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MOVIE REVIEWS By Victor Stanton Whether it‘s viewed as science fiction or just plain fantasy, Qlut%‘orl“lreisaflne There‘s really not a lot of plot, and there‘s not a word of recognizâ€" able dialogue, although a special "prehistoric‘‘ language was created for the characters by Anthony Burgess (the author of a futuristic language in A Clockâ€" work Orange) and is used to good effect. example of imaginaâ€" tive movieâ€"making. It‘s menjoygbie picâ€" ture that combines adâ€" venture and humor in prehistoric times, withâ€" out ever indulging in the mere silliness of a One Million Years B.C. or the absolute inanity of a Caveman. A Canadaâ€"France coâ€" production, Quest For Fire tells the story of a tribe of primitive humans who some 80,000 years ago know the value of fire but don‘t know how to make a fire from scratch. When the tribe is attacked by an even more primitive manâ€" like species, their closely guarded pilot flame is extinguished and three men are sent out to locate another flame. In the course of their quest, not only do they learn how to make fire, but they also acquire some additional comâ€" munication skills and discover a few new techniques for making both love and war. An excellent job of making up the perâ€" WE KNOW March 18 â€" April 11 P Kâ€"W Goal es $90,082.00 § EASTER SEAL KIDS fFey? L EAsmsgzausooum â€" *=_ Quest for Fire: exciting story of primitive man formers to look like primitive men and women goes a long way in giving the picture an aura of authenticity. Likewise, the photogâ€" raphy, in locations as disparate as Canada and Scotland and Iceâ€" land and Africa, proâ€" vides a very believable Stone Age environâ€" ment. The performers are all unknowns, as far as starring roles in movâ€" ies are concerned, and this too is most benefiâ€" cial in our acceptance of their characters. Drawn mostly from live theatre, the main players all deserve praise for the subtlety of their characterizaâ€" tions. Subtley really is the keyword throughout this film, with nothing being overdone or exâ€" aggerated to the point of being too fantastic for belief. Even in its length, the movie is commendably underâ€" stated. It‘s only 97 minâ€" utes long. French director Jeanâ€"Jacques Annaud keeps the action movâ€" ing at a steady but unhurried pace that allows the audience apâ€" propriate time to reâ€" flect on the signifiâ€" cance of what it is seeing, since the usual aural information is missing. Quest For Fire does contain some explicit, but not out of place, violence and sex. The latter apparently had one father flustered at the performance 1 atâ€" tended. During a scene when one of the men on +410 /:\'\ %,wa “‘)z"\ o iz 6 41/:} & M ‘P°% 657 screen was receiving instructions in faceâ€"to face loveâ€"making, this father responded to his little girl‘s query as to what was happening by saying the couple were ‘fighting". While lacking the viâ€" sual opulence and the dramatic scope of 2001: A Space Odyssey, Quest For Fire does provide viewers with something akin to that earlier picture‘s sense of awe at the process of evolution. Lili Marleen is a movie made in West Germany with predomâ€" inantly German cast. It was filmed, however, with the performers speaking English, but since their heavily acâ€" cented English was difâ€" ficult to understand all the dialogue was then dubbed into German and for Englishâ€"lanâ€" guage theatres subâ€" titles were added. That‘s the version currently being shown locally. It sounds like everyone is speaking German, and you have the choice of reading lips or subtitles to unâ€" derstand what is being said in English. Directed by Rainer Werner Fassbinder, best known in North America probably for his The Marriage Of Maria Braun, Lili Marâ€" leen is an odd, but not unappealing, mixture of satire and oldâ€" fashioned melodrama. On one level, it pur ports to tell the story behind the famous song, originally written as a poem during the First World War and becoming legendary during the Second World War. On another level, the picture seems to be prodding the German conscience about its acceptance of Nazism and the atrocities comâ€" mitted under Hitler. Although there is a realistic progression to the story itself, there is something very surreal in Fassbinder‘s techâ€" nique of screen storyâ€" telling. This at times makes it very difficult, for the Englishâ€"lanâ€" guage viewer at least, to know whether scenes are to be taken literally or viewed as symbolic. The basic plot has a German singer in love with a Swissâ€"Jewish composer, and when forced to return to her own country at the start of the war the singer rises to internaâ€" tional prominence with her recording of the title song. As the singer, Hanna Schygulla (who starred as Maria Braun) gives a likeable performance that in certain mannerâ€" isms sometimes reâ€" minds one of Jill Clayâ€" burgh. As her composerâ€" lover, who helps smugâ€" gle Jews and their posâ€" sessions out of Gerâ€" many, Italian actor (Continued on page 14) Wed., March 31 to Sat., April 3 Theatre of the Arts 8 p m General aamission $3.00 (Stu /Sen $2.00) Group rates available Coâ€"sponsored by the Creative Arts Board UW Drama Dept. presents Samuel Beckett‘s E N N fi M i -;l- e directed by Wojtek Kozlinsk: C A modern classic abowit Iife at the end of its tether ~€ n Federation of Students Special Performance for Children/ Evening Concert 8 to 12 years at 1 and 3:30 p.m. at 8 p.m. Children and semiors $2 50 â€" All others $3 00 Tickets $6 50 (Stu /Sen $5 00) ‘"a x JlJ uzxV /}» ‘.%&V_}:% \(l be MAC@LIS WATERLOO CHRONICLE, WEDNESDAY, MARCH 31, 1982 â€" PAGE 13 NORTH AMERICA‘S PREMIER PERCUSSION ENSEMBLE IN CONCERT Sat., April 3 â€" Humanities Theatre Tickets from UW Arts Centre Box Office Ticket vouchers from George Kadwell Records, Waterioo Square & Staniey Park Mail, The Centre in the Square and the information Centre, Fairview Park Mail 5 K