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v <=*' if I 4 * f ; >* .X > ^ i ^ . ^ x (S os^- v^vN\ ^ Movie depicts friendship in sma By David Baker i Gamecock Film Critic ? Peter Yates' Breaking Away is one of the most 1 enjoyable pictures I've seen so far this year. It's s funny, it's touching, and it's extremely well acted. The film stars Dennis Christopher as Dave Stoler, a I Waltap ? C L --i -r ? * ' ? moivci mmj-i.jfpc iccucigcr wuu s iresn oui 01 nign r school and fresh out of ideas about what to do with t himself. r Dave's only ambition is to become a champion bicycle racer, and, since graduation, his ambition ( has become consuming. So consuming, in fact, that c he has begun to imitate all things Italian out of his j admiration for the Italian racing team. He reads an Italian dictionary as if it were a Bible, s speaks with an Italian accent, listens to Italian c upei as, uecoraies nis room witn Cinzano posters and, s much to the chagrin of his father (Paul Dooley), i shaves his legs just like the Italian champions do. For a time, he even courts a local college girl (Robyn ? Douglas) by pretending to be an Italian exchange ( student. f When Dave isn't racing his bike down the Indiana ? highways or turning his father's used car business t into a shambles, he's hanging around with his old t L!-L 1 1 L !! " nign scnooi ouaaies, an 01 wnom are even more 1 Masterpiec By Mark Chevalier Genius, which he Assistant Entertainment Editor msHrsn pvnlnite nf r r?? Anthony Hopkins, star of stage actor, Edmund Kear and screen, rings in the new Masterpiece Theatre season in Ingrained in "Ke< Jean-Paul Sartre's farcical Sartre's existential comedy, "Kean " it is presented as < than a vehicle of d Sartre, most widelv known for oo nno his philosophical milestone, Being demned to freedom and Nothingness, has turned often In a special crit to theatre for expression. He wrote Anthony Hopkins pi "Kean" in 1954 under the complete the eccentric Kean. title, Kean, or Disorder and Sartre's intelligen Anthony Hopkins in 'Kean f i ~ - |jj|gjj : 1-'-l':" ~J~^r'-7~^',^ ^2^^;]'r~. .-' -Jfgk a \ \ mm. : W - of r " * ^V*,? '?. W ^ ^';: * _ *** * %; m/mmS-' "" , ', i, mki t f $Lv growing up, ill Indiana town limless than himself. Mike (Dennis Quaid) has never gotten over being the high school's star quarterback. n hnnpc r?f affirmino (tic monK/uw^ in .. ..V|/w vi uiiuiiuiig mo iiiauuvAAi, nc 10 tuiiawnuy etting up futile confrontations with college kids. Cyril (Daniel Stern) is possibly the smartest of )ave's friends, but his academic future is tampered by an incurable inferiority complex and iy an overly understanding father who's determined lot to make his son do anything he doesn't want to do. The youngest member of Dave's clique is Moocher Jackie Earle Haley), who is bordering on lestitution. His father has left home to search for a ob in Chicago, leaving Moocher to fend for himself. The four boys spend much of their spare time wimming at a neighborhood rock quarry, dreaming if the days when they'll be on their own, and tryirg to ivoid the college people whom Mike has the habit of nfuriating. The dialogue in all of the boys' scenes together has . : . - ? ' ? ' i auuuc uuwiiig quality to n. aeverai 01 meir lines are |uite witty and they're balanced by a few that are illed with pathos. The most astonishing aspect of Iteve Tesich's script, though, is its believability hrough such far-fetched situations as Dave atempting to serenade a sorority house with Italian "vesungs. See Movie, pege 12 :efeatures based on the becomes one of those rare the legendary meetings of performer and i. material. The two-episode production, an" is much of which premieres this Sunday, nhilnsonhv va* SeDt. 9. hiffhliohts th#? IQth AAnturv example rather performer's excesses. Both on and ogma; showing off the stage, Kean is an individual is truly, "con- of demanding presence, one whose life seems hopelessly intertwined ical screening, with lovers, booze and acting. Yet oves perfect as Kean seems to thrive on the chaos, Combined with driven all the more to speculate on i dialogue, it ms condition in illustrious, romantic dialogue. Kean is truly a romantic who, in the words of English writer Colin Wilson, "sees and feels too much." r Thus in Kean's vain attempts to clarify his expressions, his feelings, he does little more than confirm to those around him his s madness. In essence, he is trapped in his own articulation. -1? 