mic Scarlet it Black. March {JEN—page s

“Wherefore art thoue . *.Tony?”

by Robin Radespiel
llHated love, destructive, hate,
and inevitable tragedy are the
themes of this week's films, Romeo
and Juliet and West Side Story It
seems only fitting that the two
films appear together as one is a
modern adaptation of the other and
seeing both will make clear the

The film was directed by Robert
wise and Jerome Robbins based
upon a script by Arthur Laurents.
Robbins was also responsible for
the film’s superb choreography. a
combination of ballet. jazz, and
modern dance never since sure
passed on the screen. Stephen
Sondheim wrote the lyrics that

West Side Story successfully brings

the tragedy of Romeo and Juliet

into a modern setting. . .

parallels between the .two

Franco Zefferelli’s Romeo and
Juliet (1968, 133 mins.) ls an out-
standing film version of
Shakespeare’s timeless tragedy.
The film won two Academy
Awards lbest costumes. best
cinematography) and brought
fame (although short-lived) to
Leonard Whiting and Olivia
Hussey who starred in the title
roles. The supporting cast includes
Michael York and Milo O’Shea.

ZEFFERELLI CLOSELY fol-
lows the Shakespearean story of
the star-crossed lovers, members
of [ending families. whose love is
never meant to be. Throughout the
film the sense of impending doom
is ever~present

lrnpeccahle cinematography and
lush costuming combine with the
sensitive performances of Hussey
and Whiting to create a believable,
moving film. Zefferelli is sucr
cessl'ul in overcoming the difr
iicul ties encountered in attempting
a screen version of such a well
known drama and is. in fact. able
to use its familiarity to his ad-
vantage. The audience's know—
ledge of the inevitable tragedy
that is to befall the two lovers adds
to the film's effectiveness without
being overly melodramatic.

ROMEO ANDJULIET will halle
an additional showing on Sunday,
March 4, at 9530 pm. in the South
Lounge.

WEST SIDE STORY (1961, 151
mins.) successiully brings the
tragedy of Romeo and Juliet into a
modern setting accompanied by
Song and dance The illefated
lovers in this instance are Tony
and Maria whose love is thwarted
by the rivalry between two street
gangs, the Puerto Rican Sharks
and the white Jets.

Eyes Examined
Phone 236-7502

JENSEN
OPTOMETRISTS

Earl J. Jensen, 0.0.
Clark J. Jensen, 0.0.

Across ll‘om Post Office
Closed Thursday lid“.
and Silt, p.nl.

Du: El ut'l
Pick to Click

“llali A Mile Away"
by Billy Joel

H-nr- it and
nth-r- I'IIW re.
II as Friday
night II: 5:00 o
KDII: 83 FM

 

accompany Leonard Bernstein‘s
innovative music. Natalie Wood
and Richard Beymer star in the
leading roles (their singing voices
are dubbed) with excellent sup
porting performances by George
Chakiris, Rita Moreno and Russ
Tamblyn.

THE PLOT REVOLVES around
two themes: the rivalry between
the two gangs over their shared
turf, and the innocent love between
Fuel-to Rican Maria and eX'Jet
Tony. The film opens with an ex-
cellent panoramic view of New
York, zeroing in on a West Side
playground. the gangs‘ battlefield.
it moves quickly from the initial
confrontation on this playground,
to a dance at the gym, a war
councrl. a rumble, and then. the
inevitable tragedy. From begin-
ning to end, the film effectively
evokes the energy and
frustrations of life in the inner
city, ranging from destruction and
Violence to love and sex.

Among the most memorable
sequences are: the opening ballet

”sequence in the streets, the Jet

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song, the dance at the gym, and the
Satirical “America” and “Officer
Krup ke" numbers. If the film has
any fault, it is its occasional ten
dency toward the sentimental,
which deters from. but does not
destroy, the powerful impact or the
film.

THE PARALLELS between the
two films are many. in terms of
characterization, there are the
obvious Tony-Romeo, Maria-
Juliel. and the Anita»Nurse, Doc-
Friar, Bernardo and Riff~Mercutio
and Tybalt. Paralleled scenes
include: the balcony-firescape
encounters, the sword-knife fighB
and the falsely reported deaths.

