The Los Angeles Times from Los Angeles, California • 80

2 PeH SEPT. 27, 1965 Cfttfg Some Funny Things Happen on the Set of Tunny dy of his own, "Three Ages," which included a Roman sequence (the other ages were stone and modern). Of it he says now ruefully, "I tried to remake D. Griffith's as Pamplinas "a little bit of nothing." He recalled that he had played his first movie in New York in March of 1917 "but I was already a veteran of the stage then." He had once made a come-' IL JJIUJI LMUIUII LAST 2 PJZADETH RYIDR'FJCHARD EURTOM MARTIN RANSOHOFF PRODUCTION EXCLUSIVE ENGAGEMENT COO LIS CONTINUOUS PERFORMANCES DAILY AT 1 POPULAR PRICESI nm tu wai miwmi na Magnani for my wife, Natalie Wood for one of my daughters, Alec Guinness for the butcher, Theda Bara far the matchmaker and Cardinal Spellman for the rabbi. "Seriously, Marcel Pag-nol wants me to do a new film version of 'The Ba- ker's But how do you do it again? Raimu was so good.

Then there's a new play by Ionesco he wrote the 'Rhinoceros' I played called 'Exit the He left it at that. Paints, Too Possessing a considerable reputation as a painter himself, he demanded, "Have you been to the Prado Museum in Madrid? Goya was a more important influence on civilization than even a 1 Zanuck. No, don't say that he'll never give me a job. Say Louis B. Mayer." About his name.

"My mother called me Samuel Joel Mostel; she had a great ear for music. Zero js my nickname. I should have called myself just Zero or Zero Zero." An infrequent convert to cinema he has appeared in "DuBarry Was a Lady," "Panic in the Streets," "The Enforcer," and "Mr. Belvedere Rings the Bell." Keaton, nearing his 70th birthday, was being put through the stiffest ordeal imaginable on another location Casa de Campo, the Griffith Park of Madrid. As the near-sighted Erronius, clad in a ragged purple toga and committed throughout the movie to run seven times around the hills of Rome literally a running gag Buster had to tear through a wood completely oblivious to chariots racing before and behind him.

his head he wore a wide-brimmed model of his famous flat hat; eventually it collided with a tree and knocked him flat. "He takes a fall," noted director Lester, "better than a stuntman." Keaton had recently finished six weeks in Rome as Rommel, the Desert Fox, in "War Italian Style." His speech was limited to a "thank you" at the end. A great favorite in Spain, he is known here "A COMEDY SPECTACULAR!" mftod Ilea a II MM araiwai Tteli It? KAIL ORDERS NOW ACCEPTED! RESERVED SEATS NOW ON SALE! ARTISTS Rudolf Nureyev and Margot Fonteyn are featured in MAn Evening With the Royal Ballet," scheduled today and Thursday at 30 theaters in Southland area. Fonteyn, Nureyev Film Fine PUIS. B.n Slrl as 0 N.

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In so doing he has ignored one basic fact of artistic life: a proscenium may be a splendid framework for action in the theater, but it is a hopelessly limited, one-dimensional point of reference on the screen. Poetic Precision Filmed in muted Technicolor at Covent Garden, the Hoyal Ballet and its two most celebrated stars do provide a "home" demonstration of the flexibility, grace, and poetic precision for which they are famous. But the camera's basic immobility soon courts visual monotony, just as its intimate scrutiny destroys more illusions than it creates. If the camera had been allowed to move inventively, with the same kind of abandon that makes the WLA5T 4 DAYS xWtonitf fi.n.Fwn cut SStheWer CENTURY 5115 Hlywd. Bl.

