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CI il i pi jry azweczv Be a trefe rrhsomM 1 Noooooogg-O jgwARBocK? ha Vrf ITS CXXiTfHTS-X 1Hr3 CttSKET 7 J3C FAINTED Jf Mf MESSAGE 13 A WHY, 7 flT Vw, I CONTAINED IM THIS JTHI3 80XI9 A ZSSSTk 5 HsiS 55 MOVIES "Bad Company1 Shows Youths in Grim Westf Sew What? Sew anything, that' a what. Beginning tomorrow, special onem-a-wook towing foatmrm will point tho way to prof Ui-oney at "running mp" oton tho moat intricate typeu of drommom, auifa and other apparel. VAJ venture In Sowing," a tpociat serialization of a now and informative book, can mako a eeammtreme oat of anyone who can thread a needle. Look for this great new eeriem tomorrow and every Wednesday for tho next eight weekm in tho women's pages of THE NEWS. fresh strawberry, lemon, By KATHLEEN CARROLL Two Civil War draft dodders go West in "Bad Company," at the Baronet, fully expecting1 to find a land of gold and opportunity.
But these young1 men are in for a rode awakening. The West, as depicted by that (rood company of writers, Robert Kenton and David Newman (the dynamic duo that wrote "Bonnie and is a grim, grubby, miserable hunk of territory in which the clear-eyed Good Guys and the ever-stalwart women of the old-fashioned Westerns have been replaced by bleary-eyed petty criminals and drab-looking wives who willingly turn whore for a price. In such a place one leads a lawless kind of existence just to survive. BENTON, IN his debut as a director, is concerned with how his two footloose heroes adapt to this hostile environment and, even more important, how they adapt to each other. The more volatile of the two is already a ruffian.
Played with roguish charm by Jeff Bridges, he is a natural leader of boys. The Neighbors '11 Barry Brown and Jeff Bridges a fast talker whose plots, more often than not, backfire. Among the ragged orphans of war attracted by his spiel is a bookish, slightly stuffy runaway who is more than a little appalled by Bridges' manner. Barry Brown who is already being hailed as the new Jimmy Stewart, gives By George Clark of one of the outlaws, who, for some curious reason, dies sitting up. Several recent films, most notably "The Culpepper Cattle Company," have traveled this road before, exploring the theme of wandering youth versus the rugged West.
Although Benton says his piece skillfully, there is the nagging feeling that we've heard it and seen it all before. new sparkling body toner JE1 jf nature IS I jp?" Eo v. dlr -I nn i the character dimension In a striking performance. On the surface, he seems to be an innocent, underneath he is a tough prag-matist. He and Bridges are a study in opposues.
ineir relationship is a constant pulling and tugging as each tries to gain control. Benton excels In creating the appropriately gritty frontier atmosphere for his characters. He has chosen to use slightly amber colored tones that give the film the enriched glow of a Western sunset or camDfire. Perhaps the most fitting touch of all is Har vey Schmidt marveiousiy simple piano music. Benton and Newman know how to orchestrate violent scenes with all their practice in "Bonnie and Clyde." Here there is something oddly inconsistent about the vio- lence.
ine scene in wnicn me posse, in a spray of gunfire, wipe out a gang of gypsy-like outlaws, led by a hulking figure with a sharpshooting mouth played full blast by David Huddleston, is a brutal reminder of the machine-gun death of Bonnie and Clyde. Still other scenes of blood spilling seem over stylized, such as the slow motion death of a child, that is all but ignored. Even stranger is the death scene "Bad Company," a Paramount Pictures release in Technicolor. Produced by Stanley R. Jaffee and directed by Robert Benton from a screenplay by David Newman and Benton.
Presented at the Baronet Theater. Running time: 1 hour, 33 minutes. MPAA rating: PG All admitted-parental guidance suggested). THE CAST: Jake Rumsev Drew Dixon Marshal Big Joe left Bridges Brown lim Davis Huddleston lohn Savage lerry Houser Lonev Arthur Simms. Jim Bob Logan.
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