Detroit Free Press from Detroit, Michigan • Page 28

4 LIKEABLE LOVE STORY DETROIT FRKE PRESS 10-B Friday, Nov. 4, 77 JVet Discs: is a Rock rent Bus Winkler Finds the Right IN COLOR: Che? world's strangest-1. one of the most plea the mood for late '6 ic One of the groups is also listen to if you're in eatles-influence hard 'I HEROES Area Theaters Jack Dunne Henry Winkler Carol Bell Sally Field Ken Boyd Harrison Ford A Universal Pictures release, produced by David Foster and Lawrence Turman and directed by Jeremy Paul Kagan; written by James Carabatsos; with photography by Frank Stanley; music bv Jack Nitzsche. In color. Rated PG rock.

Not heavy metal, mind you. Just good, guitar-dominated rock end roll" with a bet you can't miss. Rick Nielsen, the bent creator who leads the group he of the Chicago Cubs hat, cardigan sweaters and bow ties plays fierce lead guitar with Pete Townshend flair and writes witty, upbeat tunes. Bun E. Carlos, the Argentine-born drummer who looks like a used car dealer, is the other weird band member.

Pretty boys Robin Zander and Tom Peterson handle RICK NIELSEN looks weird, but writes upbeat music. Km jwfinirffim, i "SAFARI CLUB" "BACKSTREET GIRLS" the lead vocals and bass playing respectively. This second album by the Trick is slick and aimed for commercial acceptability. Lots of hooks and slam-bang rhythm tracks prevail with "Hello There" and the adrenaline-soaked "Clock Strikes Ten" standing out. Nothing innovative here, just the pure entertainment of exuberant, well-played rock and roll.

Considering the rise of mediocre mojo in the form of sterile studio pop, Cheap Trick seems all the more impressive. -MIKE DUFFY Hi "2a- itt "Ti if ll-nf- 'T mi iniiiiii im ORSON WELLES: Phon-') ies can be admirable. I-Welles Explores pThe Magic Of Fakery "GIFT OF LOVE" "HOUSE OF DE SADE" Henry Winkler, better known as TV's Fonz, plays a mixed-up Vietnam veteran in the movie "Heroes." He finds love on a cross-country bus when he meets Sally Field, who used to play the flying nun. "VENTURE INTO THE BIZARRE" "YOUNG NYMPHS" i FOR FAKE Arts Institute To be shown Friday only al 7 and 9:30 p.m. by Detroit Film Theatre in the Detroit Institute of Arts auditorium.

BY SUSAN STARK Free Press Film Critic Fans of the Fonz, TV's archetypal '50s greaser, are in for a surprise from "Heroes," a likeable if largely preposterous film starring Henry Winkler as a Vietnam veteran with as little cool as the guy in the Mexican reataurant who mistook the hot sauce for ketchup. The film pairs Winkler's Jack Dunne with Sally Field's Carol Bell and allows them, during the course of a crosscountry trip, to fall in love. Dunne, a mass of undirected energy, flees the psycho ward of a New York veterans hospital and hops a bus heading west, where he plans to pick up a trio of war buddies and launch their dream business, a California worm farm. Carol's on the bus to look out the window and think things over before taking the big plunge into marriage. AS IT turns out, Jack Dunne fails to connect with all three of his pals.

One (delicately characterized by Harrison Ford), turns out to be incapable of anything more taxing than just hanging around his rundown homestead. The second turns out to be a perennial drifter. The third turns out to be dead. The original Worm Squad may be kaput by the time Jack gets to California, but he has Carol, who has developed a real interest in worm farming and in Jack. Although the film's title turns out to be ironic, given the status of all four veterans characterized, its emphasis is upon the upbeat, impossibly romantic adventure that restores one of the foursome, Dunne, to well-being.

It has him, in the early stages of courtship, picking up a ventriloquist's dummy and saying to Carol, "You need same situation, back in "The Sterile Cuckoo." In Ms. Field's case, though not in Winkler's, the histrionic overkill may well be the result of a poorly justified situation and plain bad lines, as opposed to deficiency on the performer's part. On the whole, though, "Heroes" provides the TV crowd with good reason to venture out and movie regulars with reason to be glad that Winkler and Ms. Field have come over to our side. ment to the serious and scarred man under the wacky exterior.

