The Los Angeles Times from Los Angeles, California • 81

Pacifists Keep the Faith in Exile Angeles Zimii BY JEAN DOUGLAS MURPHY Timtl fWff.Writtr "Killing is wrong We began to see the terrible effect the war was having on family life We started planning We thought that we would adopt children, 12 of them, and find a farm to raise them in the country We found books on farming, even organic farming, to' read, I obtained some carpentry manuals so that we: could build our own house We beganabsorbing ideas about pacifism, communes and cooperatives." A young couple dreaming during the Vietnam nightmare? the words are those of Mario and Estelle Ca- rota, written about their dreams in World War Today, 00 years later5, the Carotas cfin look back and say, correctly, that the have -managed to bring most of their youthful plans to fruition. The years have not been easy but the Carotas were not, after all. seeking suburbia and the comforta- blelife. They adopted 13 not 12 hardrto-pluce. infants and children in addition to having six of their own.

They raised their family, by and large, on an apple farm at Aptos, a small community just south of Santa Cruz. They took their children on service projects for the poor in Mexico and Europe. They them, to a "great extent, at home. And in 1969, when their pacifism was put to the test, th family moved to Canada. There they live in what Carota describes as "a beat-up old farm house" with homemade furniture.

With eight children aged 5 to 21 still at home, they fish for lobster and produce much of their own food on their 3Vss acres overlooking the water around Prince Edward Island. The barn and land cost Carota $1,500. As they sought to become self-supporting as a family unit, they also produced a television documentary, a record and a book last year. It was the book that brought Mario Carota, unheralded, to The Times one day recently. He was Please Turn to Page 11, Col.

1 PART IV FRIDAY, APRIL 5, 1974 CRITIC AT LARGE WW Beatlemania Revisited STAGE REVIEW Dance of Life in Anouilh's Waltz' iV iV lK; tt y.v... i BY DAN SULLIVAN Timet Theater Critic "Waltz of the -Toreadors'! at the Hartford is one of the season's few compulsory shows, a reminder just when we need it of what real theater can be. However the bad news it's only going to be in town for three weeks. Don't let it get by you. Costars Anne Jackson and Eli Wallach have reported that some people come to their play thinking it's about bullfighters.

Watching Miss Jackson wave a blood-red coverlet at the snorting Wallach as they face each other over her bed, one is not so sure that these people are wrong. However Jean Anouilh's 1933 play is about many things the loss of love, the slow leak of time, the coarsening of the flesh, the damnable indignity of growing old. One feels 17 and one is 57, and it's ridiculous. The time is 1910. Wallach is Gen.

St. Pe, who once danced the Waltz of the Toreadors with Mile, de St. Euvert' (Diana Van Der Vlis) and would have gone further but for his cursed "honor." Hon- Please Turn to Page 19, Col. 1 v-C MfMiilffWIIifclftl THREE-TIMER Anne Jackson and Eli Wallach starring in Anouilh's "Waltz of the Toreadors." Times photo by l'ony Barnard MOVIE REVIEW Mother Love Leads a Curious Caravan BY CHARLES CIIAMPL1N Timet Enttrtilnmtnt Editor From where I heard, the largest roar from the at Tuesday night's Academy Awards was not any Hollywood superstar; it was for Paul McCartney as he and his wife Linda arrived, best song nominees for their "Live and Let Die." He looked only a few days more senior and less rherubic than he had when that unprecedented exploded out of Liverpool a little Over a dozen years ago. Even now the excitement not subsided and it begins to seem possible it never will.

By one of Jack Smith's sets of extended coincidences, I found just the other day a copy of a cable I had sent to Time magazine from London late in 1962 urging the editors (for the third time) to let me file a story on the extraordinary group hich was turning the British aisles inside out. The editors had finally, skeptically, said OK. Then last week I had lunch with Walter Shen-son, the American producer I had first met in the chaos of a London theater where "A Hard Day's Night" was being shot. To forestall union problems, Shenson had hired what looked like several thousand teen-agers as extras even though it was clear that they would gladly have signed over their allowances for the next decade just to be on hand. "Can you remember the craziness of those days?" Shenson was saying.

adults were talking, about 'those boys' as if they were a threat. 'to. humanity. And that long hair, carefully1 pooed. It doesn't even look long now." Shenson had been a studio publicist who wenf to Loudon for Columbia in 1953 and stayed IS yeac.

