ARTS RicK and powerful The Byronic Man CTHE 1970 Berlin Film Fes- with an elegiac tracking shot JOHN MINTON fitted the Still M i n t o n presvd on, tival ground to a halt when around a bar-room at dawn, image of the artist as a hopinc snnirii ow tn achiev* the American jurors objec- from face to face, and a fated young romantic only tfii " Tr.tc ic .i.'iii H<"nic in Chopin nocturne being ' nine t e e n t h - !>! M - v r n t f r n r h - o r ted to a German film called too well. Hi * ' Sseli l'or- WILLIAM FEAVER on fw i-j iTur-v * O.K.1 about some G.I.s PHILIP FRENCH on played on a piano is gradu- traii , 1953 " is quintessen- e v e i] f o u r s r r u i ' The Deer Hunter. ' ally drowned by a beating of John Minton. t e r m - !!r :iu-hair he presented .is emblematic M ;u-|i-.e " s Pf. i l - : !! V-N na ' melanchol y eyes, rhe !>! turn of the Eastern Euro- parallel scenes two years rotor of a helicopter and the the tu ck-ins with olives , p ine- tmi ra! i n ri:e i l m i s i ' l. ^r n V peans to walk out in pro- later in Vietnam , and five film jumps forward two years tendency to pout , the open- app les , art i chokes , h.i m-.. the Tiii' effect is c m U i i - i ' if . add test against the depiction years after that back in to a bloody battle in th« necked shirt. lot, du mped in the grounds !ewei inu .mil :: i v m i i ) ;iav> of Viet Cong atrocities in served , < > • u n i t e .. enmi ivKi t fr America and in Saigon at jungles of Vietnam. Within This paintinc now belongs nf the biggest cIi.i Umu\ evei . ' Michael Cimino's The Deer the moment of collapse. minutes the three friends to the Nat ional Portrait (^ti- Minimi wasn 't one for under- for ' I..iiiy H . i n n i t mi ' nn are prisoners of the Viet ' statement. rc-relea srv A ' FV.it!; 'nf Hunter (ABC Shaftesbury The film centres on six lery — it s one ill the tew ' Avenue, X) . Both gestures friends from a tight-knit Cong and in a series of stab- yood post-war picture; there Indeed , he strove like a Cori oliiiuis ' t lii iowrii anil , leas t coiivini'iiii: I aH; .were as foolish as they Rusian immigrantc ommunity bing, swiftly cut ciose-ups in —but has been allowed out la rterdav Palmer or under- " were predictable. who live in the shadow of the a water-logged prison com- for a John Minton revival at stud y Sutherland in portray ano ther s:\-fnnte: . .1 Cruci- steel mill and their mush- pound and their captors' hut the Morley Gallery in West- locales straining and fructi- f i x i o n set in stmiii r It 'The Deer Hunter ' is not room-domed church. One above, the trio are forced to minster Bridge Road. fying in accordance with his appear* :o ho Mitnnn'i a political or a polemical film. -on r i l u m 7 largely, it seems, he- matte r especiall y appealed tn nace. Three of them—M ike come. This must rank among cuuse he felt out-dnted. spe nt , him — scenes from H . K. Kl Greco . Cooper, and its themes and ( Like t h e ma jor p s - i n t i n c * of situations take us direcdy to Robert De Niro), Nick (Chris- the most shocking sequences thwarted , condemned tn sud- Bates. cnr nucopiou.s food- topher Walken) and Steven ever filmed , and it introduces den obscurity as an irrele- stul rs and anywhere south B e n j a m i n R n h i 'i : Il.iyclnn. t tift Hemingway's Great War ihosn ' Soldier s (John Savage) — after a an elaborate metaphor for vant sort of artist at a time nf tile ciictus-line — his pen- v a i n e l o r iiHi- d i a r i s t . stories. One recalls ' celebrating motif C o m p o s i t i ons h ,i v r » Home.1 where an army vet- Saturday spen t war and rhe dominant when the non-figurative was work became tireless. It whir- eran finds himself incapable Steven's marriage and a final for the rest of rhe film. fast becoming tlie norm. He led around t he .sun or, mure |>;itluil* of com municating with his Sunday hunting trip ro the Through Michael' s re- wouldn 't adapt. But then why often , t he moon (this being are, in t h e i r wa y. heroic. R u t old frie nds, and ' The Bis sourcefulness, a result of his should he luive ? His whole lohn Minion is beClint Eastwood vehicle ful night that is Saigon , con- l:.li7abeth David change ilie the onl y we. Si nce then and Light- tinually to replay the game eating aspirations of an entire however , he has changed hi" ' Thunderbolt mind , seen the light and left foot '} with male friendship, of Russian roulette. The once income group with his sedui seen as a finer and stronger gentle Nick and the formerly live vi gnettes for ' A Bonk t he elephants ' graveyard . thing than love between men lethal Mike have symbolic- r>f