The Philadelphia Inquirer from Philadelphia, Pennsylvania • Page 69

v- v. v' Tuesday, Nov. 8, 1983 Philadelphia Inquirer 9-F Behind; face, El wood 51 aseripus: Goldblum' actor mmmmii A erjMtoe 1 5 pzt voted that I jumk top; OLD CAFETERIA LUWHEd 1 Hambutyr. THE CAFETEKIA A 15 TOTAL LY 1 iWERS -j fries. COULD 5ELL JUNK Vrv0AEP- 3f' GOLDBLUM, from )im and'hw the sWoTOtish'if manages a smile when I suggest there is a certain kind of, role Gasoline Allev wont set foot I'm qoinq to see lrJ One wai-l Phyllis has in this bouse ycr I want it out of here lLT or a Brenda.

Starr i IFhwJiY WHAT Art ytPE KX) TELUNS ME THAT YOU THINK 1 I BECAUSE IF ANYTHIHlS JtisSA 1 1 TRyi A0 ILP HAVE CPASHEP? LKP THAT- T2TN teu is tnf that ty mm some where A has happened, i IKu. fa rXAUHK' HWfTf I AlWAfS BLAME ipsU r-j mpm- fl" W0Jf wM Rex Morgan, M.D. rSOOO 'tKWWSfSHt fll'lTE Tl IS SM6TYE6 BUT $Tiil 1 0V TME WAV. we? WWAT klkJO Of A UNTIL 1 AWAKE APAMiMT ABOUT I- 6 OUT IN THE SOUSVU. WIGHT Pip MBS.

I MIPNIGHT TUW 1 MOW LE4 INS THE ''-J UAITWS VCZ VCU. 02 TAWPEM HAV WE 6AVE MEe TME I I I WAS TuEPE III Pi SETTLE? If JSW -Nfiri A Wtl Annie THAT ENOUGH I BUT HB LCVE5 ME, ''J WHAT 16 IT. SANDY? I REASON? YOU OLIVER'-ANP I WE JorlWHAT ARE Y'SO YOU HAVEN'T GONE OLIVER, I ON YOUR HONEWOON MARRIEP A VERY YET, YOU CAN HAVE YOUR MAnRlAcjE AHHULLEQ ANSELA QOOOim.A LOCAL HAVEN'T 5AI0 A I ri'N" EXCTEP BfW YOU LOVE HW I COULPN'T OO flPf ma as at the Neighborhood Playhouse. Seventeen years old, his own apartment in Gotham, a full day of classes, who knows what at night and money fronv home. "It isna the worst story in the world," he-says.

And it came to pass, a year later. thatsomebody called the: Neighbor. nqoa naynouse and said iney need ed a tall fellow to play a guard in the Central Park production, of Two Gen-llameifc Verona. "I didn't know what the Public, Theater was, who Jde Papp- Goldblum says. "When got there, the.

show was already rehearsing. They told me, 'The director's in there -r shake his hand, say. So I did, 'Mel Shapiro? How are you? Jeff Won the part Naturally, he got the part. And because hejwas listening when someone yellejj "Singers and dancers, go upstairs, he took the stairs. "John Guare anGalt McDermott were still forming the show, writing the music.

I was in the chorus, one of the townsfolk, singing and dancing, throwing a Frisbee." He stayed for almost a year, moving from the park to Broadway. He had his second credit, after hftfirst formal audition, in the cofnedy.re vue IS! Grande de Coca-CotiL' Almost as quickly, he landed his first film role, one of the crazed killefarapiste in Death Wish. The usual Goldblum character It wasn't. "Did it bother me that it was such a brutal pari? he says. "It was the first movie, I'd gone up for, and I got it; I suppose somebody else might have said.

I'm the next Robert Redford and how soon can I make that But I was thrilled to be acting in anything at that It was a snowy night, and our hero was at Plaza 9, the hotel's basement theater, in 1 Grande de Coca-Cola. The snow was about to lift him out of the basement Because of the weather, Robert Altman. who was staying across Fifth at the Sherry-Netherland, canceled his plans for Broadway visit and decided' he would catch the revue across the street. At least that's how Goldblum heard the story. Altman called a few weeks later and offered him a few lines in Caliornia Split.

Goldblum parlayed that into his most important chance the opportunity to say nothing at all In Nashville. A rider What was he doing on the bike anyway? "I don't know that I symbol-' Ized anything literal Goiawum sys, "I never gathered that. Altman never told. I. was -r- surrealistic.

No. noi.lthat But A Met. Movement U6T6 1 come. I don 't speak. a line, I'm I do magic.

I'm kind of benevolent I get Involved somehow, fatefully, coinci-dentally, in all the characters' lives. 1 give them rides." And now he's a movie star. Well, almost. Real movie stars don't wear T-shirts. When Kevin Kline Joins Goldblum in his suite for the television interview, he's wearing a double-breasted navy blazer, a blue shirt, a black-and red striped tie.