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94 Rrvlun lva. CATBALLCU AN (-4988 8:45 How Stuff Wild Bikini CENTER 4762 Whirtler AN 9-8332 THE COLLECTOR The Ape Woman BOULEVARD 4549 Whittier AN 1-2665 8:41 SONS OF KATIE ELDER TAMI SHOW with the Supremes J. Brown CENTURY 21 Anaheim 772-6902 5:38 Frank Sinatra VON RYAN'S EXPRESS Take Her, She's Mine WBUF BEATLES-HELP! LA 2-2616 6:50 GO GO MANIA CREST San Bernard I TU 5-4853 12:00 FANNY HILL Diamond Head STUDIO San Bernardlne TU 5-6405 6:45 VON RYAN'S EXPRESS Take Her, She's Mine CORONA 211 E. 6th RE 7-3456 tM LA RISA DE LA CINDAD; EL GAVILAN VtnGAUUK jaexen i BY PHILIP E. SCHEUEB Time Morion Flour Editor MADRID The name at the entrance still reads "Samuel Bronston" in big white letters, but his great forum built at Las Matas for "The Fall of the Roman Empire" lay in ruins like Bronston's own.

We drove a little further and there, lo and behold, was another Rome what the people engaged there call the little, middle -class Rome around the corner. At that, it was quite formidable with winding, hilly streets, arches, houses, a bordello, oxen, goats, chickens, a forum of its own and, of course, the vox populi, including Zero Mostel, Phil Silvers, Jack Gilford and Buster Keaton. The forum was the one about which a funny thing happened on the way to. I found the four non-Roman comics hugging the shade and exchanging reminiscences. They readily let me in on their kaffee klatsch; I was a new audience.

Silvers, for instance, observed, "Somewhere in Madrid there's a man named Sam Bronston saying, 'A picture like this broke No 'In' Jokes Phil wasn't wearing hi3 customary specs, just contact lenses, (the rule on this picture is, no anachronisms, no modern gags, no "in" jokes.) Silvers recalled that "A Funny Thing Happened on the Way to the Forum" was written originally with him in mind; he didn't like the script and turned it down; later Mostel played it on Broadway, revised, for two years. As Pseudolus, the slave who wanted to be free, Zero was garbed in a ragged red tunic and sandals "an outfit with seven sweaters to make me sweat. You feel guilty being here, like betraying the Hebrews; every time I go to my caravan that's what they call a trailer here I think they're gonna ship me out somewhere." I ventured that the part and the play must seem like second nature to him. Loves Stage "No, actually. The play was confined; here you have a stage you can uti lize.

This is a movie and he (pointing to British director Richard Lester) is a great movie director; However, I do love working on the stage because there they are, the people, smelling you." Zero doesn't believe he'll resume in his great hit, "Fiddler on the Roof," in New York, though he promised to consider opening the Pacific Coast version. Was it set for a movie yet? "No. Jewish producers think it's too Jewish. One of them wants to turn it Catholic. Actually, it's folklore, folklore in which the humor develops out of the tragedy.

"When they make a picture of it, they'll get Jack Lemmon for my part, An- 'BelialV Theme Music Seeleg Lester's "Belial," contemporary drama at the Coronet Theater, contains musical score composed by cellist Jascha Veissi, who used his hobby of demonology as a basi3 for the themes. 1 WEEKS 13 nuv. 0 DAN MARILYN DASLEY MAXWELL j-ait aio unlnK LCLA LEW nsKER mm- SEN CeLCM lEssr SUPSY MAXIE RQSEKELOCi.1 CI "ONE OF THE GREAT ENTERTAINMENT EXPERIENCES OF A LIFETIME!" Charles Faber, CITIZEN-NEWS RICHARD JANET BLAIR EASTIIAH iviuik w.ww hiiuu gni. MAT SAT AT 2 CHILDREN UNDER 12 Va PRICE SAT MATS OCT. 3 THRU SAT, OCT.

9 m. aaliT. IN RODGER A HAMMERSTEIN'S IS dancing exciting, the film might have been stunning. But it isn't. The tedium of awkwardly focused long shots is dispelled occasionally by a moderately successful closeup or detail view.

At now time, however, do we get musically moti- vated view progressions or angles sufficiently dramatic to reinforce the emotional impact sought. The static lighting scheme doesn't help either. Patterns Ignored Over-all patterns (and moods) are ignored. Not once does any one get the bright idea of looking down on the dancers from above, nor is the drama of a leap ever accentuated by having the audience observe it from below. The dancers are left mainly to their own time-honored devices.

