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For anyone who‘s ever seen the original Alfred Hitchcock version of The Lady Vanishes, made in 1938, this 1979 copy of course, is very poor indeed â€" for more reaâ€" sons than just Shepherd‘s presenâ€" ce. Neither the thrills nor the coâ€" medy, and certainly none of the atâ€" Unfortunately, Cybill Shepherd doesn‘t play the title character in the movie The Lady Vanishes. Had this nonâ€"actress been a little more nonâ€"existent on screen, the picture might have been a considerably better one. And, of course, there‘s the monâ€" keyshines of Clyde, a beerâ€"drinkâ€" ing, faceâ€"puiling orangutan who‘s the most appealing character on screen. (It so happens that this is the only carryâ€"over character not played by the original performer, but the lookâ€"alike substitute is every inch his predecessor‘s equal as a standâ€"up comic, a motelâ€"room swinger and the movie‘s most realâ€" life character. The minimal plot, pitting Beddoe in a bigâ€"betting fisticuffs match against another champion brawler. is a simpleâ€"minded excuse for a long endâ€"ofâ€"film fight, the outcome of which is neither suspenseful nor particularly exciting but doubtiessâ€" ly satisfying for those who relish the primitive and the predictable. The main difference between Any Which Way You Can and Every Which Way But Loose is a subtle one â€" primarily one of attiâ€" tude in the writing and direction of the picture. Characters and action are equalâ€" ly as stupid but slightly less repugâ€" nant There‘s the romance between Beddoe and countryâ€"music singer. played by Eastwood‘s realâ€"life girlâ€" friend Sondra Locke. which allows for some musical interludes and a barroom setting for brawis. There‘s Beddoe‘s foulâ€"mouthed mom, portrayed by 84â€"yearâ€"old Ruth Gordon, and the gang of moronic bikers, providing some stock slapstick humor. There‘s _ Clint Eastwood‘s character of the brawler Philo Beddoe â€" it‘s the same quietâ€" spoken, hardâ€"hitting, expresionless portrayal that has nothing to do with acting and everything to do with image. But. basically. it‘s a repeat movie. The same ingredients are thrown together again, not for any purpose of continuity or developâ€" ment but simply because they paid off handsomely for the producers the first time Any Which Way is supposedly a sequel, in that the same characters played by the same actors carry on from where they left off in Every Which Way Any Which Way could be better only if you thought that Every Which Way was good. which I didn‘t, so maybe from my point of view it‘s a case of the more recent effort being less bad than the earâ€" lier one By Victor Stanton To say that Any Which Way You Can is a better movie than Every Which Way But Loose is faint praise at best on my part Film‘s a simpleâ€"minded affair George Axelrod‘s revision of the Sidney Gilliatâ€"Frank Launder screenplay can‘t be faulted greatly since his changes are only minor pnes. So, the greatest criticism for the movie‘s weaknesses must be levelied against director Anthony Page. Maybe a couple days of working with Shepherd numbed his sense of direction Despite the superior color phoâ€" tography and the greater realism of scenic onâ€"location settings. 1979‘s The Lady Vanishes lacks the directional and storyâ€"telling arâ€" tistry that made the 1938 version such exciting and entertaining esâ€" capist fare even though it has its technical shortcomings. The best recreations of characters from the original movie, however, are those of Arthâ€" ur Lowe and Ian Carmichael as arâ€" chetypal Englishmenâ€"aboard who are more concerned about the reâ€" sults of the cricket test match back at home than about the imminent war that would engulf Europe They bring the same comic sparkle and ultimate likeability to the roles as did Basil Radford and Naunton Wayne. Angela L‘énsbur_v carries off the part of the nanny, played originally by Dame May Whitty, with satisâ€" fyingâ€"enough aplomb and Herbert Lom, succeeding Paul Lukas, is equally effective as a doctor aboard the train As a Life Magazine photographer who eventually is persuaded that there was indeed a Miss Froy, Elâ€" liot Gould does pretty much what Elliot Gould usually does on screen. His characterization, while slightly more platable than Sheâ€" pherd‘s, may be enjoyed by Gould‘s fans but certainly does not benefit the picture as a whole. (Again, Michael Redgrave brought a stronger sense of believability to the role under Hitchcock‘s direcâ€" tion.) F (In the 1938 picture, Shepherd‘s role was played much less stridentâ€" ly and certainly with much