The Minneapolis Star from Minneapolis, Minnesota • Page 8

rt3 r. i Don Morrison THE MINNEAPOLIS STAR Dec. 31, 1969 MOVIE TIMES St. Paul "JOHN AND MARY" (Strand) 1 2-30. 2:20, 4:15, 8:13, 8:15, 10:15, 12.

"OLIVER" (World) 12, 2:30, 8, 7:30, 10. "ON HER MAJESTY'S SECRET SERVICE" (Orpheum) 3, 8:29, 10:30. "BUTCH A 1 AND THE SUNPANCE KID" (Riviera) 12:411. 2:40. 4:40, 6:40, 8:40, 10:40.

"THE REIVERS" (Nomar) 12:30, 2:30. 4:40, 6:50, 9, 11. Poetess, almost 75, shows sure craft It is Impossible to convey any accurate sense of Carol Ted Alice" by describing the plot or mentioning the theme, For example, you can flatly state that the movie is HJIJ beyond earlier effort HONESTY GETS TOO MUCH FOR about modern marrieds who embark on un experiment of telling the truth about their innermost feelings and also about their sexual imaginings and conduct or misconduct. As NEW YEAR'S AT THE SHERATON-RITZ ence, they build their houses very lofty six or seven stories as here in the Markt Platz," according to Christopher Hibbert's new "The Grand Tour." POPULOUS TOURIST SPOT "Leipzig was one of the most populous cities of Germany but 'of so small a circumference that one may easily walk around it in an hour. To remedy this inconveni NEW YEAR'S EVE Many 18-century tourist tips still valid, but speed increased THE COLLECTED POEMS OF BABETTE DEUTSCH (Doubleday, 230 pages, Selections from earlier books and 10 new poems.

Reviewed by RAY SMITH Babette Deutsch. now nearing seventy-five, includes in' her "Collected Poems" an extensive selection from eight earlier books, a section each of translations and light verse, and 10 new poems written since her collection of 1963. "Stranger than the Worst," the first of the new and opening poems, achieves a majesty beyond the reach of younger writers and beyond any other effort of her own. The last of its three stanzas may send readers after the full poem: Yet there is something comes And goes, but comes again Emboldening, like drums, But with the light grace of song, And stranger than the worst. Pure blitheness, out of the scums Of evil and anguish will burst Into a glory that Dazzles beyond all wrong.

Love, as the old know love. Fibred with grief, it is strong. A lifelong New Yorker, Miss Deutsch (married to Avrahm Yarmolinsky) writes with sure and precise craft about a thunderstorm on Riverside tugboats, gulls, zoo animals, city occasions, and the color and weight of days and seasons in the park. The afternoon of a July dav "sways like an elephant, wears His smooth grey hide, displays his somnolent grace." Her deftness in description can be sampled in "Lizard at Little finger of fiery green, it. flickers over stone.

Waits in a weed's shadow. Flashes in emerald is gone. Miss Deutsch's translations especially those from the Russian, such as Pasternak's "The Urals for the First Time" try to reproduce the structure as well as the sense of their originals. Social currents run strong (as in "Exodus And Miss Deutsch who, for all her obvious commitment, gives the impression of detached observation, writes well and often about other artists and poets Mozart, Braque, Klee, Picasso, Cezanne, Stevens, Dylan Thomas, in honor of Marianne Moore's seventy-fifth birthday. "Heard in Old Age," written for Robert Frost, speaks also for herself: Is there a song left, then, for aged voices? They are worse than cracked: half throttled by the thumbs Or hard self-knowledge.

To the old, dawn comes With ache of loss, wit, cold absence of choices Till the Enigma, in a wandering phrase, Offers a strain never audible before: Immense music beyond a closing door. Ray Smith, poet and critic; is associate professor at Immaculate Heart College in Los Angeles. Cheshire Cheese: Regular Dinner Menu Served from 5:30 to Midnight Minimum per person: $7.50 La Brasserie: Special Champagne Dinner: Prime Ribs, Long Island Duckling or Brook Trout. Served from 5 to 10 P.M. Per Person: $7.50 Golliwog Lounge: Everything you need to ring in the New Year including Jane Crawford and the Stu Anderson Trio IMtllllMMMI NEW YEAR'S DAY Cheshire Cheese: Regular Menu.

Served from noon to midnight La Brasserie: Regular Menu. Served from 7 A.M. to the frankness runs deeper and deeper, the two couples reach the point of swapping partners. Now this could have been done with a prurient snigger: one of those dismal exercises in "sophisticated" innuendo that pretend to daringness but really are prissy affirmations that it's okay to play with dirt as long as it has been laundered first. Or, the movie could have made serious noises about Its subject either plumping for the beauty of all honest expression or else writing a tract in favor of the old, decent reticences.

however, is none of these things. It is an unusually perceptive, grown-up satire. It am not giving it too much to say it is a Swifttan satire the kind that takes the basic ideas of social attitudes or institutions and extends their logic into a reductio ad absurdum. The four characters are good, sincere people. The goodness and sincerity of Carol and Bob Natalie Wood and Robert Culp finds a special outlet.

