The Los Angeles Times from Los Angeles, California • 39

BUT CmiEDY UNFUMNT Chad, Jeremy Chamiing tion." This of tha macabre shout a girl who is ep'atterei over the highway in a motorcycle accident ends with a i- of her boy friend sharing one last beautiful moment: I stood by lha furnace, Just listening to-you sizzle.1 NATIONAL GENERAL 1 hLATHULJ i call Tf.iATfiS er 537-41 CO 1 8:. i -ft jr i BY DIGBY DIEHL Opening with 'a sensitive, Baroque-tinged rendition of "When I Was Seventeen at Caltech's Beck man Auditorium, Chad and Jeremy completely charmed their capacity concert audience. But the concert progressed and the simplicity of their well-harmonized voices and unamplifled guitars degenerated to an unfunny, jarring Las Ve-' gas night club skit, it became apparent that the British duo was not aware where their musical strength lay. The pair such talent for modern balladry spent an excessive amount of stage time trying to be comedians. peaceful, renaissance quality of "Donna, Donna, Doo" was followed, for example, by a blue-grass parody of Donovan's "Colors" in which the hero's girl has a pirate's dream: a sunken chest." Or the compelling chug of 'Woman In You Bringing Out the Man la Me" preceded a Beatle tune eoml-c a 1 1 reworded, "Hey, YouVe Got to Sign Your Life Away," "Hopped-Up Bach A particularly success-f 1 comic novelty was "Hair," a tune pointing out -that contemporary teenagers are merely participating in a hirsute tradition dating from George Washington and Prince Valiant.

The jangling reverbera-tlons of an electrified harpsichord lent a flavor somewhere between John Cage and honky-tonk piano to pieces such as "Before and After" or "Yesterday's Gone." The hopped-up Bach sound was especi-ally effective in their hard-driving up-tempo hit, Take Me for What I'm Worth," while and bobbed in front of a bandstand draped with Union Jacks. Often well-aimed social, comment redemmed dull comedy for Chad Jeremy as In a mocking observation a the "Progress" of civilization. Ia a tune dedicated to an older man who was rude to them called "Manners Maieth Man," they ask the disapproving adult that all-too-poignant question: "Am I living symbol of your youth that might have been?" Insistent Jabi Their pleasantly counter-pointed voices blended with the insistent jabs of the harpsichord on a new tune called "You Are She," and renditions of "Distant Shores" and "A Summer Day" were the lyrical highlights of the concert. In tunes like this Chad and Jeremy score their freshest and most delightful successes. Very likely, however, the duo will go down in rock history for having discovered at this concert the of the sick "Teen-age Crema- nrrsKWMiAa lpkC.

INM AfMCff i aoMt wmo mm HMBNItM.U -MP Rmu.ii It SAOI TOTALLY mvWi rfiom i i iv 1 1 1 1 ft ",7, WWWBMOi KWIiW-iSMI 18-13 Jilii'l CRWrTOE A Maw i A i it ah ROSS Sutton hm I I Ult I imi HURRY! IN THE RUNNING James Garner, Eva Marie Saint arj Grand Prix driver Bob examine, special cameras installed in. Ford GT for filming of the action ct Riverside Raceway for the Cinerama production of "Grand Prix." RACING THRILLS Fast Look at 'Grand Prix' BXCLUSIVCLV fj AfcHiAU AT i I LAST 7 DAYS! WOriD KEAVYWEJSHT CHAIH? RTPN A MONDAY. NOVEMBER 14 -V f-v I DvRCCTFROM THE ASTRODOME HOUSTON BIQ THEATRE SCREEN Jgnif TKKETS NOW ON SALE 'eH': CLAY 9tm0mmtMtM, BhSWl7J8JL itmww lute WWf leMi KUI EOMI. HE (-139 BwifalAlg.CT5-15a EES US FOR KIODIES AND FOR ADULTS Sm tuitra piirttw) Wfe fsr TOOArS thea lac snow Bom ruoAT ano sunoati HOLLYWOOO BEVERLY HILLS WESTWOOB CULVER CITY know the drivers personally-! "it became terrifying," recalled Miss Saint, who plays a fashion magazine editor in love with Yves a d. "Their wives had this icy cool, yet they kept checking their stopwatches.