1- i ? nupnim> aueauy nas an impressive list of performances, most recently the film Magic and the Broadway production of % Equus. "Kean" certainly will be but one more star on an already Wmm,, star-studded record. Because of the short nature of "Kean," WGBH in Boston, who IBiillHre: presents the British modurtions in ihis country, has also released information on the second Masterpiece Theatre presentation, I "Love For Lydia." i Another adaptation of an H.E. Ht Bates story (you may remember last spring's production of Bates' country Matters")* "Love For * Lydia" is the story of a young and ?I?1 "J ? t/VUUUlUI Kin ouuueniy iinaing learned tc By David Baker Gamccock Film Critic "It's the first picture I've been in that's received some acknowledgement from the people in ttia Kiicinocc " coirl Honnic 111 VIIV i7UOi>iwiJ| ouiu jLyvimio Quaid about Breaking Away. In the film, Quaid portrays Mike, the ex-high school quarterback who has difficulty coming to terms with the fact that his days of glory are over. It's a searing portrayal, but, said Quaid, "At first I didn't want to doit." "l didn't like Mike wnen l tirst read it," Quaid said, but he quickly pointed out that usually happens with all of his characters. "I hate them when I first start doing them," he said. By making the rols "personal," Quaid said, he eventually came to like Mike. "I came to see how he came to be the person he was," he i _ i explained. Unlike Mike, Quaid was never a high school athlete. "I wanted to be in athletics," he said, "but I was too small." So, instead of sports, Quaid turned his attention tp the theatre and at 21, moved to Los Angeles in I P ^Interview | search of work. It took him nine months, however, to get an agent, and even having a brother in the business didn't help him find a job. "Randy gave me encouragement, but there really wasn't anything he could do," Quaid said. "A year to the day I was out there I got September 30, 1955, Quaid said, referring to the ill4r>rt*> ? *si? -- iaicu i3(u iiauica onuses mill in which he made his motion picture debut. Since September 30, 1955, Quaid has appeared in Our Winning Season and the soon-to-be-released GORP. He's currently working on Bates, iSSSMb < i i '^Mr-: js fimSffm -* /^B^^M^,?23K??i?l^:'s 'Love forLydia, herself in the midst of the roaring tinantiac A tfn? ? ?u_u i v tv viivivo /lliCi tt 2SIlt?l Lt?r(?Q homelife, she is ready for adventure and love, all of which come her way as the twelve episode series unfolds. Masterpiece Theatre host Alistair Cooke recalls the effects of the 1920's on the English way of life: "American dance music arrived in England as a kind of ifiirooiAn ?i?UK llfUU? ? ? itdoiuii wiui t aui wuiieiiian s band," Cooke recollects. "It was the delight of the young, but the despair of their parents. Judges used to regularly pronounce the coming end of the British Empire to the wail of a saxophone." H.E. Bates is, in many ways, tht personification of the English \wav' star > like role *j&t' ' ***> ?B^pr|||^p ; X Dennis Quaid Walter Hill's The Long Riders, a Western in which he and his brother Randy co-star with three other sets of brothers: James and Stacy Keach: David. Keith and Robert Carradine; and Nicholas and Christopher Guest. Quaid doesn't know how well he'll be able to work with his brother because, he said, "we haven't had any scenes together yet. ' I think it will make it a lot easier since we've spent all these years together." Quaid has not decided which ...:u /?ii - pi ujcvi win iuiiuw i ne L.ong Kiaers ("I've got a couple of offers," he said, "but I don't even have time to look at them ri^it now."), but a Breaking Away sequel is not among the works being considered. "Sequels are intended to capitalize on the box-office of the original and most of the time the idea loses its spark," he said. "It's best to leave well enough alone." Sartre Ik , ||ii 'by H.E. Bates literary stvle. Whpn h*? HioH in ion a r w ?? ? v?jivv? mm* Atfll) the London Times paid tribute in a way that sums up his significance to the English: "He rendered English country life without sentimentality and in its most enduring respects. At his best, scene and character exist in perfect balance...he was without an equal in England in the kind of story he made his own, and stood in the direct line of a succession of fi/ttiAn :* -? * ? " iivvivu wi iicis ui me J&ngnsn countryside that includes George Eliot, Hardy and D.H. Lawrence." Mel Martin plays Lydia, and from all reports she is wonderful in the part. Yet with a Bates storv. 20's jazz, and a history of excellent productions, "Love For Lydia" > should be nothing less than woni derful itself. //'V.'* .r t'4 ?.*>?? ?_' ?