The Los Angeles Times from Los Angeles, California • 41

Part II Saturday, June 27, 1981 Coa Angelee Slimes TVReview 'Great Muppet Caper5 Rescues Comedy A Fresh Profile of Women in Russia Never mind these Piggy cultists who seem to need a place to put their old Mae West identification. In Kermit reposes the soul of the Muppets. Sturdy, self-effacing Kermit, who can be ironic, eloquent, sassy and sensible by turns. Somehow the essence of Kermit was easier to find in the first film, although I will admit to anyone that Kermit in his shocking pink dotted undershorts those legs again or his natty summer seersucker suit is a very endearing sight. Credit should, of course, go to these puppetry wizards.

Jim Henson, who also directed, Frank Oz, the film's co-producer (with David Lazer), Dave Goelz, Jerry Nelson and Richard Hunt. V- "it. WjJpprjNU. UIIIIU ijiiiiim inn iiisiiip i fllR fo MA A I MONEYSAVER PRICES SELECTED THEATRES IB Exclusive iRO't Holly Theatre Hollywood 445-2184 DaHy 2 00 4 00 6 OO 0 OO 1000 PM ciiyuyeiiwiii NOW IHOWINO It iimmm? mmm CREST Al mw Mutest fun wOTWD-wlBHA. (HAT Mm CAPrl(S) 474-7886 ki IMby tttreo i 6O0-IO0-WO0 i PARAMOUNT HLYWO.

BL 4 OtEAT WrffT fJUU() WSWAND kDetr (ttrto i 493-3263 tft-t2i-2io-4K 600-100-WOO MWntjni tints' 12:00 i By SHEILA BENSON, Times Film Critic The Muppets were part of my child-raising years, a large part. (To one daughter, Kermit has always been Kermit D. Frog and any other introduction has been useless.) When for one reason or another, I didn't see their first movie, I felt somehow disloyal. Even more so when adult friends without children told me what special affection they had for the film. So I went off to "The Great Muppet Caper" in a mood of delighted anticipation.

And sat, uneasily, feeling it congeal. In spite of its amazing technical wonders (again they ride bicycles; this time Miss Piggy manages an underwater ballet), "The Great Muppet Caper" (city wide) has few laughs, sequences which strain mightily for them and miss, and an unimaginative lot of chores for the visiting stars to do. Not love the I felt awful, sour, misanthropic, as though I were missing some friendly gene I'd always imagined I had. Then, luckily for my sanity, I saw their first, "The Muppet Movie," and all the warmth flooded in again. I sat there with a big, silly grin of happiness on my face.

There were the Muppets of memory; everyone had been so right about the picture. The jokes were fine, fast, throwaway. No big deal, catch them if you can, OK if you don't there'll be another along in a second. There was both visual and verbal humor and the puppetry was, of course, masterly. Kermit rode his little bicycle with his Daddy Long Legs-delicate legs, taking the edge off the extended version of the same feat in this second film.

And Paul Williams' songs, especially that traveling song, "Movin' Right Along," with Kenny Ascher's lyrics, seemed crisp and fresh. So what has happened in the second film? Script, more than anything. The Muppets don't belong in a caper movie. They are interpreters of character, relationship and the human condition. (Of the first film's writers, Jerry Juhl and Jack Burns, only Juhl remains, now collaborating with Jack Rose; Tom Patchett and Jay Tarses are the other pair of writers credited.

You can frequently scent trouble, or at least a lack of cohesion, as the list of writers mounts. Somebody let the air out of the jokes and the originality out of the melodies, which this time are by Joe Rapo-so. As one example, the folding Murphy bed that refolds into the wall, carrying its occupants with it, a venerable joke to begin with, is done at least three times. Almost none of the cameo players has adequate material: John Cleese, Robert Morley, Jack Warden or Peter Ustinov. The story this time takes Fozzie and Kermit (who call themselves identical twins, which is a sort of shaggy frog joke) to London to track down jewel thieves in a plot that is decidedly rickety.

Diana Rigg is the fashion designer around whose neck no diamonds seem safe, and Charles Grodin, American accent and all, is very funny as her ne'er-do-well brother, Nicky, whose flowered socks, hankie and tie invariably match, even in dinner clothes. The rest of the Muppets are introduced at the fleabag hotel in which our heroes and Gonzo (the mysterious) land in London. Miss Piggy makes her appearance at Diana Rigg's fashion design house, managing to be hired as her secretary and also to be mistaken by Kermit for the designer herself. MMnWit ShriW 121)0 I 3SK HOLLY EnotoMwrt 62JHhwd.it 485-2164 bcom of wis ma 2O0-4O0-6O0-IO0-10O6 mnnmsnm coo 82MTU.3MPM R0LLIK6 HILLS 1 CWMHAWPGN rate Mwy in 326-2800 OKAT MP(I CAPBIC) It 18-2: 15-4: 15-6: 15-8: tt- 1ft 15 ROLLIKB HILLS CKMHAWtCN OABOI IB TTlAIBf By ALEENE MacMINN, Times Television Editor Denim jeans are the rage in Russia, but they cost A face lift is cheaper. That's only $65.