The roles do, however, seem to push both performers slightly beyond their own comfort zones. Near the end, Winkler has to do a fit of craziness, and he comes off doing King Kong about to go on the rampage. Also near the end, Ms. Field has to do a sob-drenched telephone conversation with her fiance, and she looks like Liza Minnelli, in precisely the Small ads do "ALMOST ANYTHING GOES" "SEDUCTION OF JOYCE" "SWEET FOLDS OF FLESH" stars in your eyes and a rainbow in your heart. I'll give you a rainbow.

Promise." This kind of thing doesn't happen on the bus to Kansas City all the time. Or may be it's just that you and I never caught the right bus. But never mind. The same script that regularly strains credulity well past the snapping point also provides a jolly enough vehicle for both Winkler and Ms. Field to break away from type and show the movie audience what they can do.

That, when all is said and done, is the true point of the movie, so it is pleasant to be able to say that both do very well. Winkler, with his soft dark eyes and easy grin, puts an appropriate and intriguing happy-sad edge on the Dunne character. Ms. Field, more often than not, gets beyond the one-more-cute-face stigma by throwing herself with great spirit, into both sides of the character, the one who is appalled at Dunne's wacky attentions and the one who later demonstrates a real commit "'LOOKING FOR MR. GOODBAR' IS ONE OF THE BEST MOTION PICTURES EVER MADE!" Liz Smith, New York Daily News Syndicated Columnist Free Press film critic Susan Stark saw for Fake at the 1974 New York Film Festival.

An excerpt from her review follows. for Fake," a humorous essay on the art of fakery as practiced by writer Clifford Irving and painter Elmyr De Hory, is pure Orson Welles: clever; original, wordy, slightly pompous. Welles appears in the film and serves as its narrator and director. His lifelong fascination with magic, fully and delightfully explored in an earlier film, "Get to Know Your Rabbit," gives momentum to the current-work. In for Fake," Welles defines trickery as a kind of magic, fakers as a kind of magician.

His admiration for two of the great fakers of our time De Hory, the art forger, and Irving, De Hory's biographer and, after the Howard Hughes affair, a great faker in his own right is apparently boundless. Welles even attempts to show why the work of men like De Hory and Irving is admirable and, truth be told, he partially succeeds, especially in the case of De Hory. THE FILM returns to Welles himself at the end, just as it opens with him performing a few sleight-of-hand tricks. As a parting shot, Welles concocts a bit of cinematic trickery that puts a gorgeous young actress in the company of Picasso. That sequence has a complex, intriguing structure similar to a In it, Welles deals with two separate tricks: the girl tricks Picasso, and Wetles, through the magic of movies, as they say, tricks the audience.

One must admire Welles to fully enjoy the odd comic moments of for perhaps one must even admire him excessively, in the manner of, say, Dick Cavett. It is the kind of film that will find its rightful audience later rather than sooner when it goes by default to the film societies still waiting for Welles to bring forth another "Citizen Kane." 'LOOKING FOR MR. GOODBAR' IS ONE OF THE MOST IMPORTANT, MEANINGFUL AND THOROUGHLY CONSUMMATE PIECES OF FILMMAKING I HAVE SEEN IN A DECADE OF Diane Keaton burns a hole through the SHE DOESN'T WIN AN OSCAR, THERE IS NO Reed. New York Daily New The screwball comedy about the high school senior with a system for everything! If -j' i i i. MEIVIN SIMON mm WAITER SWNSON "WHAT AN ARTIST DIANE KEATON IS! Imagine, "Annie Hall' and 'Looking For Mr.

