Historical Newspapers of South Carolina

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W- a QenuIe Q4een ale /9 Sea a highlightas.Fvsmhigc natin~s t h ooefrmBf thm Cn oror goAnd bi-iefr for cans "Focus Pocus," see beautift eyes develop. S The finest in eye make-uap, yet sei 4 ~11 'icture -""*A *7~m ~o mb 4 sT a lC nTa lc mriced *bi sa s e e e eeese sees.ea, r At the movies The Touchh By MARGARET SWENDSEID Staff Writer The manager at Jefferson Square Theatre didn't think this movie should or could last long, here in Columbia. 'Not many Ingmar Bergman fans; people walking out before the film was over It's too bad that people walk out of this movie. It's too bad that people walk out of any movie, unless it's because of pure boredom or disgust. I don't think "The Touch" can cause either for any length of time. It's a matter of thinking and feeling through your own experience and something extra. "The Touch" is exactly that - a touch between two people. Two people reaching in heat, still reaching after the break. Something as complete as you let yourself en joy. The story ol this film is familiar. Bibi Anderson as an aging, spirited housewife, tiring of her just, too balanced and dry husband, Max von Sydow. A young American brat, Elliot Gould, comes to their small town on an ar chaeological dig. They meet. He's invited to dinner, and somewhere during the home slides of mules and orchids, E.G. asks the Swedish Propriety if he has any pictures of his wife nude. S.P. says no, half-amused. And Bibi, part shy and coming to life, meets Elliot in his very real grubby flat, in secret. The first time they are quiet, soft. The second time Illiot ravishes her totally. "'The Touch," both warm and frustrated, follows through the blatancy of cold, echoing rooms, grinding clothes washers, ran sounds, the flick of light switches, to its sad, abrupt end, the legend of sense, balance. The soft Swedish autumn. Bibi Anderson and Max von Sydolv are great. Elliot Gould looks comfortable being cute, fierce, moody, and child-like. He looks avykward sometimes speaking English around Swedish actors. Bergman's symbols? I don't know. I don't figure them out any more. This movie felt relaxed. Anyway, "symbols" are natural understandings, except when forced, designed too much. This Bergman movie is a "touch" that might be awkward with the tease or harrowing of imagination. It remains simple and good. Jo4nny Got His Gun By FREDERICA GREEN Staff Writer In the paranoid fifties when Joseph McCarthy named the Communists of Hollywood, a lot of very talented moviemakes found themselves very much out of work overnight. Dalton Trumbo was one of those names. This year he finally was permitted to return and film his novel "Johnny Got His Gun," a very important film. In the first place, it almost sounds an all-clear. All you pinkos can come out now, the pogrom's over. Next, it proves Hollywood is not really dead and It's still possible for an American to make a competent and intelligent movie. Finally, the film itself is a wipeout. Joe Bonham is blown up by World War I (in a beautiful flash of pure arc )epng) and loges his arms, legs and face. Nameless and isolated in a graNf%di*#k and white hospital, he goes through his 'memories @nd faMf07 finensuous color. He remembers his fast night with his girlfriend Karen, pure and big-eyed; he raps with his unit (for some reason Christ is traveling with them. One of the men exclaims, ''Jesus, I wish I had a shot of whiskeyl...Oh, thanks."); life with his gentle Colorado parents, where a cat, mouse, dog and chicks sleep peaceably behind the stove. Gradually he decides he wants to be a sideshow freak in a Fellini desert circus to stand as an example of the horror of war. t'e!gets this message across to authorities by tapping his head in Morse Code. The request is, of course, denied, so Joe demands that they kill him. The miraculous thing about ''Johnny Got His Gun'' is it manages to avoid some treacherous pitfalls, it doesn't lapse into squirmy sensationalist horror (See Ken Russell's ''The Devils") or the-grimy-tedium as seen through a thousand-dollar lens (see Casper Wrede's ''Ivan Denisovich'') or even weep emotionalism (don't see ''Love Story''.) The story is horrifying, but Joe's drive to do as much as he can in the situation lightens it. It's emotional, especially the scenes tween Joe and his father, yet always real enough to inspire As an added bonus, the visual effects are innovative and ef ective but never punky-groovy for its own sake. .Trumbo's back. en 'he seems-m ;t no he e' mln