Chicago Tribune from Chicago, Illinois • 44

8 Section 4 Chicago Tribune, Monday, February 21. 1977 BTL 1 3i Entertainment nt cns-v i Fiori Musicali shows Move' in baroque manner Gene Siskel Movie cniic vV 1 Willis By Thomas Music critic Ground Steal. Dinner hash One-half pound ground steak, onion rings, brown potatoes or fries, salad, roll and butter. $2.50 Value $59 $1.85 Value $149 $1.85 Value Diamond Jim Plotter Baked ham and Swiss cheese, lettuce, and tomato on a toasted Grecian bun. French fries and salad or cole slaw.

Spaghetti Dinner Tender spaghetti with rich Italian meat sauce, large salad, roll and butter. Sea Shore Dinner Golden fish filets, jumbo french fried shrimp, cole slaw or salad, french fries, roll and butter. 1 4 'Cassandra Crossing' on tracks of disaster 1 fT'-pi HE CASSANDRA Crossing" is an unin- .11 tentional parody of a disaster film. 1 1 The catastrophes that befall the pas- sengers of a Geneva to Copenhagen train in the picture are positively ridiculous. All aboard, let's get started.

First, in Geneva, two members of the Swedish Peace Movement attempt to blow up the American office of the International Health Organization Why would people in the peace movement want to do that? Don't ask. Second, while 'the peace-loving terrorists are being 1 apprehended, they try to escape through a door marked "Keep Out." They don't, of course, and they are hit by rifle fire as they crash into a room filled with specimens of the bubonic plague. One man catches the plague and dies; the other man catches the plague and then escapes to catch the train to Copenhagen. This is when the picture really gets silly. The 7 plague-infected passenger proceeds to contaminate virtually everyone in the first-class section of the train.

He does this in one of the goofiest scenes you'll ever see. Sweating and staggering through the rail car as if he'd just completed the Boston Marathon, the plague-carrier pats a little girl on the head and tickles a baby under the chin. Each time he does this, of course, he is infecting the daylights out of these people. Just to remind us of that, how-i ever, the soundtrack screeches electronic bongo music. Boinnngggg.

Boinnngggg. Finally the disease- ridden terrorist lurches into the train's kitchen where he proceeds to cough all over the rice that will be served that night. Boinnngggg. Boinnngggg. IN THE NEXT scene, in the train's dining car, a steward asks a nun if she would like rice or potatoes.

"Rice, please," answers the nun. Boinnngggg. Boinnngggg. Between the bongos we meet the passengers. And 1TTLE BY LITTLE, baroque chamber music 1 is taking its rightful place on the Chicago 1 concert scene.

Sunday night's concert In the Orchestra Hall ballroom brought the return of Fiori Musicali, an ensemble mainly composed of Chicago Symphony Orchestra members. Their 18th Century repertory antedates the symphony as we know it, however, and they play on originals or copies of instruments of the period, the performance was a sellout long before it began, with forlorn souls waiting in the lobby in hopes of a turnback. It was a splendidly varied program, but Georg Philip Telemann was both its frame and its pivot point. The Hamburg-based master of all of his epoch's wealth of composition styles contributed mixed quartets in the French manner at the beginning and ending. And midway there was a particularly effective cantata (one of some 1,500 he wrote) for oboe and solo voice, with Gershon Silins, a mainstay of another local group, Music of the Baroque, as guest soloist, and Grpver Schiltz in the difficult obbligato role.

i ALTERNATING WITH THESE were a Handrl Trio Sonata which gave the two violinists, David Hildner and Thomas Hall, a chance to trade civilized dialog; a Chaconne by the French gamba expert. Marin Marais. to spotlight Kenneth Slowik; a flute sonata by Carl Philip Emanuel Bach which gave Richard Graef a chance to impersonate Frederick the Great; and a flowery set of Rameau concert pieces which stressed the keyboard facility of Robert Conant. 1 There are many reasons to. applaud this group's growing activity.

It is much easier for a contemporary performer to translate this music Into modern sounds and styles than to master those of a vanished era. The answers to many questions of performance practice must necessarily remain conjectural. Eighteenth Century instruments are not as agile or efficient as their 19th and 20th century successors. Playing the winds in tune is almost impossible, and there is a high risk factor in any ensemble. The Fiori Musicali are, in short, both brave and Fiori Musicali (from left): Grover Schiltz, oboe-Richard Graef, flute; David Hildner, violin; Kenneth Slovik, viola da gamba and baroque violincello.