The two are sitting on a couch, facing Barbara Howar. It's not going to take very long, she tells them. They smile. She smiles. Only the sound man is unhappy.

He's holding a clip-on microphone and staring at Goldblum's T-shirt, "I don't have any place to put this," he says. Goldblum leaves the room, frowning. While he's gone, Kljne remembers something about Goldblum's performances. "Jeff does indignation really well," Kline says. When Goldblum returns, he is wearing a jacket, a shirt, a tie, a pained expression.

There is a question about his character in The Big Chill "He's a real person." Goldblum answers. "He's got hopes and needs." He touches his tie, "He's doing the best, he can," Rmrfeiitd by ptrnttalM ot Mtv Yert mrcazlnt. CwvrHM IN) ti Nm Gnue PuMultaia. rtgrm in a performance that was pften brilliant and certainly 'This work's four movements are arguably a Single movement elaborated with pauses. Barenboim made greater distinctions among them and found himself pounding in the second movement.

The thunder of that movement made the following slow movement seem dull, until he began to pull it together with some strongly felt playing. i The fugue. that sums it all up was played with glassy clarity until the powerful final bars, which aroused an ovation but did not constitute a satisfying summary of the, playing that preceded it The early Sonata in flat 7) gave Barenboim a chance to display his sense of jmusical textures. The music evolves through contrasting surfaces graceful lyrical lines followed by dappled lines made of rapidly repeated notes. Barenboim reveled in his knack for texture and found in it the logic of the writing.

The lyrical writing here was not 'finely played, and that kept the work, from taking on its full glow. At the close, however, his playing suddenly grew rich and songful in the soft final bars some of the most sensitive playing in the recital. -i Goldbium could grow old playing. "I wouldn't want to have certain parts. unavailable tomehe says.beause.,.

people, thought, could only la" certain, V- A certain Jewish "WelL; iewpo can says, yyarnors, aa; venturers, heroes, Maybe I'll ge to do Cohen the. Barbarian." Goldblum's Isn't, worK ne in I ne KigH as much, as finding people who! have. seen his work. He was nominated for. the Canadian equivalent of ah Oscar for the best performance by, a for-.

eign actor for Threshold-ifhreshQW The Sentinel? Remember My Name? Thank God, It's Friday? Jeff Goldblum's in a film, you know he's going to do something interesting," says Michael Shambergv producer of The BlgjChill "I've been fan tf his for a long timet But the, public doesn't know The public had its first chance almost 20 years ago. Goldblum was in? the fifth grade and there -was show, a spoof of Gilbert and Suljivart, "I Jumped onstage arid thought, 'Here goes he says. "But it was thrilling. And people seemed to respond to me. My dad Ian internist who died earlier this yearl had some Interest in the theater, and my mom tap-danced when she was little.

Not 1 that they were pushing me in that direction. But they said, 'How did you like it and yea, Hiked it I was thrilled. The attention, the self-expression I was transformed, "By the time I got to hlgli school I was obsessed, baying at the moon, praying I bad a future. I told, somebody early, on that I wanted to" be an actor, and they said, 'YouV That was embarrassing. $6 it became a secret At home, he was a cutup.

He and his younger $ister, Pamela, were a piano, team, playing "If. Knew Susie" Jeff with his hands, Pam wjth hqf nose. "But in school," he says, "I was well-behaved I got good grades, was a verysood boy." The public saw the doctor's son again at Goldblum's bar mitzvah, in a small temple near his home in the Pittsburgh: suburb of West. Homestead. "It was a modest afrair," he says.

"There was no speech In English 'Today I am a raan' rioth-' ing like that. I learned the whole service and conducted It in Hebrew. Actually! was quite good.1, 1 A year later, he was calling cock tail lounges and saying, 'I under- stand you need a pianist' I got a couple of jobs that way." Soon he was calling dinner theaters "I understand you need Still in high school, he participated in. the summer-theater, program at Carnegie-MelJon's respected dram school; The plan was to enroll thene after high school. "I thought the best way to become an actor and, open: doors was that you went to Carnegie-Mellon, you learned how to act, and when you went to New York, they'd say, 'Oh.

you went to. Carnegie-Mellon? Come here, young fellow you firsts Make It seemed like a good plan to me." i Call it Plan A. and forget it. He took Carnegie-Mellon for granted, his preparation was haphazard, and the school rejected him. Goldblum went to Mordecai Lawner, one of his instructors during the summer programs, and kvefched all over the place.

"I said. "What happened? Didnt you like me? What can I do now? Where else can I go? Can I try it again? What should do? Lucky I was, It turned out." Lawner had taught at Sanford Meisner's Neighborhood Playhouse, in New York. That was one of his suggestions for Goldblum. So the young man went home and delivered the last' two words his parents wanted to hear: "New York." "They put a lot of stock in a college degree," Goldblum says, "but they were York? But when I said I was serious, they said fine." He and his mother found an apartment for him on the Upper East Side, and he was accepted Barenboim, music director of L'Or-; chestre de Paris, is not a -notable colorist at the keyboard. His express sive range is tied closely to his dynamic range.

