The Los Angeles Times from Los Angeles, California • 81

MUSIC REVIEW Eogflngtlgg CfttUtf July 21. 1971-Part IV J5 ingcr-writer behind such hits as "Amos Moses" and When You're Hot, You'ra Glen Campbell at the Greek Hot," Campbell has a much better supporting act than the traditional comedians, kid acts or MOVIE REVIEW. (H.prinl.rffrowfh.t.A.HtfoU-fxom.-n.rJ singing dancing teams that one normally finds with male singers in Las Russell's 'Devils9: Brilliant, Audacious, Grotesque Vegas and the Greek The ater. But Reed spent far too much time apologizing for an ailing throat Monday missed as a necessary part of a family-oriented show, they seem distressing at times, particularly in light of Campbell's abilities. With Campbell through Sunday at the Greek are Anne Murray, and McNee-ly.

Jerry Reed appears through Friday. In Miss Murray, a husky-voiced singer who has much more ability than her bland "Snowbird" record ever showed, and Reed, the and McNeely, a banjoist- guitanst-singer, was given too much time. Blood, Sweat and Tears moves into the Greek on Monday for a week. "fin ADVEHTUEE FILH III fl CLASSIC ByBRlDCETKYRNE MtrnWKxaminrrSnff ritfi- "The Devils" has the impact of a fairy story. It is lrighten-ing and exquisite.

That is not to say that it's false. Its roots are grounded in very real concepts of good and evil. It understands the sin ol power and the flaying quality of Built But the very real substance of the ideas it delineates have been shot into thousands of brilliant fragments by a wUd imag i-nation. You have to grasp the philosophy, work out the unden ur-rent of seriousness, close the structural gaps for yourself, even as you are transported by a literal orgy of visual splendor. The film is the work of Ken Russell.

is based on the facte nfapolitical witchhunt vviich infested the town orixHidunin 17th rentury France. There was a book by Aldous Huxley and a la by John Whitinj? on this incident To Russdl facts are elusive, transitory, slippery things. Life is subjective. He believes in the right to look through his ewn vermilion-tinted spectacles. You can find h.s view distort, d.

or you can succumb. However you doubt his concepts, fail to admirehis audacity. This film is flamboyantly pcerse. Kusscll has the upper hand oh decadence. This work has the true stench ot it.

Not so much in the violent sadistic orgies in a convent with nuns and theogling onlookers, butinstyliied.masked.perfumedcorrupt-ness of LouiS VIII's court where the utmost cruelties are acted out in expensive, ornamented tableaux, where life is a vil fame. BY ROBERT IIILEURN Timti Pot Mvtie CrllH Glen Campbell's current engagement at the Greek Theater provides an excellent opportunity to celebrate the pop-country singer's: Strengths and to lament his weaknesses. Essentially, Campbell is the kind of G-rated, middle-of-the-road, family attraction that, in the tradition of Andy Williams and Perry Como, offers his audience some familiar musk, some gentle humor and a relaxed personality. The weakness in this approach for me (though apparently not for an audience that applauded everything Campbell did Monday night with enthusiasm) is that it tends to Rut as much emphasis on umor, and personality as it does on artistry. An Exception For most singers in the middle-of-the-road musical category, the question of artistry isn't really a major issue since so few of them' possess any special skills.

But Campbell, I feel, is an exception. He's a genuinely talented singer and guitarist, one who has a particularly fine feel for the contemporary folk and country material being produced these days by such songwriters as Kris Kristofferson, Gordon Lightfoot and Joe South. Thus, Campbell, whose GLEN CAMPBELL strengths, weaknesses. XT ttiii. rmr UToeis plays AX Elsaphy with ensnssas A skill 2nd gusto!" -Ridard Schickel.

Lift Mijiziw J. 2: 4 to. musical DacKgrouna is in rock and country, is able to interpret the works of these writers with far The nun conjures up an image of fabled beauty for herself, but even as she drifts to her lovers arms it is blasted away as the wind hurls her around to expose her hunchback and the spectators begin to gesticulate as she spins to the ground. I still have a very sharp image of her scuttling through, the stark, white con. vent to meet the confessor, and the faces glimpsed through the flames of Grandier's destruction really dance.

The sound and the fury is further enhanced by Peter Maxwell's original music. There are few quiet moments, except when the priest and his wife talk of the afflictions others burden themselves with in thename of higher causes. Russell is deliberate in his anachron. isms. The brilliant almost.f uturistic set by Derek Jarman 5s not at all disturbing these were once modern times but the cas-ualness of the language incorporating high camp is not always so successful, but Russell's work is a vision and therefore hard to quibble with.

Shirelv Russetl's costumes cannot be faulted. They are works of ait and enhance the enfluences in the film of golden Dutch light, jewelled Renaissance pomp, and tapestries nf dieval torment. Russell has torn some excellent performances fromhis cast. Oliver Reed is sympathetic and striking as Grandier. But the development of the character is not total and he transforms too glibly into a Christ-like figure.

His strength lies in the fact that he dares to be truly human in the face of men and women who deny their birthright in their every deed. Vanessa Redgrave is the malformed nun. betraying her self-inflicted insanity from the first moment by her narrow, hysterical laugh: She is laudible and she survives all the outrageous ugl iness of the role to make it comprehensible. Madeleine, who becomes Grandier's wife, is played by Gemma Jones a very talented actress who some may remember from herbrillianf performance in BBC TV's "The Seagull." Her visual qualities are similar to Miss Redgrave's but she possess-: es an exclusive sort of gentleness. Michael Gothard plays Father Barre, the exorcist.

