Daily News from New York, New York • 360

CdOOD By KATHLEEN CARROLL 7 A I up that it's easy to imagine him sweeping any woman off her feet, certainly a gawky 13-year-old girl. And, as handled by director. Michael Apted and writer Tom Rickman, the scenes of the Lynns' quickie marriage and early marital problems not only are tasteful, but endearingly comical. The second half of "Coal Miner's Daughter," which deals with Lynn's rapid rise to fame, her friendship with another much-idolized singer, the late Patsy 'Cline (Beverly D'Angelo) and her eventual nervous break- down, is far less effective in that Rickman's script seems to gloss over these important events. Lynn seems to develop an interest in singing overnight, while her truck-driving husband, just as suddenly, develops a talent for career management.

Her song, "Honky Tonk Girl," hits the charts and, before you know it, she's dazzling such country-and-western stars as Minnie Pearl on stage at the Grand Ole Opry. The pressures of fame lead to many lonely nights on the road and to Lynn's inevitable collapse from exhaustion and overwork, a collapse which the script never clearly explains. Fortunately, Spacek and Jones are able to make up for the superficiality of the script Spacek, who does all her own singing in a clear voice that is, at times, more affecting than that of Lynn herself, does one of her magical character transformations, capturing the wide-eyed innocence of the younger Lynn and demonstrating with equal perfection her gradual maturity as both a woman and a performer. And Jones brings a special warmth and a rugged charm to to the character of Doolittle, who balks at being just one of his wife's hangers-on and tries to rule to roost while giving her the love and encouragement she needs to deal with the demands of fame. What makes "Coal Miner's Daughter" particularly pleasing is the fact that it dares to show us a healthy, happy relationship between a husband and wife in which both the man and the woman change for the better while learning the kind of give-and-take that keeps their marriage alive and kicking.

COAL MINER'S DAUGHTER. Sissy Spacek, Tommy Lee Jone. Directed by Michael Apted. At the Trans-Lux 85th Rivoll, Gemini 2 and 34th St. East Theaters.

Running time: 1 hours, minutes. Rated PG. She went through hard times, living in a tumbledown shack in the Kentucky hills where she helped her mother and father take care of their brood of young 'uns. She married at 13, quickly had four babies, and, when nearly 18, she discovered her real talent she could sing. Performing her own plaintive songs about her personal hardships, this plucky backwoods teenager quickly captured the hearts of country-western music fans.

The story of how Loretta Lynn became "the queen of country music" is the standard rags to-riches show-business saga. But "Coal Miner's Daughter," the movie version of the Loretta Lynn story, is far better than the usual Hollywood movie about legendary show-business figures. Thanks largely to Sissy Spacek's stunningly convincing performance as Lynn, it is a vibrant, thoroughly engaging movie about a woman whose life moved "too fast," but who was lucky enough to have the love and support of a good man. The movie's early scenes, depicting Loretta's dirt-poor existence in Butcher Hollow, her first meeting with Doo little Lynn and their. exuberant courtship, are full of zest and humor.

The mountain setting, where a man, as one inhabitant reminds the restless Doolittle, has no choice but to work in the coal mines, make moonshine or move on "down the line," has been recreated with a gritty authenticity that matches the intense realism of the scenes of hillbilly life in "Deliverance." Even more remarkable are the performances of Phyllis Boyens and Levon Helm as Lynn's downtrodden loving parents. Helm is particularly touching in the role of Lynn's father as he tries to prevent his "shining pride" from running off with the impetuous Doolittle. As young Doolittle, Tommy Lee Jones is so charged 1 fc 4 Levon Helm and Sissy Spacek: coal miner father and daughter Drop it off the Empire State Building By DOUGLAS WATT CENSORED SCENES FROM KING KONG. An "CK-travasania" by Howard Schuman, with mmtc by Andy Roberts. With Stephen Collins, Alma Cuervo, Carrie Fisher, Edward Love, Peter Rieert.

Chris Sarandon. Directed by Colin Bucksey. Dances by David Twurl. Scenic design by Mike Porter. Costumes by Jennifer Von Mavrhauser.