He produced his first film, "The Mouse That. Roared," which starred a then little-known comer dian named Peter Sellers. The sequel, "The Mouse on the directed by a young American' named Richard Lester. United Artists, for whom Shenson had. made "Mouse on the Moon," asked him to explore; the possibilities of a movie starring the BeatlejThey were going to put up $600,000 and they-figured that whatever they lost on the movie they would make on the album.

And as a matter of fact the sales on the album were $600,000." The delicate negotiations were conducted rfjfhe run from one crowd scene to another. Shenson proposed Lester as director and the Beatles, who had loved his zany short, "The RunfdngJumping and Standing Still Film," were sisted on the Welsh playwright-actor; Afuri Owen as the scriptwriter and, when a musical Owen had. been working on was postponed, he. became available. $0." "I had had, visions of having to be'art' instant Sam Katzman, doing 'Rock Around the Beatles.1 But TJA just wanted a movie on time and on budget; what kind of movie was really up to us.

Alun went up to Dublin with the boys for a concert and he came back dazed. "He said that they were prisoners of their own success in having to travel in a kind of cocoon. Dick and he and I agreed that we had to catch that feeling, and Dick wanted to try the cinema verite style which had never really been used for this kind of a movie." 1 The result, instead of an exploitational quickie, was an amusing and fascinating film which won two Academy Award nominations, launched the further career of Richard Lester, did more than anything else to extend Beatlemania to the adult world and ultimately returned $14 million to UA on an investment which finally amounted to which cost $1.25 million, earned another $14 million.) Shenson has no real hope of there being another Beatle film. "They're still closer to each other than most, brothers, but the legal and financial complications of their lives are fantastic. Records, maybe; concerts, maybe.

A film, I don't think so. And you can't repeat the past. You can only be glad you were there when it all happened." Shenson has been one of the last survivors of the once flourishing American movie colony in London. But although he keeps an apartment there, he returned last year to Hollywood where the action is once again. His family comedy, made in England, "Digby: the Biggest Dog in the World," opens here in June.

With a title like that, you "know that Shenson is an incurable optimist and a born gambler. I wish he would gamble on putting one more Beatle film together: their own sharp and special telling of all that has happened in the days beyond their togetherness. BV KEVIN THOMAS. "Express? jtatihe Chinese, Bruin and Canoga Park 'Drive-In) is a dazzling, funny, exciting and finally poignant film set in motion by that most indomitable force: mother love. What's poor Lou-Jean Poplin (Goldie Hawn), an unemployed Texas beauticianto do? Fresh out of prison (for she learns she and her husband Clovis (William AthertonK who's still serving time, have been declared unfit parents and are about to lose their baby son permanently through adoption.

Lou Jean's solution is boldly simple. At the prison farm where Clovis has but. months gor on his one-year sentence; for larceny, she arrives on visiting day-wearing two' sets jeans and shins and presenting an out right now, grab the kid from his foster home cross-state in the towri'of iSugarland and. take off for. California or she will divorce him.

Clovis proves defenseless before her onslaught, of tears, smiles and sexual provocation. A couple' of hilarious" sequences later the couple have kidnaped a highway patrolman (Michael Sacks), com-; mandeered his. car and are off to Sugarland with what must be all the police cars in the state of Texas trailing behind them. It is astonishing to contemplate all that director Spielberg, and his writers Hal Barwood and' Matthew- Robbins all of them in their theatrical; feature, debuts have managed to within a simple trek plot. Starting out as a comedy, that gradually darkens, "The Sugarland Express," which is based on an actual incident, becomes an increasingly disenchanted portrait of contemporary America.

As the young cduple and their equally youthful hostage lead their curious caravan across the state, more and more people want to get into th act. There's a relentless TV news team, a couple of gun-crazy paramilitary types and even a pair of stale troopers from1 across the border in Lousiana Please Turn to Page 16, Col. 1 fax a '74 Gatsby Look Dim Reflection of the Past i ci BY MARYLOU LUTHER Timet Fashion Editor Jay Gatsby was wrong. Nick Carraway was right. You can't repeat the past.

