The Boston Globe from Boston, Massachusetts • 29

ixoiuii evening uiooe inursaay, August IVi'i TONIGHT at 8 'Suspiria' is fitful TEDDY WILSON: aur ler. Hem Sept Qosw) Monday PubnGrub BARBARA and BENNY INVITE YOU TO REVIEWMOVIE W. Dm-Cape Cod 17398-8033 46TH C. Y. O.

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MCHie ueur I SUSPIRIA A film written and directed by Dario Argento. At the Sack Gary and suburban theaters. Rated R. By Bruce McCabe Globe Staff "Suspiria" is a giddy, hysterical, fitfully entertaining imitation of "The Exorcist," "The Sentinel," "The Omen" and almost any fantasy you can concoct about the occult Featuring a cast that includes Jessica Harper, Joan Bennett and Alida Valli, the film is presented in a Grand Guignol manner that is occasionally surprisingly effective in spite of its familiarity. Part of the problem is that the movie builds too successfully to a climax that is a distinct anticlimax.

Writer-director Dario Argento, who has a reputation for this kind of film, seems to have exhausted his resources at the most critical point. Up to the anticlimax, however, there's an array of effects, some of which manage to keep you on the edge of your seat. I'm not referring to a bloody stabbing and garroting which occurs near the beginning and which is too much, too soon the film recovers from this aberration and gets a firmer grip on its nightmares. No, what I'm referring to are other moments, the way a crazed-looking doctor sinks a needle into the vein of a nervous young woman, or the way Luciano Tovoli's camera prowls corridors drenched in a blood-red decor, peering into corners or through open windows into storm-lashed nights. Then, there's the heavy breathing that punctuates the sound track, the thunderclaps, the footsteps and the pounding on closed doors that always turn out to be locked.

"Suspiria" I'm not sure what the title means, if anything concerns mm VJ nt.MXT: HI LADS A LAS (Harper) who goes to a German dancing academy to study dance but who winds up spending most of her time trying to avoid antagonizing the academy's staff, which seems to be composed of ghouls. I particularly liked Daniel, a blind pianist played by Flavio Bucci, who comes to an untimely end, and Pavlo, a hulking handyman portrayed by Giuseppe Transocchi, whose end turns out to be much more timely. My favorite moment in "Suspiria" is when Stefania Casini, playing a friend of Harper's, tries to escape from an anonymous fiend who's trying to unlock, with the blade of a dagger, the door to the room Casini's trapped in. Casini can escape by putting some boxes atop one another and climbing out through a small window. The fiend jiggles the door lock frantically with his (her? its?) knife while Casini just as frantically tries to build her boxes and climb out to freedom.

She clambers up the boxes but they start giving way. I don't want to get too detailed here, but what happens is that Casini finally escapes through the window only to be rudely surprised by what she finds on the other side of it. In a way, the whole film is like this. It's got more ups and downs than a rollercoaster and it's much harder to characterize. The music, by a group called The Goblins, is frequently effective and carries the film over some of its duller parts.

But it remains a fitful, uneven piece of work too often more uncontrolled than the hysteria it's trying to create. Composed and Directed by T.iTTfirrrriL Ws a hilarious ELIZABETH SWADOS With original N.Y.cast Rtt. 423-6580. Groips 423-246! QUIK CHARGE 426-6210 FULLY AIR CONDITIONED MAIL ORDERS NOW! Repertory ThMtrp outrageous road race, with the world's most ijnfoyistorlacrBos expensive cars, TODAY AT 2:30 81 From mw wo, mmmr PG Tecfimtolor Pati3.iMon BY POPULAR DEMAND ENGAGEMENT EXTENDED! Now thru Sept. 11 NOW PLAYINGBOSTON SACK CHARLES AND THESE SELECTED THEATERS AND DRIVE-INS! 4 mm Natick Flick Nattck (831) Naliek Dl New Bedford Compass No.

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ARTHUR ALSBERG r.DONNELSON'". RON MILLER VINCENT McEVEETY TECHNICOLOR" The most controversial American hero of our time and one hell of a man. "HELLO, DOLL Revival of the 1964 musical, book by Michael Stewart (suggested by Thornton Wilder's play "The music and lyrics by Jerry Herman, directed by Lucia Victor, sets by Oliver Smith, lighting by Martin Aronstein, choreography by Jack Craig, produced by the Houston Grand Opera Company and James Nederlander, at the Music Hall, through Sept. 11. By Kevin Kelly Globe Staff The real hazard is to tell you about the revival of Dolly" without sounding like just another singing telegram, without haplessly joining the spirited reunion that greets Carol Channing, as Dolly Gallagher Levi, when she returns to the Harmonia Gardens in the second act.

Carol Channing is back again, shimmering in red satin and sandpapering her voice over the Jerry Herman songs she first sang in 1964 when "Dolly" was new on Broadway. So far so good. But there's a hitch in the hazard. The thing is, I really can't welcome Carol Channing, which probably seems both churlish and awful. There's a technicality, a loophole which maybe, just maybe, will prove I'm no pushover.

Although Carol Channing did marathon work on Broadway (1273 consecutive performances), she finally was followed by a lot of other ladies in the role and preceded by some of them on tour. The fact is she had never played Dolly in Boston before last night which, in my book, is one of the reverse wonders of the theatrical world. So there it is. Even if we now recognize all the other Dolly ladies as glad-time impostors, how can we, in good faith, welcome back a come-lately? Or can we? Aside from this weighty ethical REVIEW STAGE consideration, the "Dolly" revival is a straight-out nostalgic smash. I'll go so far as to say that it's better than it has ever been before.

Adapted from Thornton Wilder's "The Matchmaker," the musical's plot is too well-known to be detailed. It's a Labiche-like lighthearted farce about a good-natured widow, Dolly, who "meddles." During one of her matchmaking episodes, she decides to pursue one Horace Vandergelder, a "a half-millionaire" from Yonkers. The time is the 1880s and Dolly is determined to find happiness and security for her waning years. One of the improvements -in the current production is that Michael Stewart's book now seems more compact, less arbitrary than it once did. And, further, Carol Channing, at 55, has a depth and vulnerability (the old girl trying her luck) that she may have lacked earlier.

Further still, Jerry Herman's score the Parade Passes By," "Ribbons Down My Back," the irrepressible title tune) now have the added sheen of nostalgia. Under Lucia Victor's direction the musical moments, the comic turns and the rueful drama (Dolly's soliloquies to her dead husband) are almost seamless. The evening is smoothly, admirably professional and, except for the blasting reverberation of the Music Hall's sound system, letter-perfect. The cast is wonderful, especially Eddie Bracken, as Vandergelder, Florence Lacey, Lee Roy Reams and Robert Lydiard. Which leaves, of course, Carol Channing.

She's merely sensational. "The world is full of wonderful things," someone says after a musical number. One of them is Carol Channing. Another is "Hello, Dolly." Hell's bells, welcome Miss and may you meddle forever! Your delay is forgiven. Wft MiCauiornia tnioi now Space Moontai apace woomam an nenmrionga ntr anon ninfapn DISNEYLANDWALT DISNEY WORLD NOW PLAYING! SAVOY: 1 CINEMAS: 1-3-5-7-9 PJ.

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