A typical Russian mother works a full-time job, then must run a household without conveniences common in this country. Even a simple marketing excursion can take four to five hours. Russian women outnumber the men by 18 million. Women build roads, sweep streets, work in construction and engineering. They are doctors, editors, models, teachers, executives, artists and factory workers.

Regardless of what they do, though, they seem to share one common feeling: They work too hard. These are some of the findings of Sherry Grant, who with her partner, Sandy Carter, of Carter-Grant Productions, made some eight trips to Russia during a three-year period to film a documentary on Russian women and their life style. The result "Women of Russia" can be seen tonight p.m.) on KCET Channel 28. Astonishingly, Grant recalled here this week, they were given complete freedom while filming in Russia. She can't fully explain why, but she said, "Possibly, it's because a trust grew up during the negotiations.

The Russians knew this was not to be a political film. We wanted to focus on the life style of Russian women. "A number of producers have gone to Russia and done political programs," she continued, "but we were covering people behind the headlines people we rarely see. We wanted to look at how people live, at education, at the family what's important to women, do they have a romantic concept of love, what they do on a date, what's it like to get married at the Moscow Wedding Palace. "All I know is that the Russians didn't stop us from doing what we wanted.

And all of our film came out of the Soviet Union in unopened cans." She remembered driving down the streets and saying, "Let's stop here and do some man-on-the-street interviews," which they did without interference or restrictions by the Soviet official assigned to accompany them. As for the Russian people they spoke to, Grant said they were "very honest and open. They seemed to have their own feelings of what they wanted to say to Americans. They wanted their country to appear terrific. "I remember, for example, the ice skating star Irina Rodnina telling us that the top experience in her life had not been winning the Gold Medals at the Olympics but being invited to join the Communist Party." However, while the producers were allowed to work freely once they got to Russia, obtaining permission to start the project was something else.

Long and complicated negotiations took place, and more than once, after initial meetings, governmental shakeups necessitated additional trips to meet new officials. "We always wondered if the other men we'd been dealing with had been sent to Siberia," Grant said with a smile. One particular meeting took place in a large room. "The Soviet officials were sitting in front of a window, so they were backlit and it was hard to see their faces. After we had been talking for a while, my husband nudged me and said, 'We know that He turned out to be a Russian we had met some months before at a party in Beverly Hills." She reminded the official of that previous meeting, and from then on, she said, the negotiations took a positive turn.

Filming took place during two trips in 1979, and the plan was to syndicate the program last summer during Sherry Grant and Sandy Carter, producers of "Women of Russia" documentary for TV. the Olympics in Moscow. However, with the U.S. boycott of the Olympic Games, it was decided to shelve the film temporarily. "Fortunately," said Grant, "we had been careful not to date the material.

We went for the basics, so the film is timely, anytime." "Women of Russia" actually exists in two forms: a series of five half-hour programs, and the one hour-40 minute special which Channel 28 is airing. It has been seen elsewhere in its full version, but PBS and KCET opted for the single program. Both versions cover five areas: marriage and family, sports, entertainment, women's liberationwomen in change, and fashion-health-beauty. Each segment has a celebrity host: Shirley Jones, Peggy Fleming, Juliet Prowse, Carol Lawrence and Kathryn Crosby. If there was one area that fascinated everyone connected with "Women of Russia," Grant said, it was the Soviet concept of women's lib.

"It's totally opposite from ours," she said. Here, Mom wants to get out of the house and get into the work force. "There, women have been doing hard labor since before World War I and they'd love to have time at home with the kids." How does she think Russian women would adapt to life in the United States? "I think they would have great difficulty because their life is so programmed," she replied. "Things such as finding a house or setting up a vacation the factory has a vacation program and everyone goes off for two weeks are all planned for them. It would probably be hard for them to act independently as we do here." Grant says she hopes "Women of Russia" is the beginning of a cycle of similar projects for Carter-Grant Productions.

In the planning stage now are programs on women around the world, with China as the next likely destination. Meanwhile, they're working on varations of their successful short-form series, "The 24 Days of Christmas," "The Eight Days of Christmas" and "The 21 Days of America." 12.00 TILL 300 PM I HASTINGS SttnCamry i SMd rtMttL OVrUMt(B) 796-7111 ta70rm6trrtDy COLORADO AlrwwMupottrun 241 E. COLORADO MfAT iMT CAn(B) ItOXY MmMitspttfal 417 N. BrttH MUT BBtTTIT Un() 1 243-6383 to Ootry Stem S2.00 TIL 230 PM MONTCLAIR ummoftk, 4177 HOLT IDS! AMIPS) 7 14624-9896 In Dos sWti mtrrn ShwlOgY KWWt(B) MONTCLAIR Mwpet iun 4)77 HOLT SKAT MrmT CAF9IG) 714624-9896 MONTCLAIR 4877 HOLT SWISS MMV MaK0N(6) 714624-9896 1130-330-730 mm IMS AMMO) c. tu.

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