They attend a 24-hour "encounter" session, at which a mixed crowd of strangers learn to relate to one another, to express love or hostility or fear or loneliness by way of honest statement about themselves and each other. They carry this idea and ideal back into their marriage and social life. The thing is that it is a great idea and a great ideal, but the story (written by director Paul Mazursky and Robert Culp) does not ignore the fact that too much sincerity can create false situations and therefore put its practitioners in constant occasion of phoni-ness. Bob and Carol become rather terrifying bores to their associates, particularly their best friends, Ted and Alice (Elliott Gould and Dyan Cannon). Bob has a sexual adventure on a business trip.

He comes home and tells Carol. After a moment of conventional anger, love-and-honesty triumph and she thinks it is beautiful. Not only that, she proudly tells Ted and Alice about it. They are shocked and disquieted. Their own good marriage is jarred: it is not that Bob cheated but that he told his wife and, worse, that she told them in wholly the wrong spirit.

"You're both sick," Alice rails at the other couple. "Grow up! Grow up!" Alice has an amusing session with an analyst very well done, without the usual array of stock jokes or fake insights. Ted finally succumbs to temptation on a business trip feel guilty anyway; don't waste it," Bob had counseled him The humor of the movie flows from the gently satiric consequences of people trying to reconcile natural and social instincts with the new rules of the game they are sincerely trying to play. It doesn't cop-out by making either the old dispensation or the new ideal look ludicrous: the inherent contradictions in both, however, are i comic. The final sequence, in which the foursome tries to rove that honesty, love and freedom can be demonstrat- together in one bed, is beautifully handled.

The limits are discovered as are the true dimensions of need and belonging that are as vital to married wholeness as love or sex. There is only one scene in which the sex angle gets a bit squirmy and that is a Dagwood-Blondie kind of thing when Ted wants connubial solace from a reluctant Alice. It is too long-drawn and obvious but possibly it was meant to be as contrast to the things Bob and Carol are trying to avoid in their relationship. 12:30 P.M. that every Englishman must be rich and should be charged accordingly.

Often this was the Tourists own fault. "The said Lady Knight, 'pay double for everything in every 'If they do not find things Dr. Moore confirmed, 'they soon make them Or this about 18th century youths: "Being awkward and not speaking the languages, Lord Chesterfield wrote, 'they but dine and sup with one another only at the Or, "Callow, arrogant, rich the young Tourists were frequently seen as a tiresome blot on the face of Europe. Irritating foreigners by an ostentatious preference of all things English to anything not, they remained, so far as they could, in their own self-contained communities wherever they went." But, the good side of tourism as well as the not so good is portrayed in this handsomely illustrated book. And many of the thin'gs-to-see (or do) in the 16th, 17th and 18th centuries remain good travel tips today.

And when if you make your comfortable transit of the Alps via plane or train, reflect on your good fortune compared with the 18th century tourist who made the crossing, at considerable risk, on sled, mule or char-a-banc, "a species of jolting wheel barrow." This volume should never replace Fielding or Michelin or any of today's other excellent travel guides. But it can be an interesting complement. THE GRAND TOUR by Christopher Hib-bert (Putnam, 256 pages, An account of the origins and history of the Tour of Europe. Reviewed by ROBERT W. SMITH The Star'i Fdilor The immediate reflection stimulated by this elegant travel book is that tourism has changed only in its speed and mass over the past 400 years.

The adventures and misadventures of those mainly Britons who made "the Tour" in Elizabethan times have an altogether familiar ring. Twenty-one days, for example, is a currently popular span for the modern, egalitarian Tour, as against as many months for the nobility and aristocracy who ventured forth in earlier centuries. Millions "do Europe" or specified parts of it today as against the elegant, curious and occasionally dissolute handful who "did" it heretofore, outstandingly in the 18th century. And yesteryear's most visible tourists, the British, have been replaced by Americans, though West Germans are pushing us hard in some areas. With such evolution in mind, doesn't the following concerning 18th century tourism sound familiar? "The main complaint of most Tourists was that prices were so high.

This was commonly attributed to the numbers of Englishmen who were always to be found there. Everywhere on the Continent, but particularly in Geneva, it was assumed Sheraton-Rite Hotel 315 nicollet mall Sheraton hotels ano motor inns, a worldwide service of iti The CURTIS HOTEL Garden lounge present. mng in IT the New Year JOIN IN THE NORTHWEST'S GAYEST NEW YEARS EVE BALL HATS-HORNS-MISTLETOE-FAVORS at Sveden House Mime artist says his art draws by visual impact Helen Sipprell Song and Piano Stylist 8:30 P.M.-12:30 A.M. Monday thru Saturday Park in Ramp and Skyway Third Avenu Tenth Street Minneapolis DECEMBER 31st JULES HERMAN And His Famous Danceable Orchestra RESERVED TABLES FOR PARTIES OF 2 TO 18 By MILT FREUDENHEIM Chicago Daily News Service $5 PER PERSON IN ADVANCE IB Plus Every Sunday Throughout The Year JULES HERMAN 7:30 TO 11 P.ArV i sin CENTER NO PHONE RESV. ST.

