Playground Daily News from Fort Walton Beach, Florida • Page 18

Muralist Wants fo Ennobfe Fifmgoers The Michaelangelo of Movie Houses By Norman Nadel I.OS ANGELES (NBA) With the lip o( his brush, Tony llcinsbcrgcn heightened Ihc ccstalic flush on Ihc cheek ol an allegorical maiden representing joy, then drew back to get Ihc effect. He couldn't draw back very far, because the scaffolding was narrow and the theater floor was 70 feel below. That didn't bother Tony, who had spent most ol tiis career up in the air. But people watching a a orchestra were mighty nervous about the 82-year-old artist working so nonchalantly on the GO-foot-wide dome mural, and he didn't want to worry fhem any more than necessary. "Seven hundred and fifty- one," he mumbled to himself, then wondered, "or is it seven i two?" A B.

shrugged; it really i mailer a But he had painted the murals for this same theater, Ihe Orpheum in Vancouver, firilish Columbia, when it was constructed in 1927, and now he was doing the job again in 1977. as the Orpheum was being restored from a derelict old movie palace to a new concert hall, home of the Vancouver Symphony Orchestra. lie settled for the smaller figure. Since he began painting movie palace murals about 1914, which coincides tally was the beginning of that era in (lie history of American films, he had done a total of 751 such ornate structures. In fact, Tony Heinsbergen has outlived that era.

He and his assistants did six or seven theater murals between 1960 and 1964, and that was aboul the end of it. Of course, Die Orpheum job, which brought him to Vancouver for two months lasl winter was special, for sentimental reasons, among others. Born in Holland, Tony had decided early that he wanted to be an artist, and was apprenticed to a painter in Haarlem at the age of 11. Two years lalcr, on his 13th birth- a he arrived i his mother, sister and brother in Us Angeles where his father, who had come some time earlier, had already secured (he lad a job, again as a painter's apprentice. At 18, Tony decided to leave home.

"Los Angeles was in the dumps at that lime," he recalls, "but Seattle was booming. After working in Seattle for about a year for a i of decorators, I called on a man a Bell, who specialized in theater decoration, I unrolled my samples on the lloor of his office and when he had seen aboul half of them he said: 'Ihal's enough. You go to Portland lonight snd start the Orpheum theater there. 1 "Four years later I went inlo business for myself and Crawford Burned Brighter "1 think Faye Dunawayhas the talent and the class and the courage that makes a real superstar," said (he lale Joan Crawford in her final inter- i a i A McCali's magazine. Which, of today's stars, did she most admire? "Foreign stars like Liv Ullmann and Sophia Loren are lopnotch, and 1 think we're going to hear a lol from Homy Schneider.

Paul Newman has the potential of becoming a magnificent ac(or if he ever gets Ihrough IMs complex he has about playing hoy-macho. Jack Lemmon is always exciting and Jack Nicholson can do nothing but get belter. Said Ms. Crawford: "I'm really sorry I can name so few. I guess I can'l help comparing today's stars wilh the slars of my day.

We seemed lo burn much brighter." IT'S HARDLY surprising that an artist who has been lyrically in love wllh the same "little girl" for 59 wedded years should be romantically inclined in his work. Like the Hollywood movies thai were shown in the or- nale auditoriums he painted, lleinsbergen's imagery depicted life not as It was, hut as it should have been. was working in Spokane when I met this wonderful, tiny little girl, Nedith. and 16 days later we were married there on Ihe night Ihe theater I had been working on opened. "We drove to Vancouver -it took three days then and had a 10-week honeymoon while I was working on the original Orpheum theater there.

That was in 1916. So I have a warm feeling for Vancouver, also for all of Canada, because Nedith still as wonderful as ever if not more so was born in Nova Scotia. "When the 'new 1 Orpheum was being built in Vancouver in 1927, (hey asked me to do Ihe murals for it, so back we came. Meanwhile we had established our home in Los Angeles. And when they asked me to re-do the Orpheum murals again this year -well, even though 1 retired from this sort of work in 1970 although 1 still do a lot of easel painting and it sells very well I couldn't refuse." It's hardly surprising that an artist who has been lyrically in love with the same "little girl" for 59 wedded years should be romantically inclined in his work.

Like the Hollywood movies that were i a a i i he a i Tony's imagery depicted life not so much as it was but as it should have been and should bo. In a Heinsbergen mural, the girls are lissome and lovely, airily uns elf conscious in their partial nudity. Even if the scene or allegory requires one or two of them to show the darker emotions indignation, pain or woe they manage to do it gracefully. However, the emotions usually are the ones apt to stir a happy or hopeful response in the viewer's breast. The men, too, gladden the eye.

