The Los Angeles Times from Los Angeles, California • 115

CoaAnflrtes Simes Fruunee, isw-Pirt VI 11 Wltet a wsy to I I. 'tt X' (A -tia-itMiiio wS: I AMC PUENTE HILLS EAST MANN'S SOUTH COAST Puente Hills 912-8566 AMC ALONDRA Cemtos 924-5531 AMC ORANGE MALL Orange (714) 637 0340 MANN'S FOX Covina 332-0050 AMC HAWTHORNE Hawtnorne 644-9761 AMC ROSEMEAD Rosemead 573-94B0 FASHION MALL Northridge 993-0111 Cosu Mesa (714 546-2711 MANN'S IREA PLAZA Brea 1714) 529-5339 CINEMA Montclair (714) 626 3534 MCfrS MY Westminster (714) 681-3693 LIBERTY HIGHLAND TWIN CREST DRIVE-IN Bell 773-6661 San Bernardino (714) 888-1393 Norcoi7i4i 735 2140 SHOWCASE IROOKHURST LOGE Downey862-1122 Anaheim (714) 772-6446 MOVIE REVIEW FONDA'S 'DOLL' ARRIVES LATE By CHARLES CHAMPLIN Times Arts Editor By a malign coincidence, not one but two films of Henrik Ibsen's "A Doll's House" appeared in the same year, 1973. Given the market for filmed Ibsen, one would have been plenty, and both suffered. The Claire Bloom version, produced by her then husband Hillard Elkins and directed by Patrick Garland, had a brief theatrical release. The Jane Fonda version, produced and directed by Joseph Losey, was successfully showcased at the Cannes Festival, but in the United States it went straight to television and, until now, seven years later, it has never been shown theatrically in Los Angeles.

It opens today for a nine-day run at the Laemmles' Westland Twins at Pico and Overland. Even better late than never. It is fascinating to see the Jane Fonda of eight or so years ago, bound for glory but with only "Klute" behind her to suggest the power and range that would be revealed. It is also fascinating to see again Ibsen's uncannily prophetic drama of a woman shocked out of her doll's life and awakened to a changed consciousness and new beginnings. The fact is that "A Doll's House" can be taken, philosophically, as Act I of "Kramer vs.

Kramer," with a 100-year intermission before Act n. Nora's farewell address to her insensitive and profoundly chauvinist husband (David Warner) eerily pre-echoes the reasoning for taking off that Meryl Streep set forth for Dustin Hoffman in "Kramer." Memory says that Claire Bloom was perhaps a more timeless heroine, more comfortably placed in the Victorian trappings of Ibsen. Jane Fonda is a contemporary woman, to say the least of it. But Losey's film is blessed with an adaptation of the Ibsen text by playwright David Mercer and the dialogue skillfully drops the stilted period rhetoric without going colloquial or slangy. In this, Fonda was much better served than Bloom.

She is not so successful as the kittenish child-wife of the early years, spending recklessly and sneaking macaroons. But as the tension builds and the realities of life her own I I If David Warner and Jane Fonda in scene from Joseph Losey's film of "A DoWs House" by Henrik Ibsen. and those around her can no longer be giggled away, Fonda drops the coquettishness like a party mask and the last scenes are remarkable in the quiet intensity of her performance and the power of the author's perceptions. Losey made the film in Norway and, although time's decay has robbed Gerry Fisher's cinematography of some of its subtle richness, "A Doll's House" still retains a strong and spacious sense of the time and the place. This is not a proscenium version.

The casting is excellently supportive: Trevor Howard as the dying Dr. Rank, Delphine Seyrig as Fonda's close friend, Edward Fox as the failed lawyer Krogstad. The play's problem always is that Nora's enlightenment seems too swift and thoroughgoing-a flash rather than a dawning. But it does make for an unforgettable curtain. The score is by Michel Legrand and is flavored by horns, as from a turn-of-the-century concert in the square, heard from a distance.