Goodbar' in the same year. The Academy Award rules preclude a single nomination for two films in one year. This year, I suggest they make an is forcefully, powerfully here with Diane Keaton ascending to acting's Hall of Fame with a devastating that will blow you away!" Brooks is a master storyteller and Diane Keaton so engaging a personality that one is absorbed FOR MR.GOODBAR' is for those mature enough to a portrait of a contemporary woman, of the moral atmosphere and disguised angers of our time!" -Juddh Cmt. New York Post "ONE OF THE YEAR'S BEST undeniable Keaton is brilliant-Her beautiful shaded performance will undoubtedly earn her an Oscar nomination!" -Aaron Schivdler. Family Circle "DIANE KEATON PROJECTS THE MOST ELECTRIFYINGLY EXPLICIT SEXUALITY EVER ATTAINED BY AN AMERICAN ACTRESS!" A ndrew Sarm, Village Voice "THE CHICKEN CHRONICIES" SILVERS GUTTENBERG LAUTER USt IHVtS- MtSIDITH 81! IMNSCOMK RICHMOND WU SRmtmlKUTtf PAUl 0IAMOND mm WALTER SHENSON mm FRANCIS SIMON a KIN LAUKK "DIANE KEATON GIVES A STUNNING PERFORM ANCE AS TERESA, AWOMANFOROUR a film centered squarely on a performance by Diane Keaton so rich, so specific, so generous and so pertinent that, once seen, it becomes part of the viewer's life forever, not as performance but as shared experience? -Susan Stark, Detroit Free Press "DIANE KEATON GIVES THE PERFORMANCE OF A LIFETIME.

She has an inner light that is the brightest thing on the screen, and when that finally goes out, we feel that truly the world must end!" -Mully Hmkrll. Nfir York Mtiijmne "AN AMAZINGLY COURAGEOUS, DEVASTATING MOVIE! BOLD, BLUNTLY REALISTIC! -KitthlmtCiiriiill. Snr Ymk IkiiluNt hs "Richard Brooks should get two Oscar nominations, one for his screenplay, one for directing. And Diane Keaton should get the Oscar to take home as best actress of the year in this UNFORGETTABLE, HIGH-IMPACT FILM!" Smith. DudyS'efa Syndicated (iumii't "THE MOST POWERFULLY EXPLICIT AMERICAN FILM ON SEXUALITY SO FAR.

Richard Brooks has filmed it with power, seriousness and integrity. Diane Keaton gives an extraordinary performance, the most remarkable performance by a young actress in a long Am. NewuM hu i tow bmvij Mi AVL.0 EMBASSY PICTURES RtltOM 1 SliS'SjSSsj HELD OVER! AT THESE THESTRES: Check Movia Guide for Added Features Woodward nitr I Mil 813-2372 OPEN 10 A.M. T0 12 MIDNITE Escorted Ladles FREE 6 X-RATED FILMS All For One Price THIS MOVIE IS TOTALLY OUT OF CONTROL MRtDDlf MUDS PRODUCHON LOOKING FOR MR. GOODBAR DIANE KEATON! 1 TUESDAY WELD WILLIAM ATHERTON RIOIARD KILEY RICHARD GERE JREDDIE FIELDS JUDITH ROSSNER W'flfn Iff I St wi Directed RICHARD BROOKS i Mi im mm mam jww Muss H( RMITWtimP mr firm MV'tuc jMitib nrfhpi t-ont HaW Hook.

'GOODBAR' is powerful -Jay Can, Detroit News "The most powerful movie I've seen in ten years of reviewing ought to sweep just about every Academy Award!" Frances Taylor, Newhuuse Newspapers ST-. r-. HELD OVER CHECK MOVIE GUIDE FOR SHOWTIMES NED 1WHAM PRESENTS A KENTUCKY FRIED THEATRE PRODUCTION "THE KENTUCKY FRIED MCME" Aaxatc Prcriuca LARfTr K05TROFF ExtcuDw Produce KIM JtRGENSEN Scinnplav bv JtRHY ZUCKtR JAMES ABRAHAMS DAVID ZUCKER Ptoduced by ROBERT WEISS Duil by JOHN LANDIS 3 tZ. I im mm irmnn jj WM' AT THESE THEATRES: htm..