Page 96 article text (OCR)
Robert Altman, Elliot Gould reunited in 'Goodbye' By Wayne Warga Los Angeles Times HOLLYWOOD-The l a t e Raymond Chandler, justly Condice Bergen Â· Peter Boyle T.R.IASKIN KAYTON PH.442-96OO Montgomery 3rd WEEK See at 1:35,3:35 5:40,7:45,9:50 TECHNICOLORÂ®- From Warner Bros.. A Warner Communications Company NOW SHOWING -- X RATIO -ADULTS ONLY DARK o 2)3 color release Â» SUPER X PRODUCTION -ALSO BACK AGAIN"STARLET" IN COLOR celebrated for his labyrinthi- an Philip Marlowe detective stories, has these last several years been gaining steady recognition as a literary stylist whose talents far exceed his less appreciated genre. His s p a r e , tendon-taut writing and his unerring eye for the color, taste and 1 smell of Southern California are at last gaining recognition, and his loyal following grows still again. One of his most famous novels, one that sweeps over this landscape as though propelled by a strong, dry and hot wind, is at last being made into a film. 'The Long Goodbye" Is being directed by Robert Altman, a man of considerable talent with his own genre following. The cast Is intriguing. Philip Marlowe is being played by Elliott Gould. Nina Van Pallandt, star of late literary intrigue and a former resident of Ibiza, plays Eileen Wade, the lady who caused no few compli- cations. Her writer-husband of alcoholic and self-destructive persuasions is no less than Sterling Hayden. The disappearing man in the middle and Marlowe's good friend, Terry Lennox, turned-writer and television commentator Jim Bouton. Perhaps the most offbeat member of the cast is Mark Rydell, a director of no small accomplishments who hasn't uttered a word as an actor since he split from the daytime soaper, As the World Turns, a decade ago. Rydell plays Marty Augustine, Gould's gangster-nemesis, a man as likely to shoot the scenery as chew it. On a recent night, "The Long Goodbye" company, with Altman presiding in his usual poppa-bear patriarch fashion, invaded the heart of Chandler country, the Hollywood Hills. They were shooting in Marlowe's apartment, a down-at-the-heels hillside apartment accessible only by elevator. The view of Hollywood is spectacular, o b s c u r e d only slightly by four shining Actors, scenes, songs all excellent in Tiddler' By James F. Dent " F I D D L E R ON THE ROOF," Topol, C i n e m a South. **** First, In the words of a semi-prominent U.S. .public official, I want to make one thing perfectly clear. I am one of the very few adult human beings in the United States today who had never seen "Fiddler On The Roof." Not, at any rate, until the other night at Cinema South. (I've never seen "The Sound Of Music either but that's another story. Everyone eise seems to have seen one, two or even three stage versions of "Fiddler" and they can spend endless hours discussing whose Tevye was the best Tevye. Not me. And so I am in no position to make any comparisons, invidious or otherwise, with the "Fiddlers" which may have gone before. I can only tell you about the movie. And what I have to tell you is that it is excellent. First rate. A joy. So, maybe it's somewhat schmaltzy. A little schmaltz now and then never hurt anybody--especially when it's well done, as this is. For the benefit of those of you who may have been living in a cave the past several years, the plot of "Fiddler," adapted from the short stories of Sholom Alecheim, concerns the poor Jewish dairyman, Tevye, who is living in Anatevka, a village in the pre-World War I Czarist Russia. Tevye has five daughters, three of marriageable age, and no money for dowrys. He discusses his problems with God on a man to man basis. ("I know we're your chosen people. But couldn't you, s o m e t i m e , choose someone else?") Tevye and his wife are buffeted by the winds of change. They and the matchmaker want their eldest daughter to marry the butcher, a man of some FILM REVIEW substance. Instead she marries the penniless tailor. A second daughter takes up with a Socialist revolutionary who even thinks it's all right for men and women to dance together and third daughter falls in love with a Gentile. The Jews of Antatevka also live in the constant fear of pogroms, sanctioned by the Czar's government. And then there are the songs. The music from "Fiddler On The Roof"-"Tradition," "If I Were A Rich Man," "Sunrise, Sunset," "Do You Love Me?" --is very possibly one of the best Broadway scores of recent years. The songs don't intrude into the story--they carry it forward. The actors all are fine and particularly the Israeli actor, Topol, is good in the main role as Tevye. (I am