Though most of these work in the theater, they often look needlessly stilted and Inexpressive on the screen. British films like "The Tales of Hoffmann" and "Red Shoes," not to mention a handful of successful Russian atternpts, have proven that a resourceful mind can force ballet to make artistic sense on the screen. The makers of "An Evening with the Royal Ballet," however, seem to have been more concerned with being curators than creators. Even from this limited point of view, I am sorry to say, the result falls short of a triumph. The sound Francisco Opera this season include the West Coast premiere of Alban Berg's "Lulu" designed by Leni Bauer-Ecsy and Davis L.

West and Debussy's "Pelleas and Melisande," by Wolfram Skalicki and. West Henry Butler is making his debut with the compa-. ny as stage director for "Lohengrin" and "A Masked Ball." IO I lo TAMMY 0 1 GRIMES III also starring ERUCE YARNELL South track is tinny in quality and often badly synchronized with the action. And flabby is the only word to describe the playing of an invisible orchestra under John Lanchberry. Bousing Exhibition Nor, for all its noble intentions, does the film make the most of its stars.

Nureyev, after all, is at his best in roles calling for stylized romantic emotion. Here he is limited to the classic "Les Sylphides," in which his function is mainly that of a partner, and "Le Corsaire which is basically no more than a rousing exhibition of acrobatics. At this stage of her career, Fonteyn is most persuasive in moments of poignant lyricism. She is. seen to better advantage, therefore, as the Sleeping Beauty (Act 3 only) than as the showy "Corsaire" Princess.

Also and I wince at the response this will prompt from the fans she seems more effective when partnered (in by the straightforward but unexceptional David i Blair than when faced with the more extroverted counterforce of Nureyev. Boredom Sets In 1 "La Valse" opens the film with an atmospheric juxtaposition of swirling clouds and dancing couples who pop in and out of the mist. This turns out to be the only bona-f ide cinematic device in the whole performance. Boredom sets in almost as soon a3 the fog lifts. One final complaint: the film's credit listings are so committed to saluting Fonteyn and Nureyev even in "Sylphides," which is primarily an ensemble effortthat the names of the supporting dancers are either obscured in a flash or omitted altogether.

There is no mistaking the charming Antoinette Sibley in the Bluebird episode of "Aurora's Wedding," but who, pray tell, was that lovely third party in the "Sylphides" pas de trois? If, the producer knew, he wasn't telling. EACH SHOW 4SEPT.28-0CT. 17 uw. 1 I IN MUSIC N1TELY (INCL. MOM.) THRU SAT.

Sharp. MtTS. SAT. al2.SUN.lt). BY PHONE-883-9900 Mutual Urtncift I Wallicht' Music City San Francisco Opera to Open Here Nov.

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VICT NOW I Ml I $4.50, 4.00, 3.50, 3.00, 2.50 CHILDREN Vz PRICE IRUNCH MATINEES, SATS. 11 am anil TUE-WEO-THUB. NITES, I pm COMEDY I NEW AT NOW Wednesday SAT, 11 AM-3 11 aRENTl (MotII. WfnhW' "Jl39jiJ21 I Tk LAUGHER" "NewYorkir 1 Thirteen singers, three conductors, two production designers and one stage director are making their debuts with the San-Francisco Opera which opens its first Los Angeles season Nov. 5 in The Music Center with a new production of Verdi's "A Masked Ball." Among the new singers with the opera company are Lucille Kailer and Evelyn Lear, sopranos; Franco Corelli and William Whitesides, tenors; Adib Fazah and Richard Fredricks, baritones; and Thomas O'Leary and Ugo basses.

Making their American debuts as well are Anna-maria Bessel, mezzo-soprano; Alexander Young, tenor; and Ton! Blanken-heim, Heinz Imdahl and Andre Jobin, baritones. New conductors include Piero Bellugi, Jean Mar-tinon and Horst Stein (American debut). The debuting designers are Lloyd Burlingame, who created the new production of "A Masked Ball, and Oliver SrsiUv designer of the new decor and costumes for "Die Flcder-maus" and "Don Giovanni." Other new productions being mounted by the San "A LAFFER" Daily Newt "A TOTAL JOY" Cie "HILARIOUS!" -Journal American THE BOULTING BROTHERS COMEDY For Phone Reservations 437-225S UN SALE AT ARENA 10 A.M. I P.M. SO.

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