The Los Angeles Times from Los Angeles, California • 55

CALENDAR Cos Angeles (Times Television Listings Monday, February 2, 1987 Part VI JACK MATHEWS ARTS COUNCIL SEES HOPE FOR ITS NEW 3-YEAR PLAN SCHELL VS. DIETRICH: IT'S A DRAW Actress Wins the 'No-Camera' Battle, but Director Scores a Documentary KO y' 'w i if" who was in Washington last week to serve on an NEA panel, the NEA has recommended that the arts council be given a three-year basic state operating grant, instead of just a one-year grant. "In the last 12 months, we've put together a three-year plan," said Steam, who authored that plan, "and we've begun to develop initi- ByZANDUBIN SAN FRANCISCO The California Arts Council kicked off the new year here Friday on a note of unanimity. At its first regular meeting of 1987, the 11-member state arts funding agency swiftly and unanimously elevated Harvey Steam as its chairman. The race was won without opposition; Steam's was the only nomination.

The action came as no surprise to council members and observers, many who had predicted that Steam, a Mission Viejo developer who had served as vice chairman for two years, would easily claim the post. The council also elected Joanne C. Kozberg, a Los Angeles Music Center administrator, as vice chairman. Kozberg also ran unopposed and won by unanimous vote. Immediately after the elections, Steam delivered both good and bad news as he addressed the council at the Asian Art Museum.

Two years ago, Steam said, the National Endowment for the Arts temporarily deferred the council's basic state operating grant. (It was the first time this had happened in the council's 10-year existence.) Among the concerns the NEA cited, he said, was that the council lacked a long-range plan and -programs for ethnic minorities. After rewriting its NEA grant application, the council was finally awarded the grant later that year. (For fiscal 1986-87, the NEA grant makes up about $620,000 of the council's current $13.5 million budget.) However, this year, said Steam, Mat. Maximilian Schell has this theory about individual lives being lived as feature films.

It is not a formal theory, nothing he has written down or even labeled. It is just a view that emerges during a comfortable, almost mesmerizing conversation in his suite at the Chateau Marmont. It emerges as he talks about the role he played in Marlene Dietrich's life, the role of the documentary film maker who sparred and fought with the movie legend during 10 days of interviews in her Paris apartment in 1982. It emerges when he talks about his own film performances, of how he looks back on himself in "The Young Lions" and "Judgment at Nuremberg" and "The Man in the Glass Booth" and sees each image of his aging self as part of a life mosaic. And it emerges when he turns the interview completely around.

When instead of answering a question about how his career experiences have affected him, he has you do a quick resume of your own life to see if you don't agree that each entry somehow follows the last. As one scene follows another. One moment, we're talking about Marlene Dietrich's stand against Nazi fascism during World War II. The next, we're talking about a future reporter growing up with Depression-era Kansans in southeast Los Angeles. Some movies are more interesting than others.

"Everything you do has certain significance, a certain weight," Schell said in that richly resonant Viennese accent. "I think there is a film in everyone." There was certainly a film in Dietrich, who is now in her mid-80s and more than 20 years beyond her last major film role. Schell's "Marlene," a 1984 feature documentary Oscar nominee that only recently found its way into American theaters, gives witness to Schell's life-as-film theory. "Marlene" is actually two documentaries in one. It is, first of all, a spicy, illuminating recap of the star's life and career, complete with the appropriate excerpts from such films as "The Blue Angel," "Destry Rides Again" and "Witness for the Prosecution." But, more interestingly, it is a documentary about the attemptsoften futile of a respected peer to penetrate the star's own mythology.

On the ladder of movie legends, perhaps only Garbo occupies a higher rung. Schell appeared with Dietrich in the 1961 "Judgment at Nuremberg," but he had been with her socially only once. By coincidence, it was in another suite at the Chateau Marmont. "It was very strange. She just showed up here one day while we were doing 'Judgment at Nuremberg" Schell said.

"The porter called and said, 'Miss Dietrich is hiDUNUi mull i. in here to see you. Can she come I said, "It was a very friendly talk. She cooked for me. She seemed to like my work very much.

Then we never saw each other again until this film came up." As the story goes, when Dietrich agreed to a documentary on her life, she asked the producer to hire Schell as the film's narrator. Dietrich did not want to appear on camera during interviews, but she would comment on her life and on excerpts from her films. Schell said Dietrich sent him two scripts for a documentary, one written by a friend of hers, the other by a professional screenwrit- ART REVIEW GAYLEN HANSEN'S RURAL FANTASIES -1 Director Maximilian Schell and Marlene Dietrich, as she appeared in 1930 film "Morocco." er. In the margins of both scripts, she had scribbled things like "rubbish," "a lie," "this is not true." "I said to her, 'If I write another script, you will write the same things about Schell said. 'You know your life better than I do.

Why don't we just talk about It took a long series of negotiations to get Dietrich to agree to be interviewed on tape by Schell, and to allow Schell to direct the film. The actress didn't see a need for a director, just a film editor and a good narrator. She even described how the film should be done. 'You just have to see me leaving Germany on the boat, then you see my arrival in America in news-reels, then you see my first picture in Schell quoted her as saying. "I was to follow that exactly.

I said, 'That's rather dull. Do you find that She said, 'I am not contracted to be Eventually, Schell set up his tape recorder in Dietrich's apartment and turned it on. It was like ringing the bell for Round 1 of a heavyweight boxing match. Dietrich resisted his questions, insulted his methods, denied events that he described and accused him of trivializing her life. Please see Page 5 Hansen: The Paintings of a 1975-1985" now concluding a 1V4-yearlong tour, at the Municipal Art Gallery in Barnsdall Park (through March 1), and another 17 paintings in a show at the Koplin Gallery in West Hollywood (through Feb.