not going to argue with anybody about Zero Mostel or Herschel Bernardi or Jan Peerce or whoever else played Tevye on the stage. I didn't see any of those performances and I thought Topol was great.) In at least one respect I would Imagine the movie to be much superior to any stage production and that is in the opening up of the exterior scenes. The village, the vast windswept Russian plains, all of them add to the feel of the picture. Most of the exteriors were shot in Yugoslavia and they stand in for Russia very nicely. Or, at least, how I imagine Russia looks. Anyway, I don't care if you've seen a half dozen "Fiddlers" This Is the best movie musical in years. Go see it or you haven't seen one. Go on. Enjoy. young girls who occupy the apartment next door and are out on the terrace dancing topless. It is Rydell's second night of working on the film and the night of his big scene. Along with four rent-a-goons he is to terrorize Marlowe, rip his apartment apart and issue all sorts of unveiled threats, the aim being to "get back my goddamn 300 grand." During dinner, catered in one of the Hollywood Bowl parking lots, there is a great deal of good-natured teasing and testing. "I like my locations to be friendly and sociable," says Altman. "We all like what we do, so why not? His locations, in fact, are not so much sociable as they* are a way of life. "The Long Goodbye" Is Gould's second film with Altman. The first was "Mash," which sent the careers of all concerned scaring. There is a rather grateful irony to their working together again, for it was Gould who went on to make film a f t e r film until "Glimpse of Tiger," which was stopped nearly as it began. That was two years ago and G o u l d hasn't worked since. Â· Gould is a man who is full of irony and intelligence, and has c l e a r l y been through the wars. "I'm not happy to be with Bob again, I'm thrilled'. It's a second chance. I don't mind saying so and I'm glad for it. I've learned all my life to lose gracefully and now I want an opportunity to win. Bob is letting me be me, which is a great way to work as an actor." "Tiger" closed down amid a flurry of rumors that people were screaming, fighting, armed guards were everywhere and plenty of other intrigue abounded. The scene is rehearsed twice with only minimal damage to the apartment Altman has rented from its t e n a n t s and refurbished Marlow-style. It is late at night when actual shooting begins and cinematographer Vifinos Zsigmond has completely explored the camera angles available in the tight little room. The first take is accomplished 1 smoothly, with Altman using his own special brand of body choreography behind the camera as he watches. It runs too long to suit him, so he asks for another take. Several minutes are spent reassembling the ransacked apartment and Altman spends the time talking to his actors and encouraging them. As cerebral as his finished product often seems, Altman nevertheless is a visceral director who tends to react to what he sees as if he were performing in a turn-of-the-century tent show. He barely stops short of hissing at the villain. liOIIYUOOD \JCINEMA / x j 1008QuJfr*f St 3 4 6 0 0 1 1 RATED ADULT ACTION FILMS 21 and over DOUBLE FEATURE PROGRAM Show Changes Each Wednesday 11Â«M thru 11:00 PM Call Laszlo for Reservations! Free Lasagna Â·exciting Vocalist -and the "Moon Glows" Fri.-Sot.-Sun.-Try our Business Man's lunch KANAWHA CITY CLUBHOUSE lay Paul 4102MacCorkleAve. PARKING AT REAR Call 925-99601 TRAIL BELLE. W VA ELKVIEW ELKVIEW, W VA. "THE VIRGIN WITCH" STARTS AT DUSK SHE'S THE CHU. WITMTHE POWER -.TOTUMI YOU ON! ...TO mm you OFT: RU.rÂ« r ,(U BY JOSIM! OTNMR A'jVXIKK'j INC ' THE EVIL SPIRIT MUST CHOOSE EVIL! JOE SOLOMON pmtnti Wrfl wrt! METROCOLOR ;'!w.'Â£ '.R'I-W J A Y GOUIO PRODUCTION DINNER THEATHE'TJ CLOSED MONDAY NIGHTS based on Sholem Aleichem stories by Special permission of Arnold Perl Book by: JOSEPH STEIN Music by: JERRY BOCK Lyrics by: SHELDON HARNICK Produced on the New York Stage By Harold Prince )rig!nal New York Stage Production Â· . . Directed andChoreographed by JEROME ROBBINS AUGUST 2nd thru SEPTEMBER 2nd MENU PREVIEW' H....I Hri.Li-1 .-rillrKÂ».h llrrrillg til * ill*- Sum* (Jmknil.iir Pale Ilililrd llrrll' ,|M/.J -rrr.l f.rrntllrun* - Aug. 2nd* 3rd Only v ivkM(riii..ti-A ( ucilll lirfft ill ^ Mii-|CMr \ ftiiilla Irr !ri'Â«n. lttt*|ilirrr 1"liinirA \ nmllu'HtLir - - V Â§un., TIME., W*d., ami PHONE FOR Door* Open -6:00 SHOW TIME, JULY 30, 1972 -- r-i- Â«% A Â« Â« oor* (RESERVATION* 755-381 1 -SfcTJ SOUTH OFF 1-64 -- EXIT 9 BIG 10 MEMBER CAST EXTRAVAGANZA CHARLESTON, W. VA.