PAUL CALL: 646-6 1 2 1 Details PROM Leontyne HAVE A FUN-FILLED NEW YEAR'S EVE Dine At The Cork and Fork! inrnce Usher in the New Year with George Griak no. featuring New Year's Eve Barbequed Spareribs French Fried Shrimp Swedish Meat Balls Texas Fried Chicken SERVING 8:00 P.M. in the lounge. Serving from our regular menu, complete with Hats, Noisemakers and Party Favors! American Express, Diner's Club Carte Blanche cards ac Metropolitan Opera Soprano Jan. 8 TICKETS $7.00 $6.00 $5.00 $4.00 $3.25 All Dayton' Store and 105 Northrop cepted.

2-hr. Free Parking in Plymouth Bldg. Garage. "ALL YOU CARE TO EAT" PARIS, France Marcel Marceau, the great pantomime star, is polishing a new one-man show he'll take to the United States early in 1970. It has been two years since his last American tour, highlighted by an Emmy-winning appearance on TV's Laugh In and he has created a string of new roles for his famous silent everyman, Bip, with his top hat and flower.

There is a Bip as a fireman, as a concert director, Bip "in modern and future life." And then there are Marceau classics such as "The Public-Garden," "The Cage," "The Mask Maker." "I think that today we are living a very visual life. People are tired of words, I think. They need much action and not semantics, as a way of communication," Marceau said. He was wearing a white, buttoned-up fencing shirt, tight white jodhpurs and tennis shoes after a lesson in saber fencing with Claude Caux, the French military champion. It was 7:30 on a rainy Paris night.

An hour later Marceau would be on the big bare stage again with his two-hour silent triumph of tightly controlled gestures that project entire landscapes, crowds of people, tender emotions. "People today lack communication because the world is too fast. With mime I think we can bring an understanding of basic feeling to everyone. Visual impact "It is normal that mime should again have a very great impact, because it is visual." Marceau feels that the direct impact of action on a stage helps people to live with their worries "about how the 20th century will end an era of astronautics, physics and metaphysics, of space." He was interviewed backstage in the big old commedia dell'arte style theater he has taken over for his show, his offices and his school. "We play every night except Thursday and it's like training.

It keeps me fit," he said. "Then in the daytime we are preparing a television show and I am writing a book on my life. And of course I have the school which keeps me busy, say, eight hours a week. "There is no rest. You get more involved and you hardly have any time left, except to sleep from time to time." He gives all of his time to work, believing "this is a way of explaining ourselves and of knowing much more about ourselves and the mysteries of our life." His performances in Paris are drawing young audiences, including many foreign visitors attracted by the universal language of pantomime.

The school has 50 pupils, about one-third Americans. There are classes in acting, acrobatics, fencing and of course mime, with four teachers assisting Marceau. He says fencing "is very important, because it gives fantastic coordination." When he is in the United States, he seeks out leading fencing masters, including Julius Alpar at the University of California at Berkeley. place, eh?" Marceau remarked with a grin.) Magic on stage He expects to do television again during his U.S. tour.

He has appeared with Red Skelton and Fred Astaire, among others. But he says that "what we do in the theater has a certain magic which does not come across on television. "This magic, it's like music, we have-contact with the public. On the stage, we make the invisible visible. Invisible trains come on the stage, lions are jumping, you can climb mountains.

There is real magic on the stage." Marceau uses this stage magic to push his character, Bip into the worrisome future. "What will happen the day we enter into another age of space, another age of time? When we have the fourth dimension? When, for instance, we shall be able to push a button and get a new heart or a new brain, new parts of our system and body? "When we can make artificial people, what will happen to our hearts? How will man behave in a completely new, different mechanical life? How will he behave in space, when we can travel there just as we take a car now, millions of miles beyond the moon in a few days?" I' Jill Featuring New Year's Day Baked Virginia Ham Tender Swiss Steak Baked Northern Filets Golden Brown Fried Chicken' SERVING 11 A.M. 7 RM. OPEN OPEN NEW YEAR'S EVE TIL 7:30 rr a ti iniii HALL BROS. JAZZ BAND New Year's Day Sunday 11 :15 to 7:30 to serve a fine dinner with all the trimmings in beautiful surroundings Becfep'si Cafeteria 1934 HENNEPIN AVE.

NEW YEAR'S EVE PARTY For info call: 739-7179 or 722-9404 SPECIAL CHILDREN'S PRICES MINNEAPOLIS: 27th E. Lake BLOOMINGTON: 200 W. 98th St. CRYSTAL: W. Broadway Bass Lake Rd.

NORTHEAST: 2401 Lowry Ave. N.E. RICHFIELD: 6620 Lyndale Ave. S. Setups Pizza Fish 'n Chipi Strong Michelob on Top EMPORIUM OF JAZZ Mendota Open Fri.

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