Sealed: Robert Conant, harpsichord. loving exponents of their chosen material, They are also most necessary additions to the educational scene. Recordings and there are many by performers more expert than these are at present can go only so far in indicating the variety, balance, and scale of baroque instruments, These ancestral relatives of today's standardized and sanitized orchestral family are colorful individuals, not group oriented organization types. Hearing them live in a hall of proper size, listeners, gain an entirely new understanding of this pre-Romanlic period which was at once supremely stylized and uniquely interested in the virtuoso performer. THERE ARE NO TRUE virtuosos In this group as yet.

and given the necessities of a professional life spent mainly in conventional performance or teaching, it is hardly reasonable to expect absolute mastery. But baroque music was marvelously adaptable to the abilities of its performers and there is plenty of interesting music on any level. One problem Sunday night can be easily corrected. In every selection, the harpsichord was open and dominant. In some pieces, this was necessary and in others not objectionable.

But the flutend gamba were almost drowned out in important solo passages, and dynamic contrasts elsewhere were unnecessarily smoothed out. Close the cover now and then, please. $3.35 Value (gefoCDavll IB ML Prospect 905 E. Rand Rd. 338-1300 Lombard-ISO E.

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35S-6383 Carpentersvillt-RL 25 Lake Marion Rd 428-5551 AMUSEMENT Decrtield-Lakt Cook at Waukegan 438-2460 RICARDO MONTALBAN BACK BY POPULAR DEMAND MOTION ICTURES lit. Run Chlcagoland MOTION riCTURIS 1st. Run Chlcadaland MOTION ICTURIS 1ft. Run Chlcagoland 7 T1T1 1 iThWICrLG UIM what a group they are! The wife of Europe's greatest munitions manufacturer (Ava Gardner) is having an affair with a young heroin smuggler (Martin Sheen), who is being tailed by an American drug enforcement agent (0. J.

Simpson), who is disguised as a priest. When a little girl asks Simpson why his handkerchief has the initial on it, he replies. "It's for Jesus, honey." Oh. brother. Also on board for the ride is a well-known novelist.

Sophia Loren) trying to straighten out her love affair with one of the world's great neurosurgeons (Richard Harris). Where, you might be asking, is the passenger who wants to commit suicide? (Pictures like this usually have someone who wants to end it all. Remember Van Heflin in "Airport." the disaster flick that started the trend?) Well, a suicidal chap is on board, but you'll have to wait an hour to find out who it is. Meanwhile, back at the International Health Organization, the American officer in charge (Burt BONNIE AND OSDE THEYAINT. stirring in the romantic comedy ACCENT ON YOUTH MeautiM.

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wn. Sundy bruncti; Fimily lty M-COWM dmntr Sungiy MWrtrtiJlrn.li,t4.9S. Mwmw Tun itiru Sun niM, amnra Vtti wd Sun. Sttwety ifcowi I fH 1 30 Mini wkn. DRURY LANE NORTH Ylrtwl liiKOlnldill Rtml liKOlnniri, IN.

tn MitmukM A. tMtt 4 Htif Dry M. Box Office 634 0200 0 iKkium nm. 14 r-1 GEORGE SEGAL JANE FONDA "FUN WITH JANE" 2ndSupcrWcek! Marinas Bremen Deer brook Evergreen OlaMMi TiMtv rvt (It 1010 OhMwM 1710111 lWr" IM1SOO Gknwood Hillside Norridge Old Orchard aMMrilH lW UIIIK 4MN00 OH 45300 I Lancaster) has got real problems. There's a train with J.

000 potential plague carriers hurtling through Europe, and it's his responsibility. He shouldn't have had those plague specimens in has back office. Fortunately, one of his superiors manages to convince the Polish government to accept the train (talk about Polish jokes ') which will be sidetracked onto a rarely used portion of the Polish railway system. But there's just one more problem. THE TRAIN must cross a bridge in Poland known as the Cassandra Crossing.

But the bridge hasn't been used since 1948. It isn't safe. Why must the train cross the bridge? Because the script says so. And so it goes for nearly two hours. "The Cassandra Crossing" might be laughable if its weaknesses weren't typical of current films.

Rather than create a provocative character, rather than design a story that has a logic, too many of today 's movies take an easier route and simply throw in a shaky railroad bridge or a terrorist contracting the bubonic plague. Rating for "The Cassandra stars. Start 1977 seven times better than ever! Bring us the coupon and we'll give you seven free donuts when you purchase a dozen. The world's most Randhurst Yorktown Crossroads Mmm Nwa Ml IBM lwnM 4S 0O1O Inaiw 111 MO OSM ort nwfi Linfi Hi ihwtiwwt Starts Fob. 25th MMW WIIU lK 40S0010 Utrnlhillt.

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