more skill and appeal by British actress Margaret Lockwood . ) Her character. which disastrousâ€" ly dominates the movie, is that of an obnoxious,. thriceâ€"married American heiress on her way to England and another marriage. Aboard the train, she initially shares a compartment with the nanny, Miss Froy, who befriends her and then a short time later vanâ€" ishes, a mystery heightened by the denials of other passengers on the train denying that they had ever seen Miss Frov Still those unfamiliar with the Hitchcock classic could be reasonâ€" ably well entertained by the latest rendering of this melodramatic tale about an English nanny who disappears while aboard a train travelling across Germany just prior to the Second World War They could be. were it not for Sheâ€" pherd‘s grating ineptitude mosphere, from Hitchcock‘s film has been recreated in this new picâ€" ture, even though scene after scene is a virtual duplication in action and dialogue Clint Eastwood is the bareâ€"knuckled brawler striking a fighting pose opposite his pal Clyde the orangutan in the movie, "Any Which Way You Can. The next concert. which runs from 12: 15 p m. to 12:45 p.m. on Tuesday, Jan. 20, will feature violinists Marâ€" garet Metcaife and Tom Wermuth perfoeming Students have fun with Broadway play A series of free noon concerts has resumed at First United Church at the corner of William and King Sts. in Waâ€" terloo. Set in the Chicago of the 1930s, the play relates the adventures of two downâ€"onâ€"theirâ€"luck musicians who take quick flight after seeing a man murdered by a group of gangsters. They attempt to hideâ€"out and save themselves from the mob by dressing up as women and joining a ‘*sleasy, allâ€"girl band"" which is leaving town on tour. The romance which develops between the two men and the beautiful Sugar. leadâ€"singer with the band, is only one of many subâ€"plots in the show By Helen Orr All the razzleâ€"dazzle, glitter and fastâ€"paced enterâ€" tainment of a big Broadway musical can be enjoyed next week at the Humanities Theatre when the curâ€" tains open on ‘Sugar . a University of Waterloo Feâ€" deration of Students production Based on the 1959 movie. Some Like It Hot. which starred Marilyn Monroe. Tony Curtis and Jack Lemon, this musical will be a "highly entertaining comedyâ€"romance for all ages"" according to director Susan Forest, a graduate of the UW drama departâ€" ment Noon hour concert A light lunch will be served for a nominal cost Wermuth is a former member of the Kâ€"W Symphony Orchestra and the Stratford Enâ€" semble. Metcalfe is preâ€" sently a member of the Kâ€"W Symphony. Bach‘s Brandenburg Concerto No. 6. Sugar will run January 21â€"24, 30 and 31. Tickets are now available at the UW Arts Centre Box Office. Humanities Theatre (885â€"4280). Cost is $4.50 ($3.00 for students and seniors) ‘This play is very light and humorous. Seems like there‘s a need for that right now. It‘s just plain fun. for people who like to see the whole works â€" the Broadway glitter. the sensitive songs and the big dance numbers." Forest said Forest said Dolan will not attempt to duplicate the ‘‘incredibly sexy Monroe portrayal" but will add ‘her own amazing stage presence and natural magâ€" netism‘‘ to the show. . With their trained voices and comic flare, students Paul Lawson and Jeff Knight as the hapless musiâ€" cians, will bring their "Mutt and Jeff characters" to life on stage. Ailish Dolan. a first year fine arts student, will play the lead role as the "naive and lovable Sugar. a part written originally for Marilyn Monroe. Deirdre Leslie (King), locally wellâ€"known choreoâ€" grapher and UW dance department instructor. has been rehearsing with the large cast since last Sepâ€" tember to ensure a strictly professional show‘ . She‘s been assisted in this by the musical direction of Michael Bechamp. Elaborate and varied sets have been erected by technical director Bob Curr. We chose this play because we wanted to do soâ€" mething to incorporate a lot of people,"‘ Forest said. ‘‘This is the largest musical the university has ever done. It‘s a combined effort by the dance, music and drama departments and it‘s been a lot more fun working together." ‘‘Sugar really reflects the whole exciting era of the 1930‘s", Forest said in an interview. ‘"There‘s a lot of vaudeville. the night life is wild and all pasâ€" sions are taken to the extreme. It was a dangerous way of living and the play brings in the desperation of the depression years very well. The character of Sugar especially, shows a sensitive side to the play without being sentimental."