Lighting by Richard Nelson. At the Princess Theater, Broadway and 4ttn St. of them trying to work up a nostalgic "Ha-Cha" (that's London spelling for nightclub act The 30s-type club is the permanent setting. There are six people in "C.S.F.K.K.." all of whom have done respectable work in the past, so that one can't imagine how they got into this. There is also an offstage pianist and recorded music, and there are six dumb songs, three to each act The players try on English accents because this is an English show, and wouldn't you know it.

I think it's supposed to be funny, one of those English jokes. Getting brc io Candy Darling, though: Candy (if ycu'ii forgive the familiarity), the theater i-n'l fun, but it's not all this bad, either. Honest Mosey over to the Lunt-Fontanne when you're free, which should be any minute now, and see for yourself. think she's ever going to be called upon to do. Candy Darling is a pretty name.

"C.S.F.K.K." is a lousy evening. The worst It gets its name from the search of a distracted young Londoner he supposedly wakes up in Japan after having been missing for five years, and is promptly sent back to London with a mission for some reputedly censored love scenes from the movie classic "King Kong." (Actually, the only scenes cut from the 1933 release were a few they were excised when it quickly became clear that early viewers were taking the big ape to their hearts showing Kong going ape over natives, gnawing at them and throwing them away and tramping on them, things like that) Mixed in with this search, which involves several strange encounters and mistaken identities, are his old gang consisting of a journalist, a black piano player and two girls, the four i '-v rk ---X -s tills 'II SiKlirtV-irtfMifMillll mi Win Jin mil 1 1 ornimy Carrie Fisher and Alma Cuervo: lost in A name like Candy Darling belongs with "Peter Pan," not a disaster like "Censored Scenes From King Kong," a pint-sized "extravaganza" a couple of blocks north at the Princess. Candy (if I may make so bold) is "dance captain" of last night's addle-brained exhibition, and she's also listed as understudy for the two girls, one plump and one skinny, who break into clumsy dance steps now and then. I don't know whether Candy is plump or skinny, but she's sure lucky just being an understudy and not having to climb up there into this godawful mess to talk and sing and hoof, things I don't "Censored Scenes From King Kong" 1 1: Robert Foxworth, as the mangy Valnikov, and Paula Prentiss, as his new partner in the burglary division, try hard to bring a spark of life to the movie. Prentiss tends to try too hard at first and she is much too shrill and hysterical as the 39-year-old veteran policewoman who finds herself stuck with a "crazy" partner.

But she and Foxworth, whose passive screen personality seems to suit this character, gradually warm up to their roles and they are genuinely appealing in their mutual seduction scene, in which Prentiss, downing vodkas like a true-Russian, becomes enamored of gypsy music ana Valnikov. Valnikov. as revealed in a series of confusing thA hlqitlr marhUNAr i. 1 a ulDOi BnMr, Foxworth, Paula Prentiss. Directed by kicker A New York Twin 1 and Murray Set A.

Valnikov is hardly an average cop. For one thing he's a melancholy Russian who drowns his sorrows in vodka instead of beer. And even after having to deal with a unusually gruesome child murder as a homicide detective, Valnikov refuses to become cynical and bitter about life, as so many cops do. With frazzled nerves and compassionate cbncern for people in distress the is particularly adept at consoling lonely spinsters), Valnikov is an endearingly eccentric character from Joseph Wambaugh's novel "The Black Marble." Unfortunately, there is nothing endearing about the movie version of Wambaugh's comic tale of crime and passion. It has a few nicely satiric moments, but, under sSZ I Becker's rigid direction, "The Black Marble-lumbers along with the speed and grace of a Russian bear With a surprisingly gloomy-looking Los Angeles as its backdrop, the movie is an uneasy mixture of quirky hf.mor and krim realism that never comes off, since Ker's approach is farltoo somber for Wambaugh's often witty script ilasnDacKS, iears coming up uu running into the kind of bad luck that seems to hound I Philo Skinner.

Skinner, piayea Dy narry uku vm, is a frantic, sweaty-faced loser whose gambling debts have led him to kidnap a champion show dog for ransom. Skinner's bark is worse than his bite. Stanton, as this miserable bungler whose moods swing from total viciousness to sudden fits of self-pity, and Barbara Babcock, as the kidnaped dog's frightened owner whose Junior League primness hides a sex starved woman, orovide the movie with its richest moments. Kathleen Carroll 1 Paula Prentiss and Robert Foxworth in "The LtaciC Marble".