The film won ten Academy
Awards ranging from best picture,
and best art direction to best
supporting actor and actress. The
film, despite its length, shouldn't
be missed.

KDlC opeolo
Stump the

The highlight 01 this week’s
KDIC programming is the return
of one of our all-time favorite
features. of course. mat refers to
“Stump the Profs."

Yes. it's true, only on 1(ch can
you fool your favorite profs and
even Win semirvaluable prizes for
doing so.

This edition of Stump the Profs
features an all»star cast including
professors Richard Steele, Dan
Magurshak, Liahna Babener,
Wayne Moyer and George Turnbull
plus, (at no extra charge) some of
the furl-loving members of the
KDIC staff. That's this Tuesday
night at 7 p.m

Friday. March 2, 7 p.m,—The
Friday Night Report with
Jeremiah Whitten.

Friday. March 2, 7:304 pm.—
BBC Science Magazine.

progrommln g

Profs ’79

Saturday,» March 3. Midnight-3
aim—Music from the Sixties with
Neal Miller.

Sunday. March 4, 7:304:30
p.mtiPacilica: to be announced,

Monday, March 5, 7:30-8:30
p,m.—-NFCB: “Nutrition, Spirit
and Health,” “The Longest Walk,"
and “Messianic Cults."

Monday, March 5. Midnight—l
aim—The Midnight Theatre with
Tim Finn. This Week: “The Thin
Man" with William Powell and
Myrna Loy,

Tuesday, March 6.
Stump the Profs.

Wednesday. March 7. 7:15-8:15
pin—Progressions with Professor
Lee Cloud

Thursday. March 8, 7:15-8:15

7 p.m.—

 

p.mr~.lazz with Professor John
Jensen.

Maazel’s “heroic” Strauss

by Kurt Anderson

Every few weeks the bookstore
receives yet another classical
“warhozse,” an often recorded
work by an oiten heard conductor,
Recently, however, a new release
stands out: a Columbia recording
of Richard Strauss's Ein
lleldenlehen (A Hero's Life) as
performed by Lorin Maazel and
The Cleveland Orchestra. Maazel,
although not a household name like
Solti or Ozawa, is important,
especially when performing
certain romantic and highly
stylized compositions.

A Hero's Life is one such Work.
The postrromantic characteristics
of Strauss‘s tone poem work well
with Maazel's ﬂuctuating tempos
and drawn out melodic lines The
individual movements: The Hero,
The Hero‘s Adversaries, The
Hero's Battlefield, and The Hero's
Escape From the World. en»
courages the involved, personal
attention that Maazel lavishes
upon the notes.

THE HERO. FOR Strauss, is the
artist. Strauss scores the artism’
struggles by using many subtle and
overt contrasts. The music ranges
from grandiose smtements, thick
in texture and special orchestral
effects, to the serene austerity of a
violin solo. Maazel makes this

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variety of descriptive music Come
alive through extensive use of his
imagination. The work requires
this commitment on the part of the
conductor in order to succeed.

The intense emotion of this work
by Richard Strauss makes one
aware of the composers existence.
Strauss identifies with the hero,
and puts much of himself into the
character. At one point in the work,
a critic makes a comment to the
hero. who becomes angry. The
hero makes a recitation of his good
works. Musically. Strauss does the
same by playing the themes irom
nine of his various works.

LORIN MAAZEL'S conducting
reﬂects his own musical style, as is
demonstrated in his recording of
Brahm’s First Symphony, a work
that comes from the early

Romantic period. Although there is
a customary ritardando in the final
five notes of the piece, Maazel
draws out the final section to such
an extent that one is left gasping at
the preponderance of the notes.

Maazel flows with the music and
his close rapport with the ore
chestra allows him to follow the
changes in musical description
smoothly. The numerous ore
chestral special effects are con-
'veyed in a convincing manner and
they do not seem superficial, as
tthey so easily could. _ g

In Maazel, one finds the specific ,
external symbols of heroic
struggle and salvation to be a
natural form of expression. The
success of the recording is as-
sured.

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