The Los Angeles Times from Los Angeles, California • Page 338

actic scene. Jacqueline Bisset, Roy Bean's daughter, confronts Roddy Mc-Eowall whose gangsters now dominate Langtry, Tex. The scene takes place in the old Jersey Lillie. McDowall tells her that progress demands she give up the saloon. Miss Bisset is to get her father's old 10-gauge shotgun and chase him from the room.

Grips, electricians, sound and camera crews are readying their equipment for the shot. Pulling cables, shouting commands at one another and complaining about the cold, they work in a buzz around the director and his actors. Noting a change of script here, coaching them on how he wants a line delivered, Huston's "huddle is like thd eye of a hurricane. They are a picture of intense concentration. Finally they are ready for rehearsal and assistant Mickev McCardle bellows "Quiet for rehearsal" in a voice that God saves for umpires, drill sergeants and assistant directors.

Huston blocks Miss Bisset's moves. He isn't satisfied with the way she handles the shotgun. Crossing over to her, he says, "You're not threatening enough with the gun, dear. Remember you're going to blow his brains out." Only Huston can swear with such eloquence. He makes her carry the hea-vv piece all through the rehearsal to become familiar with it.

Even with the hot lights on, it is bitterly cold inside the set. Miss Bisset's fingers are stiff and pink as she clings to the cold steel shotgun. More tedious rehearsals. It's dark outside now and the wind has increased. Huston asks the sound mixer if the wind will be picked up.

"Yes, sir," comes the reply. Script Becomes Film "Good," answers Huston. Gradually, through hard tedious work by cast and crew, the scene takes shape. Script becomes film. A fantasy is transformed from one medium to another.

Then Huston is ready for a take. McCardle bellows once again, the camera crew slates it, sound calls "Speed" and Huston quietlv orders "Action." Delighted, the director orders the first take printed and breaks for the day. On the way back to his trailer, Huston said, "There's a mysterious quality to this last sequence. You don't know if it's the judge or his ghost that has returned to wreak his vengeance on the violence that has occurred. The judge leads an insane attack on the forces of evil.

It's as if the 19th century rose from its grave to destroy its prodigy, the 20th century." Again Huston was speaking with an easy intimacy about Roy Bean and what he represented. Among the select in the already Please Turn to Page 21 Huston, Bean Continued from First Page the elegant outfits. Always at ease, always composed, he doesn't look as if he could sweat or worry. It's a delivery that doesn't fit the rugged face. It is contrast of virility and vanity, sweat and silk, steel and fat.

Like the hero of his newest picture, John Huston is a legend in his own time. His style is Claridge's and the St. Regis. It's riding to hounds with Lords and the 21 Club. They say he consistently violates the tribal rules of Hollywood.

He abuses bosses, budgets, women and alcohol. He lias made a great number of wonderful pictures, only a few of which have made any money. Like Judge Roy Bean he has managed to survive a life teetering on the brink of disaster with flair and an inimitable style. "You must meet the bear," Huston said. "He gave a marvelous performance." He walked to a cage made from an antique brass bed.

"This is Judge Bean's pet and mentor, Watch Bear. A fine actor." Huston took a piece of candy from his pocket. Friendly Handshake "Shake hands, shake hands," he cooed to the bear. A muddy, yellow clawed paw reached out and shook Huston's hand. "Kiss, give Uncle John a kiss," he smootched.

The bear's breath smelled like month-old hamburger. "He's a thorough professional," Huston said. "He'd sell his soul for a Toot-sie Roll." "The Life and Times of Judge Roy Bean" with Paul Newman in the title role is a fanciful departure from history. When the West changes, when civilization and lawyers replace judges, Roy Bean wanders off. He reappears years later when gangsters and Prohibition take over his West Texas fief-dom and the old ways are needed once again.

"My God, is Paul Newman a good actor," said Huston. "He's just marvelous in this picture. He's never done anything quite like this and yet he's caught something unique and original. The picture definitely says. something about a spirit- ple-igl's-'isoinething uniquely American -about the judge." Huston was speaking with an extraordinary sense of intimacy; more like a man talking about a friend than a director talking about an actor or a part.

Clearly, Huston had a rapport with the judge. He was a man, not some distant The company 'working, on a cl i m- iiir.il- irikTT Tln nuliwCnllmr Screenplay by Martin Goldman nd Larry G. Spangler Story hym. B.1UH Produced hy Larry G. Spangler iHrectcd by Martin Goldman IpSm.g Mario and Lyxica by Sung by tloyd Prloa In Color A Paramount Picture Soundtrack album avail able on Paramount Rgcordaj SrtlVE.mENMKI'00! NOW WARRENS Downtown 624-6271 Special Midnight Show Sal.

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