And in the Liszt music, he sought the widest possible con' trasts." r-viw' Formal coherence came from dy-! namic references as much as thematic ones. The thunderous playing in the first bars was matched by the big moments that, became the climax near the end.1 The soft strokes in the bass at the outset returned before the fugue and again in the final bars. The control and balance that he. won in this performance, seemed more inspired by the moment than any that he showed in the two Beethoven sonatas, The shading and tone color that he explored in the arid again in voicing the soft chords before the final plunge, con-' stituted his subtlest playing. The color was heightened by surrounding declamations and sometimes heavy-handed playing.

What was asked to sound poetic was generally only softer than the passage before, but Barenboim had found in the dynamic scheme a key to formal coherence. The Beethoven Sonata -An A' flat (Op. 110) offered Interpretive prob lems that Barenboim left unresolved todaj? likes JBur.vhjr didn'r. attylfcify tilt him what 4 ymi think jhis T-shirt is OKI" G61rblunVteks.v 'J'' Bis wife his wtfe says, nBig fmi, eyin wju wear some- $ef imillf-is romantic. 'Coldblum at the "Witt this, make me look like a side- kick?" Me grins; htfs feeling" betten heH wearit "I says, "if should' put 'oh shoes?" Between the lines, ia 1977, was the first extended chance to look at and listen to Jeff Goldblum.

"He had one of the most sensational auditions I ever saw. He actually became the character," director Silver says. When he she applauded. The character was Max Arloff, rock writer for a counterculture! Boston) weekly. The scene to treasure is Max's lecture at an all-girls school.

"We were trying to show the difference between these kids and the kids from the '60s," Silver says. kids take notes madly, they're serious. The only thing on their mind is going to grad wanted the girls to play it straight. But people respond to Jeff so quickly and the' point, we wanted to make was that even his sense of humor was part of his world, not theirs that I was' afraid to have Jeff come in." Rock critic's speech So for the shots of students scribbling in their notebooks or looking slightly bored, Silver herself delivered the rock critic's speech, With' that out of the way, Goldblum camej on. "The real answer to the question 'Whither rock 'n' is Goldblum intoned.

"Some misguided people think the answer is They're wrong. (Cut to girl taking notes.) heard them say rock 'n' roll is here to stay. (A pen writing in a They never say where. Certainly not at my house, I don't have the room. (Cut to a pen against her chin.) My telephone number is 462-0702." In The Big Chill (playing in Philadelphia at the Budco Olde City Cine-, ma), Goldblum once again is an horny writer with roots in the '60s.

Seven friends who were extremely close in college meet at the funeral of a classmate and spend a weekend role may not be very different from what Hollywood sees him as doing I bad him in mind when I was writing it but this could be the final statement, on that character," says Lawrence Kasdan. who directed: the film and wrote Jhe screenplay with Barbara-Benedek. "His role is the least sympathetic, but he imbues it with a wonderful kind of humanity." And be gets most of the jokes. "Yea," he concedes, "I guess I've struck upon similar elements in sev-eral characters I've played. I don't want to be only successful with those things that I'm expected to do, but I have fun with these characters.

They're part of my real sense of humor." Serious actor Goldblum doesn't give very much away. He's terribly serious about his craft. I spot that even before he quotes Stanislavsky the art in yourself, not yourself in When I ask if he has ever thought of changing his name a straight line disguised as a question he quotes Stella Adler not mine to change. It was given to His earnestness and nervousness form an immensely appealing against-the-flow style. He could be the tallest guy in your therapy group.

"Synergetic interdynamic nurturing." That's something Goldblum says while he's describing The Big Chill I blame that on the suite. When the conversation is about anything else, he laughs easily. Finally he By Daniel Webster hqtttt italic CrtMc' The difficulty (n defining the sonata as a form was the unifying force in Daniel Barenboim's piano recital at the Academy of Music last night His program, which opened the All-Star Forum series, was made from three sonatas. Beethoven's Opus 7 "and. Opus 110 and Liszt's Sonata in minor, i Nelther'composer found-the form Beethoven' 32 sonatas for piano show a lifelong struggle to force musical ideas into coherent ahd logical units.

For alt of Liszt's expertise at the keyboard and in composing for the piqno, his single sonata remains, somewhat experimental and formak. ly propi.ematicat; i C'V. It was In the Liszt music, that Barenboim's gift for sustaining the wortC1 through illuminating the eross-references fmplanted in- the: score came to the fore -The music: oft sweep and breadth through his musical insights rather than through technical bravura. The reading was not immaculate in the biggest, moments, Barenboim showed uncharacteristic willjngness to sacrifice precision for the grand effect Yet that instinct for-wdra-' matlg made his reading whaj.it was. Music: Pianist nerforms Dick Tracy YOU'RE BEING ANYTHING I tm ND I THINK.

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