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MOVIE REVIEW respect. and theirt-neetattt-est attempt to pay haulage to someone who-e work they admire. T . Then there are movie-makers who be- come imitators simply because they're quking It? shorten! to quick We}: -iFii"i; inane Ar' P.att,"rriter-ditregor, Paul My falls clearly into the first cawgory. A _ . ' - __ __ , _., in the picture‘s opening sequence. in which the title characters meet at a New York cinema. Mum-sky aekrtoFges his indebtedness to French film-maker Fran- cois Truffaut by having his characters watching Truffaut's 1961 classic Jules And Jim. What then follows is a 19705 North Ameri- can variation on themes that Truffaut ex- plored with in an early 20th-century Euro pean setting in Jules And Jim. Those themes were described by Truffaut as "that of friendship between two men and that of the impossibility of living 1.tyur" Like Truffaut, Mazursky in Willie And Phil seems to be saying that, while the "couple" relationship may not really be a satisfactory one. there is no satisfactory al- tentative. But whereas Truffaut employed tragedy to put across his point, Mazursky. more a social humorist. keeps his story de- velopment much lighter in both tone and cettent. . Even when borrowing story concept and themes, Mazursky still remains a film- maker with his own clearly distinctive style, a style that one can recognize from his previous pictures: Bob And Carol And Ted And Alice; Alex In Wonderland; Blame In Love; Harry And Tonto; Next Stop, Greenwich Village and An Unmarried One thing that stands out in Maaursky's pictures is the effect of time and place on the lives of his characters. and in Willie And Phil the focus is on the 19703 in New York and California. What the characters experience and the kind of relationships they develop seem almost predestined by the era and environment in which they live. "ha-“tinny; the 8ppta 1 of Willie And Phil will be strongest for those who are familiar with and have enjoyed Mazursky's prior films. Mazursky um wry. fable-style narration to guide viewers through the nine-year period and this tends to, add a satiric edge to the basic sentimentality of his story. The characters of Willie And Phil are sharply drawn. if sometimes slightly cari- caturized, by Michael Ontkean and Ray Sharkey respectively. Margot Kidder as by Victor Samoa Some migrate" mum. other, out at I, __ __ "iiiiiih-,txtt.ti2a 3Y9 "tettteimtett-aett"t-d "tbettttt-tt m. Mttsttttttetertunttter “an pm “moo-0650 [Iii-um . . 10M~NMMmmm Pttttgtett9b6SMttortt. KAif Mtteittal "trtdu1AttetqI.9:rost 432, BE SURE TO ATTEND! mttsiiiivr-ill) "to-OOC-oar-oo-rom'"" WEI). thru 80"., MW. " 9, 8:00 pan. THE CErll"3ii al) ulna-1mm QIMEII’LIIE In. all um: ”Jamaican Ind-uncut", moo-humid ”mum-duo Film explores Truffaut themes IT Jeannette - altemteiy the with? tit one and ioverotttteother--edet-tttetria- believably but with ' predominantly sur- face portrayal. Considerable hum is injected into the picture through vignette-like scenes domin- ated by eac of the main characters' parents. clearly types whom Mazmky treats with a mixture of fondue: and mild Willie And Phil is not a movie that will have any attraction for action fans. and an- yone going to see it purely in anticipation of something sensational in its sexual content also is apt to be extremely disappointed; Indeed. one might be somewhat critical of Mazursky for seemingly at times pur- poseiully weakening the picture's dramatic punch by backing on from anything truly Willie And Phil seems hardly likely ever to acquire the stature of Jules And Jim, but Mazursky is at, least an honest imitator and at the same time a creative interpreter. Unfortunately, similar credit ean't be given to Canadian director Bill Fruet for his hack work on Cries In The Nift, the la- test blatant rip-oif of Alfred Hiteheock's Psycho. Fruet, who launched his movie career in a most promising fashion as screenwriter of Goin' Down The Road and Rip-oftand developed into an equally praise-worthy director with his own Wedding In White. has opted for the depths ot cp1mnertia)isT, first with Death Weekend and now Cries tn The Night. A'his is the picture that drew some atten- tion in this area during filming of some of its scenes in Elora. including a sequence in which a car was pushed into the cliff-ringed quarry srirmyinttttole. . . . Canadian locales are meaningless of course because little flags clearly identify the story setting as part of the great Ameri- can Never-never Land, and the dominant Canadian cast portray the usual variety of cardboard Americana types. _ - _ Anyone at all familiar with the plot deve- lopment of Psycho won't have any dif- f iculty figuring out who's behind the mania- cal slaughtering of people usually last seen alive at a rooming house run by an endear- ing old widow. A Most of the action, and so-called terror,. is se n throi the eyes of the widow's teen-age granddaughter. It's interesting Ontario's film classification board was so disturbed at how young actress Brooke Shields' future life might be affected by sex-related scenes in which she was in- volved in Pretty Baby that the picture was banned to all ages in this province. Yet the Attention Former WI Don't W to join us at our MW“? Jiiuratensm, tnn-me 'irtiardrAkttoirttMturhrt$omtMttm “Celebrity my", " titov,, 'NTERTNNMENTi board apparently is not at all worried about any future etttcts of this film‘s violence upon young actress Lesleh Donaldson. or indeed upon viewers of any age. Cries m The Night has been given a merely ad- visory . "seommenda-as-aduit-entertain- ment rating. __ . Mich’eel Ontkeen (left) end Rey Sherkey (tight) remain beet friends even though they're both in love with Mmot Ridden in e tomentiq comedy which moves thet the strongest bond between two men is the same women. Register now to attend a conference entitled Emergency Preparedness for the Eighties. This important confer- ence will deal with practical issues, facing all those involved in emergency planning in government and industry. issuikto be ave/ed include the nature of emergencies and the capabilities of response; the role of the local emergency planner and the responsibility_ of electen officials The Mississauga train derailment will be used as .. an example of the sort of emergency for which-you must be prepared. Emergency Preparedness for the Eighties. October 16-19, 1980, at the Harbour Castle Hilton, Toronto. To do so, phone (416) 9616505. Telex 06986766. Ask for Emergency Conference Secretariat. Address is: " Emergency Conference, Conference Secretariat 112 St. Clair New Suite 303, Toronto, Ontario M4V 2Y3. , Sponsored by the Ontario Government and the Association of Municipalities of Oitario. 'iaiiaiir mm isn't. Nor is it entertain- ,.?lttgttattlt't,: IioeChiefs, kal0ffieeisofNealth, Municipal Ehtageittcyll'tartnas. Iii-oo-tses-dt-twet-r-et-thr'" ing in any positive sense. At an advance showing a few weeks back, the audience hooted throughout the pictureJn tl) fair- ness, I haven't returned to seent any chan- ges hawk been made in the final print, but I can't imagine anything short of making an entirely new picture bringing about any im. proverhents.