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The Los Angeles Times from Los Angeles, California • 54

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Los Angeles, California
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Page:
54
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Monday. May 28. 1984Part 3 CoaAnflcleSlme MOVIE REVIEWS KIPPERBANG'SSUBSTANCE AND CHARM By KEVIN THOMAS. Timet Stajj Writer "A WINNER ON ALL COUNTS." Michael Dire. UL WEEKLY "HIGH IMAGINATION "ipperbang" (Beverly Center Cineplex) has much the same charm of the very similar Girl." but more substance.

on i ri rn teacher, comically pompous and obtuse, yet terribly vulnerable. In the throes of an unseemly affair with the handsome school gardener (Garry Cooper), she reluctantly admits to him that she was no virgin when they met There was even a fling with an American soldier: "One, one American!" insists Steadman shrilly. Also typical of the film's throwaway humor is a road worker's derisive remark prompted by Albasiny's clumsiness: "Millions spent on education!" Albasiny and Crittenden are completely endearing, and so is "Kipperbang." which takes its curious title from a salutation concocted by Albasiny and his pals. "Kipperbang" (rated PG because of the teacher's romance) is a minor work, little more than an extended vignette, but it's clearly been made with loving care. oui-ri nun.

LA.TIMES 8V aeka MvtiaLf paua tu-nm aaPTTa HOeaCA CiwtPvK PvlP. UNIU 8f NTPPOOO ONf 81M8 8VJOU OPJf I CO 2 00 1 00 00 900 I4O4MP4 80P 4t 9S 119 17 8 8981 LAII 8MOW ial MOO 04I-KJN1 118 8 00 4t I2H Haneaa OV Wit GRUESOME, CRUDE 'CAMP' STORY Made in 1982 for British TV's "First Love" series by Michael Apted (director of "Coal Miner's it was written by Jack Rosenthal, the noted English scenarist who most recently collaborated with Barbra Streisand on the script of "Yentl." The year is 1948. and the film's feckless 14-year-old hero (John Albasiny) dreams of England triumphing in cricket and of himself kissing his pretty classmate (Abigail Crittenden). Unexpectedly, he gets his chance at the kiss when he's cast (along with guess who) in a school production of a silly '20s play-unexpected, because he's a chronic daydreamer and all-around klut2 who gets little respect from his classmates. At first.

"Kipperbang" seems typical coming-of-age nostalgia, but it subtly deepens as it unfolds, its emphasis shifting from puppy love and the struggles of puberty to catch that painful moment when an adolescent confronts the cruel discrepancy between appearances and reality. Apted and Rosenthal make details and nuances count in this small-scale comedy-drama. There's the exqui3ite performance of Alison Steadman as the school's English I leepaway Camp" (city wide) is yet another un-pleasant, poorly made and derivative slasher-' cum-horror movie, made by Robert Hiltzik, who THEATRES served as executive producer, screenwriter and director. An aura of nastiness permeates the movie and the characters who inhabit it This is the story of a child who was the only survivor of a boating accident in which her brother and father were killed. Flash forward eight years later to meet Angela (Felissa Rose), now living with her cousin, nrrwoci n.uu W0UTWC8I tlYlO CMIUtXE ro-oapj-noiM taspjpai mummmmm TlUwU.

mm Qpt nq 8 208-4M8 M8PU leoaiPt)) tMw- tttt 1 404-81 II IkWU Of tooaiPoi IrOtaatOOPHpOOtOt- ilOO VateataffrttPpi it MX It Tpaat mm PM Oeaera aaaaata OaV nm, Panel noKe) VILUkBE rtaOtMrtetlent Ikeaae WrtnaiPtl IP riOJOJ 01 IB MUIH aMItUtlNI 1lJtt-74 TOaa-9 Tnc Oaa lamt M88M MOM 901 IOpVU 09 0OO0HPO) 1200- MO -000 -900 vMtajt ppjt Oea it em 8a TtOtt una Pea OaarM Maaaaa (a Ricky (Jonathan Tierston). and her dingbat aunt, who calls herself a doctor and is one of the most Grand Cuignol characters in recent sleaze film memory. Even though Angela remains emotionally unbalanced and severely traumatized by the early accident, the aunt sends her and Ricky to camp for the summer. There, Angela further withdraws in the presence of her adolescent peers, who victimize her with their nasty remarks and cruel pranks. As the traumatized teen-age Angela, Rose provides an attractive, ethereal, yet spooky screen presence.

Tierston as her cousin is effective, as is Christopher Collet who befriends the unhappy Angela. Fortunately for those of us who have squeamish stomachs, the quality of the photography is poor and very murky, which makes some of the gorier incidents difficult to see. In spite of all of the gruesomeness, Hiltzik's pacing is poky. He also employs weird, sensalionalistic flashbacks, which are made a little clearer, although not truly explained by the film's surprise ending. Film makers working in this genre usually have little respect for the rules of the game or the intelligence of their viewers.

And Hiltzik is no exception. He does get points for portraying the often cruel and abusive behavior of teen-agers towards another young person. That is possibly the only redeeming aspect of "Sleepa-way Camp," rated for violence and language. LINDA GROSS 'CHOO CHOO' TAKES THE LONG WAY If banality were bliss, "Chattanooga Choo Choo" city wide would be a banquet. Unfortunately, a movie needs more of a tasty subject than this one has.

It also would help if it were served in a more graceful and less hackneyed manner. "Chattanooga Choo Choo" could also use a more original subject and characters who behave like real people instead of cardboard pop-outs. For a grand example there is George Kennedy. He stars as a loutish and conniving football team owner who will inherit $1 million from his father-in-law's estate if he can restore the dead man's train to running order and make one final 24 -hour trip from Penn Station, N.Y., to Chattanooga, on time. For the players and for the audience, it's a long ride.

