The gamecock. (Columbia, S.C.) 1908-2006, September 07, 1979, Page Page 10, Image 10
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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
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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
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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
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growing up,
ill Indiana town
limless than himself. Mike (Dennis Quaid) has never
gotten over being the high school's star quarterback.
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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,
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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.
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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
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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
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^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*>
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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,
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'Love forLydia,
herself in the midst of the roaring
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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
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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
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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
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'by H.E. Bates
literary stvle. Whpn h*? HioH in ion a
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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 ?.*>?? ?_' ?