At least if you're an American ready-to-wear designer trying to recapture past fashion glories of the 20s. Next to Theoni Aldredge's extravagantly beautiful costumes for "The Great the 1974 "Gatsby Reflections" modeled on the stage the Avco Cinema Theaters Wednesday morning looked like the plain old polyester present. Robinson's, which cosponsored the stand-up "Gatsby breakfast," fashion show and movie preview with WAIF, tried its best to cover the lack of Society Editor Jody Jacobs covers a "Gatsby" benefit party on Page 2. THE VIEWS INSIDE 'GATSBY REFLECTIONS' Women didn't Weor pants in The Twenties, but' here's Robinson's Gatsby interpretation in white satin pajamas. ART: John Schroeder by William Wilson on Page 8.

BOOKS: The Friday Shelf by Robert Kirsch on Page 6. DANCE: National Ballet of Canada by lewis Segal on Page 15. "MOVIES: 'Turkish Delight" by Charles Champlin on Page 16. MUSIC: Beverly Sills by Daniel Cariaga on Page 14. Captain Beef heart by Richard Cromelin on Page 17.

STAGE: "Allegro" by Sondra Lowell on Page 18. real ready-to-wear by calling the show, "Fashion and the Movies." And Robinson's vice president Jack Noble explained before the show began that, "We really had a difficult time finding enough Gatsby-type merchandise in the market." He was right. The clothes by such big-name American designers as Halston, Geoffrey Beene, Oscar de la Renta, Adele Simpson, Mollie Parnis, Estevez, Jerry Silverman and the late Anne Klein were so im-20's, so un-Gatsby, so un-Hollywood, even, that about the only similarity between the reel clothes and the real clothes was the preponderance of-white and pastels. There were so many white pantsuits with shirt jackets, in fact, that, one stickler for historical accuracy was heard to ask, "Doesn't Robinson's know that only men wore white pants in the 20s?" About the closest thing to an authentic look from Fitzgerald's favorite era was a pale pink chiffon gown with capelet-like Daisy collar. WAIF president Mrs.

C. David Henriksen wore it during the lobby breakfast of fruit kebabs and Danish pastry, and it was modeled later on stage. The 50's were well-represented in the show by tailored chemises first introduced by Balenciaga. The 60's were recaptured with Courreges' little moon-maiden shifts, authentic down to the last welt seam. And even 1970's favorite midi copout THE REEL GATSBY Theoni Aldredge's beaded shimmy dress with marabou trimmed brocade coat shown at WAI benefit "The Great Gatsby" party.

Times photos by Mary FramptoR look for the street in the Paris ready-to-wear collections of October, 1972, Women's Wear Daily tried valiantly to promote it as "Gatsby." Some- where between the facts that there are no tennis scenes in the movie, that Kenzo's white flannel pants and cable-knit tennis sweaters bear no relation to Theoni Aldredge's vaporous chiffon dresses and that production wras delayed because of the Robert Evans-Ali MacGraw split, the Gatsby look of 1974 exists only on the silver screen. On the screen, it is magnificent. Costume designer Aldredge, who was here for the event, shoulefbe the movie's first Oscar winner next year Please Turn to Page 9, Col. 1 tunic-topped pantsuits were sent on stage to the tune of such 20's hitss as, "Whispering" and. "WhatHIDo?" What Robinson's did was to lie in with a movie that has no real fashion significance for 1974.

Something akin to Ballantine Scotch tying in with a movie set in Prohibition times and DuPont's effort to associate a new line of all-white cookware with a copper-equipped movie kitchen. The fashion problem lies in the fact that the so-called Gatsby look has already come and gone-several times. After the 20's look ran out the first time, it's been revived intermittently ever since. When Kenzo Takada first introduced his tennis AND OTHER FEATURES Dear Abby Page 5 Bridgs 21 Art Page 8 Comics 27 Astrology 21 Cecil Smith 25 Bernheimer 12 Television 25-28.