Chicago Tribune from Chicago, Illinois • 23

g. i if j. fr-fr Chicago Tribune, Friday, Qctober 17, 1980 Section 2 3, Movie; 'Hopscotch': Espionage for -fun and laughs- The symphony Hall acoustics betray Sold Bruckner 4th Of THERE'S NOTHING wrong with "Hopscotch" 'that completely rewriting Glenda Jackson's part wouldn't cure. The light-as-a-feather espionage comedy stars Walter Matthau playing a CIA agent who responds to a demotion by writing, one chapter at a time, an expose of the agency 's recent misdeeds. Naturally, the agency wants to neutralize Matthau, but the result is a series of scenes in TRIBUNE MINI-REVIEW: Matthau, Jackson, no "HOPSCOTCH" Otnctt by RmM Naame; ecraenpajy by SriAfl OartMd and nan Fottaa baaa Garttald'a nomt; photogfaeha4 by Arthuf fctwMon; mwle by ton FraMr; producad by Edit end Ely Landau; i Ave EmbaMy ralaaaa at natgHbortwod ttiaetera.

Ratod PO. THS CAST MHaa Kaodte Waltar Matthau toeaat von ScnnKdl Olanda Jackaon Cuttar Wataraton -a. serves as a safe house for Matthau as he leads a variety of international intelligence agencies (his book also includes chapters on misdeeds by Russian and English spies) on a wild goose chase all over the world. OBVIOUSLY, THE casting of Matthau and Jackson is an attempt to capitalize on their "lady and the tiger" chemistry that four years ago made "House Calls" a hit But little thought has been given to providing Jackson's character with any well, character. She looks severe and seems to exist only to serve Matthau.

It's a pitifully small role for one of our finest actresses. Incurable Matthau fans probably will find enough to enjoy in "Hopscotch." Matthau is laconic yet charming, and he comes dangerously close to letting us know how cute he is. To its credit, the film does develop an occasional bit of tension as Matthau sashays across Europe and the United States, constantly surprising boss Beatty and his assistant, Sam Waterston. "Hopscotch" is a pleasant time-waster, but on a cultural level it may be significant. Here is Matthau, one of the country's most-liked and middle-class actors, getting the nation's moviegoers to root for a character who wants to compromise the CIA.

We accept the premise without question. If Jane Fonda had made this film, there would have been howls of protest; with Matthau, we laugh. Gene Siskel Gene Siskel regularly reviews the movie scene at 5 and 10 p.m. on the Channel 2 News. Georg Solti 0.

P. Lom Matthau Qaorga bakar which lovable, easygoing Walter outsmarts his uptight colleagues, especially boss Ned Beatty. Matthau ends up getting revenge in spades for his demotion, including an assault on his former boss' home by a shotgun-laden FBI tactical team. Where does Glenda Jackson come in? About every other reel to trade quips with Matthau. She plays a retired agency operative, a wealthy widow residing in Austria.

Her expensive home Walter Matthau in Coming dangerously close to letting us know how cute he is. SIR GEORG SOLTI has been taken to task more than once, in these pages elsewhere, for a tendency to depersonalize some music occasionally even the late Romantics that are ostensibly his "specialty by pursuing technical perfection at the expense of searching out deeper, more introspective layers of meaning. But after hearing his account of the Bruckner Fourth Symphony Thursday night with the Chicago Symphony, I wondered if sometimes we pin the blame unfairly on the podium when the guilty party really is Orchestra Hall itself. That the Bruckner was splendidly performed was not the question; it was. Solti, conducting the third and final program of his very brief autumn engagement, worked with a combination of demonic energy and rare expansiveness to build a symphonic cathedral whose every musical detail cohered with true architectural strength.

The Chicago Symphony again covered itself with a glory that should be evident to all on the forthcoming recording. BUT WAS IT the Bruckner we call To these ears it was not. The sound Solti got from his orchestra had that "saturated," brassy physicality you associate with the Austrian composer's scores, and truly the CSO brasses presented a massive, mighty front. But Orchestra Hall and its dry acoustics conspired to rob that sound of a certain essential quality: resonance and, ultimately, spirituality. The great Wagnerian perorations that close both the first and last movements need space in which to bounce around.

Orchestra Hall's dead sonics deprive that sound of its halo, and no amount of overcompensating from the musicians (for such effort was clearly being made) can clothe naked sound in warmth, however virtuosic the execution. It is a crucial point the orchestra trustees must consider when they decide by year's end how the stage is to be renovated to make room for. the new pipe organ. Another unsuccessful spatial facial will just prolong our musical agony. AS TO TEXTUAL matters, Solti chose the 1886 revised version of the score (Nowak edition), as opposed to the 1880 (Haas) edition that most Brucknerians seem to prefer.

The former version brings the opening horn motif back at the end, and perhaps this is why Solti prefers it. In any case, the performance contained moments that not even a dead ambience could dim: the eloquence of the long cello line in the Andante, Dance the wonderfully raging hunting horns of the scherzo. But it was the sustained sweep and majesty of Solti's finale that finally set this Fourth apart; 20 minutes in length, full of exposed seams, this is a notoriously difficult piece to get to cohere, but conductor and orchestra turned the trick. Our problematic hall proved a more congenial site for the local debut of Anne-Sophie Mutter, whose appearance in the first half occasioned a kind of mini-violin recital consisting of Beethoven's Romance in (Op. 40), and Mozart's Third Violin Concerto, K.216.

