The Los Angeles Times from Los Angeles, California • Page 276

"Documenta 6' More Moving Than Good BY WILLIAM WILSON 'y riJ to Bianco and Bernard in newest Disney feature, "The Rescuers." Animation: the Real Thing KASSEL, Germany A corten steel sculpture by Richard Serra stands oddly in front of the Neo-Classical Friederi-cianum Museum. The museum houses much of "Documenta 6," Germany's periodic paean to the art of the present The sculpture is "Terminal," a spare, rusty, skewed, four-sided structure nearly three stories tall. It was generally admired by hundreds of international critics, artnicks and media crews magnetized to the opening. They are saying that this year the federal and civic governments and the affluent industrialists of Kassel paid S2.5 million for the extravaganza. On the morning of the press preview it was discovered that "Terminal" had been used as an outhouse by unidentified citizens.

It was suspected that Kassel's man-in-the-street was protesting what looks to him like the writhing dragon of crazy modernism loose, once again, in the normally neat, quiet streets of this prosperous central German town, population 205,000. This is the sixth time since 1955. Isn't 20 years already enough? Doesn't anybody go to the gallery in Wilhelmshohe anymore? There are 17 Rembrandts there. Instead, the cafes on Friedrichsplatz are infected with sullen foreign artists in weird and grimy attire, complaining to cronies about how badly their work is treated. Hotels are overrun with dealers up from the Basel Art Fair on their European summer art circuit.

The jumbo-jet art world has become a hallmark of the '70s. Friedrichsplatz is ripped up with a huge unfinished project by American Walter de Maria. A giant rig drills a kilometer-deep hole that is only going to be filled up again with metal tubing. They say it will cost a half million to dig the hole and fill it up. Please Turn to Page 72 since Walt died there's been some feeling that the survivors were holding the fort rather than taking new ground.

The experimentation and the chance-taking was happening elsewhere, with Disney alumni like Ralph Bakshi. But Disney's "The Rescuers," lilting into town on Wednesday (city wide), is calculated to make the heart leap up in anyone who has ever loved the cartoons and surrendered to the particular kind of magic that Walt Disney perfected. "The Rescuers" is the best feature-length animated film from Disney in a decade or more the funniest, the most inventive, the least self-conscious, the most coherent and fast-Plcase Turn In Page The eerie technologies of tomorrow the computers that appear to imagine as well as remember, the lights that give form to thin air-creep closer day by day. But animation remains the last handmade labor of love in the movie world. Frame by frame, the animated film is still the patient work of men and women creating tens of thousands of eels, each as individual as a heart carved on a tree or a ball of clay shaped into a likeness.

Maybe that's why when animation is good it's wonderful, bursting with life and energy and charm. When it comes to full and unstinted animation none of that Saturday morning stuff in which only the lips move for minutes at a time the Disney crowd is at Disney BY CHARLES CHAMPLIN still doing the doctoral dissertations. No one touches them for sheer, spectacular craftsmanship, although Director Finds 'Jaws II' Too Much to Swallow EDGARTOWN, Mass. This story was originally written as a light and amusing visit to the island of Martha's Vineyard, where to hear them 'tell it two weeks ago the cast and crew of "Jaws II" were as happy as, well, clams. "Jaws II." as if any explanation is necessary, is the sequel to "Jaws." the greatest fish story of all time, the tale of a great white shark that terrorizes a New England resort community until it is hunted down and destroyed.

Released by Universal Pictures during the summer of 1975, "Jaws" had earned worldwide film rentals of S193.7 million, representing a box-office gross of $400 million. Hancock said, trying to summon humor. Speaking from a hotel in Rome, where he had flown to discuss a future project, Hancock explained, "I'd worked on the movie for a year and a half. Suddenly, I was facing another month's delay. I never thought that so much of my life would be taken up for so long.

I didn't want to face more months waiting. I wanted to go on to something else." Although Hancock is firm in his explanation, the explanation itself is unconvincing. Waiting is the one process that characterizes almost every movie: the more time most film-makers invest in the project, the more time they are likely to wait to see it through to completion. At Universal Studios last week, there were consequently whole schools of alternative explanations. "John was in over his head." theorized one producer.

"He is best at smaller, more intimate films." Another source closer to the production claims that the producers were unhappy Plnmr Turn lo Page fi BY GREGG KILDAY "Jaws II," in which a second shark with a special taste for teen-agers attacks the ill-fated island of Amity, looked earmarked for success. Even if it does only half as well at the box office, it is predicted that it will sneak into the list of top 10-grossing films. But then something happened. Three weeks into the production, at just that point where the company was scheduled to complete its work on Martha's Vineyard and move to Pensacola, where the movie's water sequences are scheduled to be filmed, the director abandoned ship. Last week John Hancock simply withdrew from the project.

According to the official explanation-offered by both Hancock and producers Richard Zanuck and David Brown a delay in the shooting schedule caused by the failure of the mechanical shark provoked Hancock's departure. "I guess I was eaten by the shark." NO BOOK REVIEW Due to the 4th of July holiday, there will be no Book Review today. It will resume next Sunday. Times Book Critic Robert Kirsch's review of Joseph E. Per-sico's "My Enemy, My Brother: Men and Days of Gettysburg" appears on Page 71.

Crossword puzzle is on Page 80. A look at the Hollywood "deal" on Page 7..