand what's happening, they never follow a logical course of action.

But this convenient bridging of a narrative gap seemingly assumes that the audience is also stupid. Such cheap techniques are unforgivable, and threaten to turn the movie into a serious version of the very genre it parodied in the beginning. Despite the incompetent script and some irregular pacing, "He Knows You're Alone" does deliver a few surprises and some suspense. There is a nice inversion of a classic scene from a famous Hitchcock thriller. A ride through an amusement park's haunted house is predictable, but still moderately scary.

A chase toward the end of the is truly suspenseful. There is a trick ending that is more funny and unbelievable than it is jolting. Unlike many horror-film directors, Mastroianni does not rely on gratuitous gore to keep audiences squeamish. His murders are practically bloodless. Mastroianni has created a thriller that is a cut above the average.

It is to be hoped that his next project will have a better script Rated Killings are fairly tidy. Some curses, and some brief female nudity. out me srrengin or wis mm is its simplicity and understatement. jock touisvilte Times 2 5J. i m- fir ft iii aBsmvxv.

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