A hero might be dying, or at least suffering his wounds, bul his posture still reflects the elegance of his station, the splendor of his moral spirit. None of this can be taken as incontrovertible evidence that the artist himself is unrealistic. But the lens of his a i i enthusiasm and contentment generate his talent, just as anguish and anger somelimes seemed to trigger Goya's. Tony Heinsbergen is a sweet guy who always has wanted people to feel good when they walk into any building he has They did, and despite the more austere tastes which prevail today, they still do. a a Orpheum restoration in Vanc a i i Heinsbergen's Los Angeles studio, brought to the Canadian provincial capital and applied to the interior of the dome with a mixture (ha( the a i i not reveal, bul which he admits does contain molasses and flour.

After applying the canvases, he and his two assistants spent over two monlhs on the scaffold, filling in and finishing the mural. In a continuity of allegorical scenes it depicts the nobler emotions, with lovely women, virile men and a quartet of delightful little girls modell- ed, he explains, on the four a of one of his friends. Heinsbergen regrets the austerity of mosl contemporary architectural decoration. "I mean a all buildings should look like Ihe old movie palaces;" he concedes. "But architecture has taken a very cold approach and now hardly anything is left of the aesthetics.

In a i a i i a architect? You just need an engineer lo build a square box with so many openings for windows. But my son, who designs banks, manages to give them modern design. yes. bul with a little bit of a i I a i a BRIDGE Oswald and Jim Jacoby Whitebrook comes to life i A 1 3 1 0 5 9 5 H'EST EAST 10 5 4 9 8 7 2 I 0 9 6 3 9 3 2 I 6 A 5 3 4 10 2 SOUTH ID) A A 8 7 5 2 A 7 3 North-South vulnerable Wilt Norlh En! South Pass 19 Double Pass Pass 3N.T. Pass Pass Pass Pass Opening tead QA therefore played ace and a small heart.

This dropped (lie Jack and king from West and Charley was in business wilh what we call a trump bye-pass play. West led a second spade. Charley won in dummy, discarded a diamond, ruffed a spade and played Ihe king of clubs. West took his ace and led a fourth spade. Charley ruffed, cashed the ace and king of diamonds and queen of clubs and led a third diamond.

He had eight tricks in and there was no way to keep him from making two more Irump tricks. On the last trick Easlliad (o use his 10 of Immps to ruff his partner's good club. Joan Crawford By Oswald 4- James Jacoby It is always nice to hear from an old friend. Charley Whilebrook, who admits lobe- ing almost 70, is retired and living in Florida. He sent us today's hand wilh (he comment, "Maybe there's life In Ihe old boy." Charley found himself in what can best be described as a very doubtful heart game.

Not that he had overbid, bul rather that the hand was a real misfit. Charley won the spade in dummy, decided that West needed the i of hearts for i a a A Georgia reader wants reassurance that the penalty Irlcks for a revoke are scored the same as regular tricks so that if you bid four hearts and make just nine tricks while your opponents have revoked you get credit for having made five odd. We can reassure him. Penalty tricks for a revoke are considered as tricks won by the non-offender. a copy ol JACOB UOOERN.

send Si to: "Win tl Bridge," this newspaper, P.O. Bon 89, Radio Clly Station, New Ycrli, H. Y. I061SI background, and a little bil ol (he romance of Ihe earlier a a nostalgia." Song Team Beauts HOLLYWOOD (DPI) The song writing learn of Connors and bobbins is not as famous as, say, Hogers and Hammers teln or Lerner and Locwc, bit! they've a lol more going Ihcm in the beauty department. Carol Connors and Ayn Robbfns are a pair of blue-eyed brunellcs who won an Oscur nomination this year for their lyrics for "Rocky." They collaborated on songs for the new Disney movie, "Tlie Rescuers," another runaway hit.

The partnership began four years ago when the fadies met on a double date. They no longer see Hie men (buy dated that nigbl, but have become last friends as well as song-writing partners. Carol had written two successful songs, "To Know Him Is To Love Him," which she recorded with a group called the Tcddybcars, and "Hey, Little Cobra." Both became goldrccordhifs, Ayn worked as a secretary atrd was an i poetess. Together the gtrls are more Olsen and Johnson than Gilbert and Sullivan. They good a bounce insulting oneliners olf one another in the jocular fashion more common among men than women.

Carol and Ayn could pass for sEsters, They are about the same age and share dark hair, warm personalities and a needling sense of humor. "I was becoming a bum and not doing anything," Carol said. "When Ayn and 1 got together we wrote a Christmas show for an animated tilm which almost sold. "The project had 11 songs in it, and even though il was never produced, Ihe effort led lo a Disney Interview and a halt years ago. That's how we got the job for 'The "I bated being a secretary," said A "1 had been the a a George Kennedy and Eva Gabor.

"1 could never get over the idea that Eva and 1 were sort of equals on Ihe job. She couldn't get used lo it cither. I didn't last very long wilh Eva, She didn't like me trying on her shoos all the lime. "We began working at Carol's house because she tiad the piano. I don't know how other song writing teams work, but Carol plays the piano and play the "Sometimes ive work independently," Carol put in.