21), Hansen has reason to gloat. But you won't find him glad-handing at the galleries Instead, you'll meet the artist's alter ego cavorting in primitive-looking paintings. "The Kernal," a bearded, pipe-smoking, cowboy-style Ev-' eryman and a dead-ringer for Han-Please see HANSEN, Page 6 above, is on display at Barnsdall left, is at the Koplin Gallery. evasive program that adhered, for the most part, to low ranges and low keys (sometimes uncomfortably low). The voice did, indeed, sound darker and deeper than one might have expected.

Some of the ascending climaxes flirted with strain and fuzzy pitch. A purist might have noticed, moreover, that Milnes blasted stentorian fortissimos and whispered gentle pianissimos, but couldn't always find an easy bridge between the dynamic extremes. Nevertheless, he sang with pervasive flair, with emotional fervor, and with disarming, open, ail-American amplitude. He remains an extraordinarily suave musical salesman, and he reminded Please see SHERRILL, Page 3 Chairman Harvey Steam tives for new programming. The NEA was extremely complimentary towards the council and we've been recommended for a three -year multi-grant, so we won't have to reapply for the grant each year.

"This has not been approved yet, but the likelihood is it will go through. We're viewed by the Please see CACPLAN, Page 6 ROSEMARY KAUL Los Angeles Times awards derby which culminates with the Oscars broadcast March 30. In the past, the Globes have been little more than a glittering starfest, a glitzy media extravaganza that is the only major awards night where TV and movie stars are honored together. But in recent years the once-troubled awards show (given out by the Hollywood Foreign Press Association) has been gaining credibility with a loyal following within the industry. "They do certainly get talked about and written about on TV and in the newspapers," says veteran press agent Bobby Zarem.

"I don't think the Academy is affected by them, but the consumer can be. If a picture wins, it makes people say, 'I probably should go see that Still, certain Globes traditions die hard. Once again the no-show winners (i.e. Paul Hogan, best performance by an actor in a motion picture musical or comedy; Bob Hoskins, best performance by an actor in a motion picture-drama and others) nearly kept pace with those who did show up. And, once again, the evening has Please see' Page 7 Marlee Matlin receives her Golden Globes award for best actress in a motion picture, drama, for "Children of a Lesser God." WINNER OF 3 TOP TROPHIES 'PLATOON' IN A VICTORY MARCH AT GLOBE AWARDS By DAVID T.

FRIENDLY and JOHN VOLAND 'mMmA IT i fc- '-if fc'- -J By SUZANNE MUCHNIC, Times Art Writer What happens when a quintessential Western artist abandons hope of making his mark in the East? If he is Gaylen Hansen, who was holed up in a teaching position at Washington State University for 25 years and now works out of a studio in the eastern Washington town of Palouse, he starts painting what amuses him and becomes famous in spite of himself. With a large exhibition, "Gaylen Gaylen Hansen's "Rising Dog," Art Gallery, and "Juggler," at magazine, in a monumental gaffe, confused our glamorous, new, big-league company with the modest, spunky and defunct Los Angeles Opera Theater). His recent Rigoletto broadcast from the Met was, to put it gently, problematic. None of that, thank goodness, precluded a personal success Saturday night for the personable matinee idol who used to be a farm boy in Downers Grove, 111. On the basis of this appearance, it is impossible to judge the current status of Milnes' once-brilliant upper register.

He chose a somewhat If the Golden Globes are any sort of Oscar indicator, writer-director Oliver Stone better send his tuxedo straight back to the dry cleaners and start rehearsing his acceptance speech for the next round of awards. "Platoon," Stone's powerful and personal account of the horrors of the Vietnam War, captured three of the evening's most coveted trophies: best picture, best director and best supporting actor (Tom Berenger). "Through this award you acknowledge the Vietnam veteran and you say you understand what happened over there and that it should never happen again," Stone told the packed house at the Beverly Hilton's Conrad International Ballroom. In the most dramatic moment of the evening, hearing-impaired actress Marlee Matlin, who portrayed the anguished deaf student in "Children of a Lesser God," accepted her best actress award in sign language. "I'm not much of a speaker, he is," she said pointing towards the interpreter she brought on stage with her.

"I can't believe it, I'm shaking!" The Globes ceremony marked the official start of the annual SHERRILL MILNES RETURNS TO UCLA By MARTIN BERNHEIMER, Times Music Critic BARITONE IN RECITAL different, all had certain attributes in common: a big, warm, resonant sound, a clarion top extension, special affinity for Verdi, a commanding, extrovert manner. At 52, Milnes should be close to his prime. His recent appearances, however, have been cause for concern. Things did not go well when he sang the Toreador Song for the Statue of Liberty and a world of television viewers on the Fourth of July. He was decidedly off form as Iago in September with the Music Center Opera (the UCLA program Informed opera lovers ap-1 proached Royce Hall, UCLA, with some trepidation Saturday night Sherrill Milnes was giving a recital.

Normally, that would be cause for happy anticipation. Milnes is the latest and, perhaps, the last in a line of great American baritones. That lofty line began with Lawrence Tibbett and John Charles Thomas in the 1920s, and continued rapturously with Leonard Warren, Robert Weede and Robert Merrill. Although each was blessedly INSIDE CALENDAR FILM: "Hands of Steel" reviewed by Kevin Thomas. Page 10 "Allan Quatermain and the Lost City of Gold" reviewed by Patrick Goldstein.

Page 8. MORNING REPORT: News briefs. Page 2. POP: Rosie Flores reviewed by Steve Hochman. Page 4.

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