Mediterranean Food ' and A bout a year ago h«i end women. And it 's about ally exchanged roles. Now " French Country Cooking. " showed snme paintin gs in !ii« the other side of that coin , Anthon y Quinn in ' The Mike the healed man, the true With pen and ink he compiled Minion self-purli' iiit. I'J.vL fresh vein at the Air Gallery . loneliness, the broo ding cos- Passage ' : A Zorba in hero who has learned from frontispiece gluts : shingle , They were riddled with rain- mic solitude Americans have grapes , neo - romantic terr itory), how stri pes clash ing at oflrl snow-shoes. his experience, must again , garlics winkles, lob- , (hnngh he felt ever since they confron- save his friends, by action ster-pots, peppers and glad- darkened the skies filled the angles . It was as ted the overpowering vast- eye fisher lads washed up on undergrowth with prickles. had switched over to colour mountains, are off to the army and by example, and this is " 1947 , TV. The three latest lion- ness of their continent. as airborne volunteers. the matter of the film 's third De Niro and Savage try to escape fr om the Viet Cong by Helicopter. exotic shores. Wine harvests ' Treasure Island . ' Dog Sol- was his greatest triumph as dersons still look recently . Unlike Reisz's Through the Russian Ortho- hour . liberated , but t hey have :«.n diers,' "The Deer Hunter ' dox service, the reception in a "The Deer Hunter ' is a with his leading lady and , as begins with the 1925 ' Bulldog an illustrator , a surge of inky ethnic com- usual, Bronson, looking more Drumrnond's Third Round ,' hysterics extendin g from the extra charge of incidents and deals with an local community hall, and the rich and powerful picture nuances. munity largely untouched by hunting expedition, Cimino that without a trace of pat- than ever like a tired movie in which Jack spars with first creak of the shivery tim- , just narrows his British heavyweight champ Celestial sounds bers of the old Admiral The first of them , ' Boanc ' the creat social currents of and his cameraman Vilmos ronisation or the slightest Mongol 1 by name, involves a h ectic the 1960s and is constructed Zsigmond locate their charac- touch of cultural superiority eyes and thinks of Ireland. Phil Scott, the man known in Benbow to the wildly con- America as ' Fainting Phil ' NEIL ARDLEY'S Harmony toured Spyglass Hill. set-to between batches , .nf quite deliberately to elimin- ters in a world where mean- speaks eloquently for the In I. Lee Thompson's Of The Spheres, extracts from stripes and all manner nf ate discussion of war-aims ness and generosity, tradi- inarticulate. The acting by wretched The Passage for his habit of failing to But for all that , none of the canvas pretending he had which were played by the Minton 's published work blobs, wipings, sti ppling *, and the larger issues in- tional values and rootlesness, the six men, and by the hand- (Leicester Square, X), an- composer and a small jazz en- dabs and the vestiges" of .in, volved in the Vietnam , con- been fouled. It ieads via the appears in this exhibition. co-exist unquestioned. A some, bony Meryl Streep as other British-financed movie, Hollywood semble at the Queen Elizabetv, u nderlying grid . In ' Fljx ' flict. This is a grave weak- Nick's girl and Mike Anthony Quinn does a Zorba Lubitsch-directed DAVE GELLY on There are. it's true, drawings characteristic image here is 's com- musical ' Monte Carlo ' ( 1930) Hall last Monday, is a form- , some done the rainbow volleys are con- ness (some will think it an of Steven's pregnant fia ncee forter, is beyond conventional in snow-shoes as a Basque idable edifice of sound. It is Neil Ardiey . to compensate lined to the lowcr 'half of tlie invalidating one), but it is caught in long shot her white praise. shepherd escorting anti-Nazi and his appearance with with illustration in mind. , Chevalier in Clair 's 1938 typical of its inventor , both though , are given far canvas. A veil of black ilia also what enables Cimino to bridal dress contrasted with The week's other new films scientist James Mason and in its inspiration and its These, obscured the rest . The third enmethine approaching British picture ' Break the less space and prominence BUain her mean clapboard house both involve unnecessary family from Toulouse across News ' to the finest movie he meticulous layering of elec- melody, inexhaustibly tune- painting, ' Gjalla. ' has the air the facie grandeur of a in a railroad wasteland. journeys through the snow. the Pyrenees to the safety of tronic and live sound. ful. The