At lunch Bob Bondur-lant, a -personable, unas-' sumlng type, bore out her observation. Speaking.iof his dangerous profession, Bondurant, who will also be competing in The Times Grand Prix, men-tioned he had been a professional only in recent years. Asked what kind of work he did before turning pro, he replied with a smile, "Among other things, I sold life insurance." BY KEVIN THOMAS Time IM WrMtr Voom voom VAR-ROOOMMMM! felt's hot hitting 130 mph jpa.ihe straightaway that gets to you, it's taking those snaky curves at 70 that gives you that queasy leehng. Somehow you suddenly don't feel like trying form these speeds were not attained on the free-way no doubt they fre-, fluently are but on the comparative safety of the Eiverside International Raceway, Inside a Shelby American Cobra sports car driven by racing champion Richie Ginther, who'll be back at the track to compete in The Times ninth annual Grand Prix this week-end. helicopter equipped with a television monitor hov-ered over the twisting track, activating five cameras on the ground below that had been placed In strategic areas where it would have been physical-' ly impossible or too dangerous to position crews Later cit in Phil Hill recorded an unrehearsed crack-up "With a Cinerama camera." Although she did relent a take a few turns around the-track, very pretty in summery pink and white, admitted she's no more keen on racing than she was before starting the picture.

But she found herself getting caught up emotionally in the competitions themselves as she began to CHINESE Fsntistis Vsyijs WILSHIE Mffcrtws.h. Of. izxw 2:15,4:15, NO 4-1lt: :20 A 10:25 WiltHin SOUND Of MU5I0 -ol t-em Today 2 :30 PM FIKEf RIS RUSSIANS ARE COMINS Hojvwood WAT.WAY.OUT MODESTY BLAISE OL I-134. 12 10:30 PM OPEN All KISHT 4INTII A.M. DAILY LIDO VOGUE iimTNE APPALCOSA MAN A A WOMAN It 415; 6il5f i 10:15 PM SM? W.

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wm. mk mm mMHT' JZmmi I whim v-rnt mh The occasion for burning up all this rubber the other day was a press conference held by MGM to promote their $9 million Cinerama production of KJrand Prix," which will have its world premiere Dec. 21 simultaneously in New York and Tokyo and bp en here at Pacific's Pome the next day. Race Sequences On hand to discuss their "experiences In making the film "were two of its stars, Eva Saint and James Garner, and Grand "Prix 'driver Bob Bondur-ant, who, like Ginther, alio appears in. the picture.

Explaining how he ahot the movie's many racing sequences was electronics camera operator John Stephens. After more than a year's preparation with producer 'Edward Lewis, director John Frankenheimer, himself an amateur race driver, began filming last I'May la Monte Carlo, the first "of five European racking circuits that appear in the picture. According to sporting whiskers (for his next picture "The -Law. and Tombstone," actual races at Spa, Belgium; a Holland; Brands Hatch, and Monza, Italy, were made part of the film. "Only at uClerraont-Ferrand in did we have to 'stage 4 race especially for our The big challenge facing Frankenheimer and his crew was to get in close to capture the thrills and chills on the track itself.

To this end Stephens fc turned a Ford GT 40 and a Cobra capable of going 200 ro.p.h. into camera cars with seven different mounts for the 50-pound 'camera specially built by -Paaavislon. Remote Control Wb.e Garner or co-stars Briar. Bedford and Yves rode them, the 'camera was operated by remote control in conncc- tfon with a closed circuit TV monitor system. "I didn't have to worry about keeping in camera range," remarked Garner, himself a racing enthusiast "Just on the road I worried about that a lot" For the.

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