WITH HER CHERUBIC face and mass ol curls, the 17-year-old German fiddler looks a cross between Broadway's Annie and Shirley Temple. Her playing of these Viennese works was tonally; smooth, technically immaculate, musical, tasteful, but so carefully refined as to seem bland. It was clear that Miss Mutter (who is a protege of Herbert von Karajan) is a. well-schooled musician who can spin a melting legato line with the best of them and make her bow do, anything a series of double stops or brisk pas-sagework demands of it. But it was also clear by the consciously "virtuosic" (i.e., 19th Century) way she dug into the cadenzas of the Mozart that she has not yet arrived at her own stylistic focut for classical works.

The Beethoven, pleasantly lyrical if musically slight, inspired greater consistency. Solti tended to his reduced orchestra with more discretion than he is wont to bring to this repertory. NOTE: Because of an injury suffered by Joseph Paratore, the duo piano recital by Anthony and Joseph Paratore scheduled for 3 p.m. Sunday in Orchestra Hall has been postponed until April 26. Sunday tickets will be honored on the later date.

John Von Rhein Three Dancers' provides a fine mix of talents By Richard Christiansen Critic at large THREE INDEPENDENT Chicago choreographers and soloists this month are combining their work in a program that benefits both the dancers and their audience. Over the last two years, Jan Erkert, Carol Bobrow, and Amy Osgood have been seen primarily in dances of their own making. However, in "Three Dancers," at the Columbia College Dance Center, 4734 N. Sheridan, they are working with each other, providing an interesting mix of talents in one evening's dancing. For example, in "Deuce," the program of dancing by Bobrow and Erkert that will be repeated at 8 p.m.

this Friday and Saturday, Bobrow eloquently lends her supple body to the whirls and swoops of Erkert's solo "Sculpt," and Erkert injects her swift, straightforward style into Osgood's whimsical comedy solo of rags and bags in "Culling" (which, by the way, has a relaxed, lovely score by Richard Woodbury). ON THE WEEKENDS of Oct. 24 and 25 and Oct. 31 and Nov. 1, Osgood's expanded version of her "Ode to a Wild Beast," a tribute to Henri Matisse, will feature all three dancers, plus Fury Gold, Roberta Jakus, Marjorie Reimer, Isadora Guggenheim, and Denise Stovell.

The six dances that make up "Deuce" are dedicated to exploqjng either a single body in a performance space, as in "Sculpt" and Erkert's "Goodbye," or the relationships of two bodies, as in Bobrow's shadowy, provocative "Salt Turf," with. Bobrow and Sharon Thacker, and June Finch's brighter "Tabs," with Bobrow and Erkert. Looking at Bobrow and Erkert on the same program, one can note the differences in their approach to dance, Bobrow's style.being a little softer and more lyric, Erkert's having a slightly sharper edge in its attack. Because they are soloists, however, both tend tp work with dances that look as if they have Continued on following page AMUSEMENTS AMUSEMENTS AMUSEMENTS AMUSEMENTS AMUSEMENTS AMUSEMENTS kg UU NJU Vty C3n vu (aoKOK o) (O) tU ial iat Ul mammmmmmmmm nju uunjv, iw iiio no o) dxoxetay 1 orvr or vwt' a TrTT XJ i OCT dBb a wmi. kka ma taaaaar tnrtt aan, NOV.

ft YUM KlQnLlfit INTERNATIONAL FIRST TiifE EVER at ROSEMONT HORIZON tosEMon raarouiMi SEE UNIQUE EXCITING in MM OCT 0SEMONI NOTIiON 001 OFFICE WIEHN4TI0N41 4MMIHIIIE 101 OFFICE a F0 I0IH II0SEM0NT i CHICAGO IICIITMN OMatl lKhiM: IEMS VM0DS FLIP SIOE OECIWOS TICKET CEN1IAI 1301 NaiM MlMtM 0I TICKET INFORMATION CALL: In ROSEMONT I3I71 131100 a a CHICAGO 31i 3'I UOO LL SEATS IESEKVE0 "ICI INCUI0ES $5.00 $6.50 $7.50 $8.50 SAVE $2.00 ON CHILDREN UNDER 12 41 SlanM failaiiiiMcti Kt MOOT IATES CALL: R0SEM0N1 3li ISi nOT a CHICAGO 13l! 37I II1I LIKE kAINBOWS. CHICAGO TkllUIII PBMIIT NWU San II On IKMH TKM OCI.n....11:M Fn OCt.H I'M. .100 Sit OCT 11.00 ..100 Sun. OCT it 1 00 130 MM OCT IT NiPtittmuKll Tan OCT 1 OCT It 4 00. 1 00.

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Mannheim Rd. Rosemont, 111.60018, HORIZONS' CLUB 1000 Season Tickets Only NONE GOLDEN HORIZONS Season Tickets (Ail 20 Home Games). fi'njle Games 1 FRI0V WEDNESDAY FRIDAY SUNDAY WEDNESDAY SUNDAY WEDNESDAY SUNDAY WEDNESDAY FRIDAY TUESDAY TUESDAY WEDFIESDAY SATURDAY THURSDAY FRIDAY SUNDAY TUESDAY WEDNESDAY FRIDAY OPPONENTS NEW YORK ARROWS SAN FRANCISCO FOG BALTIMORE BLAST DENVER AVALANCHE ST LOUIS HARTFORD HELLIONS WICHITA WINGS BUFFALO STALLIONS PHILADELPHIA FEVER ST. LOUIS STEAMERS PHILADELPHIA FEVER BUFFALO STALLIONS PHOENIX INFERNO CLEVELAND FORCE BUFFALO STALLIONS i ST. LOUIS STEAMERS SAN FRANCISCO FOQ CLEVELAND FORCE PHOENIX INFERNO CLEVELAND FORCE TIME 7:35 p.m.

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