Complications ensue. How else could "Chattanooga Choo Choo" run for 102 minutes? On board we have the football team, its coach (Joe Namath) and the cheerleaders. Then, there is Kennedy's soon-to-be married daughter (Melissa Sue Anderson); the two men who vie for her hand (Christopher McDonald and James Horan); Kennedy's long-suffering wife (Bridget Hanley his misguided mistress (Barbara Eden); his bodyguard (Professor Torn Tanaka); the waiter who never drops a drink (Tony Azito), and the rival building contractor (Clu Gulager), who wants to make an honest bid to buy the football stadium. Even though her cute bounciness goes a long way, Eden is as good-natured and good-looking as ever. She narrates in case you get lost on the ride.

The screenplay by Robert Mundy and Steven Phillip Smith doesn't miss a chance to employ every cliche or capitalize on every slapstick pratfall possible. Director Bruce Bilson's style is bullating. Phil Borack, who gave us "Harper Valley P.T.A." the film as well as the television series is executive producer. There isn't anything really malicious in this movie, rated PG, it's just corny and very predictable. L.G.

IEBEIT LA.UMM etkaaa m-iimxtm m-SM 101 LtTTaniii I Tract DaOvBlaa) nlaorei natpu oj oooaipoi MM I08-400 708-iOOO PLAZA wka LTOMtta) mm Pitt Paj Oa Ba Tttet Pat Oaara Aaaaaaa My tH0 MB.4a t. 8J8 tO WEtTWI atMOMtlll NOUTwl u. ummcumm 8794IM OMpTH 100-741 4B-IJ71 POUQ 0Cal0a1Tll gJ8.4J0aJ8 iK tu tm 70b 0t8r-4TrKt lent VMUE 9978 PM IM OMTtlflBIIPOl mjW t2a0aOO.t30llrJB mm1 UL U9H O30 MUa KatMTjll T-tt-t-m- 409-2 M4 0O8mV(POI I200-240-43t TOIUXCE 029-8 J.J0 II 1 CM -448 i-i22i out SUO tot etwwi ail, hai 930.030-040-000-1000 862- QjO Otrry, Ptaat It MJ8-78 48 830B mm 1 WnUlllMC IPtOBOfWIIlMWIPQI 9K9MI naru oi leoaiip) 051-4377 nm at mmm oat. I Ppaaet 6I taT-730 STAGE REVIEW SCHOOLGIRL POWER CLASH IN 4EL JUEGO' By KIRK ELLIS The titular game in Venezuelan playwright Mariela Romero's "El Juego" is that of power, played out here as a petulant schoolgirl rivalry whose innocent pretending slowly becomes corrupted by maliciousness and inhumanity. Written in 1976, the allegory today lacks a certain freshness, and its expression is often anything but subtle.

A vivid production at the Bilingual Foundation of the Arts' TheatreTeatro. however, chillingly underscores the work's cry of universal anguish while simultaneously playing down its strident insistencies. Marked by the sort of spatialtemporaLdislocation so characteristic of modern Latin-American literature, "El Juego" ostensibly unfolds as a series of childish dares, bouts of jacks and hopscotch disrupted by ferocious displays of control. "You're cruel," screams one girl as her opponent savagely twists her arm. "Don't be silly," the other responds.

"It's merely a matter of persuasion." Inexorably, the play's dreamlike "reality" becomes increasingly indistinguishable from its adult counterpartimpersonations of megalomania and social injustice sketched in nightmarish relief. Only too late.do the combatants, virtual alter egos, realize their essential interdependence. Stentorious as the dialogue often beconwrfat least in the present translation by Susan D. Castillo, Joseph Chrzanowski and Carmen Zapata), it is relieved throughout by flashes of biting sardonic wit, and director Margarita Galban charts its course of dominance and submission in eloquent symbolic tableaux that give lucid voice to Romero's frequent abstruseness. Galban similarly elicits performances of incredible intensity from her two actresses.

Gad in tomboyish overalls, Christine Avila is the very personification of dictatorial infantilism, fatally clashing with Maria Rubell's lily-white, cunningly obsequious dissident Both women navigate the play's stockpiling reversals PVUI CiOf t(OI 136-710 aSOUWPOl 1 0i4 ar mmm aa eta naru or tooaii pi 9M0- 1M kM tM WX num. ilea TpU.LcT Mil Mroojiifoi MS Han t--7ja lutm of 80oa(pii tM02084f7J0. vw 8 7 908 1300 la epa. PtPPM. 8AT TIC4 0101:46 730 11 M8-746- tUaTOOtT CU9PIII 200 46 930 mUO WjT MMpaa mmi.

tmm Deky SMr MM8I POOItl oi tooaiPoi (POI tt-S PJO tot apaw Hal, la 898U1IPO) 1M0.h9-446-7J8-a 00 tar a tea LmtlTIOBtll 1146 145-346 946 flW BpPffM eHI Mff Schoolgirls Maria Rvbell, below, and Christine Avila share moment of tenderness in "El Juego." with astonishing facility, assuming their various guises of cripple, queen, beggar, slave and martyr with enough resilience to suggest a cast 10 times the size. Estela Scarlata's stark, pink-propped playground set visually defines the necessary psychological contours, and Robert D. Fromer's supple chiaroscuro lighting outlines the ever-shifting parameters of this "El Juego." English-language performances at 421 North Avenue 19 run Mondays through Saturdays, 8 p.m., Sundays at 3 and 7:30 p.m., through Sunday. A Spanish version will be offered June 6-17 (225-4044). u.

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