(Walt Disney Productions! DISNEY'S NEWEST ANIMATED STARS Orville, the high fly- "trashy" Medusa, looking onward lett, are Bianca (above) ana ing albatross, gives the once-over to the baddies ol "The Bernard (below), the two secret agent mice who attempt to Madame Medusa and her two pet crocodiles Brutus rescue Ihe imprisoned Penny from the clutches of Madame and Nero. Jim "Fitter McGce" Jordon provides iiis voice talents Medusa. Eva nabor lends her soft accent to the role as Bianca tor the whimsical Orville and Genuine Page is featured as the andcomedlan BobNewhartisteaturedBernard. Disney Wizards Do it Again The Rescuers' A Visual Family Treat The Disney Studios have done iUn gain, Is'ol since "TJic Jungle Hook" lias the wizards of Disney achieved the i a in a i a i art, but "The Kescuers," currently playing at Ihe Paim Theatre, is a just tribute to the master wizard, Wall Disney, himself. I i Margery Sharps enchanting children's books about Ibc adventures of two secret agent mice, Bernard and Bianca, "The Rescuers" is a fun-tilled family treat which cxceUs in excitement.

Three mouse scouts retrieve a bottle in which they discover a mysterious message. A special meeting of Ihe International Rescue Aid Society is held hi a svamscotUng of Die United Nations building. The message-- an orphaned waif's scribbled pica for help. Adventurous Miss Bianca volunteers to take the assignment and chooses Bernard, a shy, but tove-slrucX janitor mouse, as her co-agent. Comedian Bob Newhart supplies a perfect and appealing voice characterization for Bernard while Eva Gabor delivers a soft accent seasoned i restraint and comes across utterly charming.

The daring pair discover Eroni Rufus, a philosophical old cat at the orphanage to which the note leads them, that Penny, Ihc little girl who the message had been spirited away by (he "trashy" Madame iMcdusa for some clandestine a i a diamond-obsessed frump is perlmps, one of the Disney Studios most dynamic and three-dimensional villians, surpassing CruelEa (te ViJIe, the iiorrorfying arehvillianess of "lin Dalmalioiis," Geraldinc Page lends her voice lo thus unsightly siren of nasliness who's image is of a wicked courtesan gone slightly lo seed rattier than of a wicked from the old Disney school. In her slightly saggy hose and her decollete cocktail dross and false eyelashes, one could almost Imagine her walking outof a Tennessee Williams drama. The a a of Medusa denotes the strings of change within the Disney organization, still tasteful anti but slyly interjecting conteniorary social commentary. Hiiinca and Bernard on their incredible rescue aboard Albatross Air Charter Service, maybe the films most ingenious creation-- a sardine can strapped lo the back of an a i albatross, Orville, voiced by i McGec" Jordon. The anima- tion of (ho clumsy bird's Jand i a a a superbly animated and inherently hilarious, because they derive naturally from (he awkwardness of the "gooney The thrilling takeoff ami Jlighl through Mew York's coji- crcle canyons and out to sea are breathtaking.

a i i Penny, clutching her tiny Pooh-bear, attempts to escape from her prison a rotten stcrnwheeler admist the mysterious roundings of Devil's Bayou, which is policed by (wo of Medusa's pet crocodiles BruUis and Nero. Bernard Bianca aindcd by swamp critters Luke and EJlic watch helplessly as the two crocs apprehend and return Penny back info (lie clutches of Madame iMcdusa. Penny, characterized by a wistful 9-year-old, Michelle Stacy, is simply adorable and innocent and is capable of bringing Ihe audience lo the verge of (cars. She longs for someone lo adopt iicr, bul she finds temporary solicc in the liny animal friends who come to rescue her. The rescue operation involves another thu ingenious creations, a small, hut high- spirited a a Evinrudc, who is nil heart and wings, i Medusa's sinister plot- lo lower Penny through a small hole in a cave lo retrieve a priceless diamond called "The Devil's Eye," On the road, or swamp to the rescue, there are perils, chases, escapes, suspense and a "they lived happily ever after" ending, including the tearful joy of a small girl finding happiness.

The delightful musical score is by Arlic RiUler.arict veteran songsters Carol Conners and Ayn i i a rnenigeric ol whimsical songs, i a i a academy-award winning song writer Sammy Fain on the me mo a Wailing for You." Lending voice assistance to the pictures other creatures are John Mclntire as the old cat Hufus, Bernard Fox, chairman of the Hcscue Aid Society, Joe Klynn as ftledusy 's incompetent cajun cohort, Mr. Snoops, James Macdonald as the whimsical Evinrudc and Jeanctte Nolnn and Pat But- tranj ns a swamp couple who assist Bernard and Bianca in (he rescue, of course with the aid of i a The entire production is a sheer joy to watch unfold on the screen. Disney animators and designers have solved without I'esliYwil (he problems of relating mouse-scale to human-scale. How are two tiny mice going to rescue a little girl? See "The Rescuers" and find out. organ keyboard HOWARDS.

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