complete work, re- than the paintin gs that of a mopping-up operation '. ever made, Minnelli's ' The engaged his highest hopes popn 'ar npic. The movie's The long elegant shots, full In Love and Bullets (Gene- Spain during World War II. Band Wagon ' (1953). Reading of the ancient centlv issued on record The break-out has been openine image is of an articu- of life and detail, are celebra- ral Release, A), . Charles The picture is garnished with Greek belief that the planets (Decca TXSR 133, £4.50), has and caused him most despair. effected , Henderson has fixed lated diesel truck thundering tory, reassuring. But there Bronson plays an American sadism—quite literally so. In this latter film , he was emit musical notes to produce a cool deliberation about it, You can see why. The big- himself up with many device* Bt dawn through a grim littl e are premonitory hints of cop escorting a gangster's for the chief villain , an SS teamed with Fred Astaire. celestial harmony, Ardiey set but Monday night's perform- ger the painting, the more to work on . Possibilities are Pennsv'va m'a steel town. At things to come — Mike, the moll (his wife Jill Ireland) captain, tortures suspects The debonair Buchanan was to work plotting their orbit ance was delightful simply grandiose the ambition , the once again opening up. the end wo feel—and it is the severely controlled loner, across Switzerland to give while preparing gourmet a better comedian than times and converting these because it fell short of re- more obvious the failure. Too much painting has film-makrrs intention that emerges from the night-shift evidence back home against meals in his private kitchen. Astaire, though an inferior , into frequencies. The nine corded perfection. Faced with With his own face in close-up, been done in recent years on we should feel—a s if this to . . observe a favourable mpbster Rod Steiger who As played by Malcolm Mc- because more limited and notes thus produced gave a a live audience , the soloists Minton was entirely in con- lines that have ensured a j uggernaut, emblem of an hunter's moon; a taciturn wears a stammer to protect Dowell, this chuckling bi- inhibited , dancer. As singers chord which, interestingiv (particularly Barbara Thomp- trol. The portraits of medi- perfectly un-vulgar end pro- inexorable fate, has driven Speciad Force's sergeant in him from the script. They sexual psychopath with a they were about even and enough , covers exactly the son on saxophone and Ian cative youths have rather duct. ' Red uctive Probity ' o\'pr us. the bar refuses to respond to travel by train , cable-car, Swastika embroidered on his their top hat and tails duet range of human hearing. The Carr on trumpet ) sprea d less authority. Attention and other such maxims ha vn Despite its three-hour the boys' questions about sledge and boat, dodging jockstrap is like something of 'I Guess I'll Have to entire work is based upon rhis themselves to excellent effect. wanders to the emphatic encouraged the dead • end length. the film never Vietnam and toasts the war assassins all the way, and from a sketch written by Joe Change my Plan ' achieves a combination of notes. The composer seemed well floorboards at their feet. glut. William Henderson 's sprawls. Tt has an elaborate with a brutal obscenity; the not for the first time direc- Orton for a ' Free Rudolf relaxed perfection. There can Despite the maths and tech- satisfied with the resuh. Routine p a t t e r n i u p also paintings arc a fine i l l u s t r a - forma] design by which the bridal couple spill two blood- tor Stuart Rosenberg proves Hess ' fund-raising gala. be few men over the age of nology, ' Harmony Of The ' Let's say it made up in spirit do minates tacky srrcetscenes tion tit' an alter nativ e m.U'm evrnrs of the first hour , red drops of wine during a incapable of creating tension This m o n t h ' s Jack 40 who haven 't had. fantasies Spheres ' is immediately at- what it lacked in accuracy ," eh predictably stoc ked wiih which 1 now propose ' Tn superstitious drinking ritual. or telling a coherent story. Buchanan season at the NFT of performing the number in tractive and , because nf rema rked happ ily after the w i i i f s coloured o l i v e anil Complicate isn 't lieccssank which covers a single week- mpromises .' pnrl i n 19K8. prepare us for The first movement ends He can do little of course is worth looki ng in on. It similar insnucienr stvlc. Ardlev 's erear sift fnr shnw. m u s t a r d to indicate m n n d . to Make Co

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