Ht seems too pop rock sloppy in the role and his energy is strained. It doesn't swell forth naturally as does the natural strength of Reed. Much of the supporting cast is very arch, suggesting an in. juke. The witchdoctors Brian Murphy and Max Adrian are deliberately incompetent like meddling medieval gnomes.

Murray Melvin as the assistant priest, all flared nostrils and primped lips is garbed like an Egyptian queen. -The Devils" is not a film one recommends to those who preferred Disney to Grimm as children more sensitivity.and effec tiveness than Andy Williams, John Davidson, Jerry Vale and the others who share the middle-of- the-road musical label with him. Impressively, Campbell farmount Pictuw Presents concentrates on his more recent ruts ana on new material in his show at the Greek, lumping most of FF his early hits (such as iotlarnna In Richelieu's time the conflicting theologies were expedi. nt weapons in the power game. The church was an instrument of political torture.

It was desired that government be central, fced. The walls of self-esteem, preservation, individuality as symbolized by Loudunand its influential priest must crumble. Father Crandier, the vain, sensual, Intellectual priest hose posture and appetite were both human and humane becomes the sexual obsession of Sister Jeanne of the Angels, the deformed Mother Superior of a closed order of Ursuline nuns. Tortured by the unnatural casing of true motions, Sister Jeanne's fantasies grow in fury until, angered by news of the "priest's self-consecrated marriage to a girl he genuinely loves, she spouts forth her torment, accusing him of witchcraft. Seiz.

ing on the opportunity to exploit this folly, the politicians move in and the real torture begins. The film swirls and pulsates from the screen. Russell's use ot movement, as demonstrated in the opening carrousel and the dream sequence of "The Music Lovers," is once again turned on fulltorce. A SSJVANSON TODAY'S CALENDAR co-uttLtr HMODUCTION IGPl-r Panavision in r.m ng.t Piduta I I Ml, jrd ACTION-PACKED WEEK! Dil)f 4:30 DlilJIlJ.iH. IOtIIPM StSll.2:lS4:Ul:lSl:lS 1 .0 7' Hiffir DJSVillbC, "Gentle on My Mind' and into a single medley.

Vocal Range In his best numbers, Campbell showed a vocal range and power that is better than most of his detractors and, ironically, even his fans realize. His "Dream Baby," for instance, rivals the original Roy Orbison version and even Lightfoot, who wrote "The Last Time I Saw Her," doesn't sing his song any better than Campbell. But every time Campbell puts together a couple of worthwhile a 1 he slows the pace of his "concert" down by telling a series of often corny jokes (the kind identified with his Delight, Ark. image and the kind his audience, seems to want) or to sit down and talk about Larry McNeely's shyness or waste himself on such overworked material as "For Once in My Life" and "More," songs that only tend to reinforce the negative aspects of the middle-of-the-road stereotype. Though all of these weaknesses may be dis- 1 A Robert I I.

Solo-Ken Russell Ktn Russell Russell "DUSTY takes on the entire drug subculture of So. Calif, and the difference is. time the people are for real. It is one of the most affecting powerful pictures in It must be seen." Aithur Knight, Sittidiy (ffvt "Just listening to Tip, a park-bench philosopher of surprising power and Little Bobby, a five-foot-three barrel-shaped middle-American freak-classic, Is worth the price of admission. I laughed and laughed, then cried at the tragedy.

With its poetic photography and subtle cutting, the film to not like anything else." 'CXCLUMVC tNSAaeiMNT MOVIES "GUYS AND DOLLS" and "THE SECRET LIFE "OF WALTER MITTY," Cine Cienega Theater. First in a 15-week series of Samuel Goldwyn films. SOtJL OF THE BEAST," Silent Movie Theater. Thomas Ince's 1923 I thriller with Madge Bellamy and Noah Beery, i Also Laurel and Hardy comedies and Houdini serial. "tHE CONFORMIST," Los Feliz Theater.

Ber-'nardo Bertolucci's story of a man whose time has passed. Co-bill-; ed with Costa-Gavras "The Confession." WILLARD," theaters. Bruce Davison, Elsa Lanchester and Ernest Borgnine star in horror-drama. MUSIC "GIANNI SCHICCHI" and "IL TABARRO," Cam-pus Theater, San Fer-nando Valley State -lege, 8p.m. NOWP LAY ING! Trier FUf ttt 1 So.

Ill Ill 1:15 101 P.M. Mt2t9 InWbAtubs were fors'sn end iHs rich wsrc for ransom. A TRULr UNKJUt KWtlCNCE 4 IM milTtUkAaiHW wniwrvRMi AUUM CINEMA I 'CLAREMONT MUSIC "FES TIVAL, Garrison Theater, Pomona College, 8:15 p.m. POP MUSIC "Oustycnd EARL SCRUGGS, Bitter End West, 9 p.m. SWEATHOG, Crowbar.

Whisky a-Go-Go, 9 p.m. 'v 'OuSIY AND SWfE'S hi rt! tovm wit hto ew ne Ham 1 1 0 IP -YifFtffi finnrn itninr Fvxv A UEtmt THCMH incniHiLunuE.noniUL.sl XCLUtlVC A NT 5th WEEK! YTCW0AYS 8:45 1010 Ml. SAT. $Ult iKXl 1:30 3:10 $.00 (40 liS 10:10 Real is the ff JV 1 niTMUHIilf 0 2724Hl-477tt I i rf nnrr i ff XL VL "The best movie since 'Bonnie and -X i Clyde'." fi Bacon LA, Htrtld EmiMmt I )) "1. iiin n-iiWx-'S-.

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