A 102-year-old play and a 7-year-old film equal anything around for relevance, and that's something. FIRST PRIZE PALME OK AWARD 19BO Lai HAUiJF" ril 1A ENGLISH FILM SCHOOL A NOVEL IDEA ItSMVAL Continued from First Page ROSCHEDER BOBrassjinH4rj SUSEPPEDOruMIO WANKM fWBOStWEBG TONV WALTON RALPHBUHNS asja, kkneth unar WOLFGANG GIATTES mum Huron earthquake that had just hit. An NFS student is shooting a film in Poland at the moment. Young encourages film makers in residence. Just now David MacDougall, who studied ethnographic film making with Young at UCLA in the late '60s and who with his wife Judith has a world-wide reputation for work on African tribes, is at Beaconsfield.

Students are having a chance to watch the MacDougalls final-edit a third feature from their monumental documentation of a tribe in Kenya. The NFS does it all on a modest budget of about $2.5 million annually, two-thirds of it a government grant from the Eady fund (derived from a box office levy), with a large grant from the film industry and a not-so-large grant from television (even though many of the graduates will start in television). The pleasant surprise is not that the National Film School is as imaginative, professional and productive as it is, but that it exists at all and flourishes in a nation through which the winds of change have blown with hurricane force. including a marvelously energetic short musical, elements of "Bugsy Malone," "Movie-Movie" and "A Star Is Born" rolled together and called "Smile Until I Tell You to Stop," made by an American student, Steve Bayly, and a stunningly intense black-and-white adaptation of a portion of Kafka's "In a Penal Colony," done by an Australian student in 1974. Remarkably, the school has a close and supportive relationship with the film-industry unions and graduates get their tickets (union memberships) as they finish a far cry from the head-against-the-wall frustration that awaits American film-school graduates.

The NFS also maintains close relationships with the European state film schools. A Beaconsfield unit hurried off to Yugoslavia a few years ago, for example, to work with local students on a documentary about a devastating NOW WESTWOOD 6CC Avco Center Cinema 475-0711 Daily 5:00 8:00 8 10:25 PM Sal-Sun 2:15 5:00 8:00 A 10:25 PM HOLLYWOOD Egyptian 467-6167 Daily 1 00 315 6:30 7:45 10:00 PM EL TORO Saddleback Plaza 714581-5880 MARIHA DEL HEY UA Cinema 822-2980 MONTEREY PARK Monterey Mall 570-1026 SHERMAN OAKS Sherman Oaks Cinema 986-9660 TORRANCE UA Del Amo 542-7363 WESTMIHSTER Cinema-West 714891-3935 WOODLAND HILLS UA Warner Cenler 999-2132 chores on projects. The floating faculty is of industry professionals who are lured on the promise that they can and do leave on a moment's notice to take jobs. They are paid union minimums while they're teaching. "It's a bit risky," one editor says.

"If you're here at the school and your colleagues in the industry don't see you about, they may start to imagine you've died." Somehow it doesn't happen and the staff does move in and out. Tuition is roughly $2,000 a year, but this is less than each student receives as film-making grants in his second and third years. (It's a three-year course.) The students regroup for the second year and each student deals directly with a tutor in the Oxford and Cambridge tradition. Individuals can and do put their grants together to finance more elaborate films than any one student could swing. Well-equipped stages and other facilities are a film maker's dream.

One of the inventive teaching techniques has students filming a key scene from a commercial movie, then seeing how the director actually did it himself. Karel Reisz himself came to the NFS and critiqued several versions of a scene from "The Dog Soldiers." On a recent morning a Belgian student, Pierre Dominique Godts, was directing a French actress through a long monologue from Truffaut's "Stolen Kisses." Colin Young showed me a sampling of other NFS work, ARCADIA Santa Anita Cinema 445-6200 COSTA MESA South Coast Plaza 714549-3352 NORTHRIDGE Peppertree 993-0211 ORANGE Stadium Drive-In 714639-7860 ANAHEIM loge 714772-6446 EA6LE ROCK PLAZA Eagle Rock Cinemas 254-9101 GO FOR IT! IJTTTjJT.TTTTTJ.TTTlJTTITTTTTTTU JAFFE TO CHAIR PIONEERS' DINNER HONORING BOB HOPE Leo Jaffe, chairman of the board of Columbia Pictures Industries, has been named honorary chairman of the 1980 Motion Picture Pioneers dinner honoring Bob Hope, to be held Dec. 1 at the Century Plaza Hotel. Formed in 1939, the Motion Picture Pioneers is dedicated to helping those in the film industry who are in need of assistance. i 1980 U.S.A.

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