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-entertain 'Po/ten Ci Special et By Bernard K. Addison "Poltergeist," a Steven Spielberg-produced film, is not quite as intellectually satisfying as "Close Encounters of the Third Kind" but is still a riveting, suspenseful tale of the supernatural gone berserk. What it lacks in direction and script is made up for in vivid effects and shocking twists that make this movie this summer's "The Exorcist." "Poltergeist," taken from the German origin meaning "noisy ghost," is the unexplained phenomenon in the story, just as UFOs were the focal oddity in "Ciose Encounters," and, as in "'Close Encounters," the victims are a typical middle class family from suburbia. In fact, this film contains reminders of previous movies in the special effects genre, reminders such as the "Star Wars" merchandise dpporatint* thf? philHr*?n'c ? o ?v"" w rooms. IN THIS film, the typical, well-meaning average family is visited by poltergeists that slowly but surely begin to wreck the family's lifestyle. The poltergeists begin by communicating with the little girl through a TV set left on until 4 a.m., and eventually advance to playing little tricks in the kitchen that seem to amuse the family. But the fun stops there, as the noisy ghosts turn out to be angry and hostile supernatural beings with an unclear vendetta against the nousenoia. Aciuauy, tne poltergeists' hostility is A mysterious force dra iment yeist' Vects add exc explained near the film's end, but why this family was chosen as victim is not. When thf ehnsts hpfnmp hostile., the Industrial Light and Magic Company (George Lucas's special What is a p A lamp tips over for no r across the room. A desk t knocking sounds and a chill w be warm. These incidents are The word "poltergeist" orij meaning "noisy or boisterc residence in houses or build tings, which are typically no for years. Poltergeists are 11 mcc vir.lr>nt o finnt longer than two months. IN i960, a poltergeist was o old girl in Sauchie, Scotlan chell's book, "Psychic Ex] Science." The girl's teacher saw the I as she tried to keep it hingi rapping sounds coming from still. While investigating the leap into the air. ui-L - - ciicuus crcw, which aiSO worked on the current "E.T." and has begun work on "Revenge of the Jedi," the next "Star Wars" film) takes over. The effects in this movie are totally chilling and impressive to watch as the poltergeists run amok and take over the household and eventually the movie. Once again, however, the scenes and effects are too familiar (similar to the final scene of "Raiders of the Lost Ark"), but are still an eyesight to behold. IF NOT for the special ?u:? ? ^..i J ?* ciicuua, tma liiuvic wuuiu nui W^y, |||| ws Heather O'Rourke to a televisi vtement, susp be worth seeing. Aided by Jerry Goldsmith's score (a John Williams, of "Star Wars" fame, imitation) and unclear editing, the openi " scenes of the film seem : wander aimlessly, waitin ; ioltergeist? eason. A small object flies op rises by itself. Strange ind are in a room that should i attributed to poltergeists. *inates from a German word >us ghosts." They take up ings, but are not like haunn-physical and can continue snnntanAmic r?hvci/>;?l onH Nr|^v??v<a.^UMK/1 kJIV, UL JL CCIIU inue for a period of time no bserved plaguing an 1) yeard, according to Edgar Mitploration: A Challenge for top of the girl's desk fly open ed closed. A minister heard i the girl's bed while she lay noise, he saw a linen chest for the first special effect. Mindless chit-chat and unfunny humor compensate for thp lark nf r?1nt aH. vancement with little success. It isn't until the special effects begin that things get cooking. The direction by Tobe Hooper ("Texas Chainsaw Massacre") is bland and stereotypical of mediocre horror shows. The script is trite at best; the actors mumble useless language that seems to be more like a documentary on poltergeists than words evolving from me given circumstances they have to play. allllM^ mm. \ on set in "Poltergeist" wnse to Spiel Jobeth Williams and Craig T. Nelson, the mother and father of the household, stick to formulated horror show acting, concentrating more on action and less on justifying the reasons behind the action. The only performer of the cast who breaks this mold is Beatrice Straight, the researcher who comes to investigate the occurrences. Even she has to resort to exaggeration because of the script's weaknesses. IT SEEMS that Speilberg and Co. simply wanted to thrill the audience with the movie's technical wizardry instead of producing a wellrounded production of creative and social importance, as in "Close Encounters." And it is a shame they went that way, because the movie could be so much better. Don't get me wrong, however; this is a truly scary movie, one that will make an audience sit back with fright ana sympathetic horror. But for big Speilberg fans like myself, don't expect more than the special effects for the film's merits. Summer, readies f( By Debbie Conrad A 4-foot papier-mache re Elephant Man lies in th readiness ; a partial wall frar battered screen door sits so and begins to look a little we costume designers stitch lac onto 1900s costumes while ? 1980s rock music in the backg mL r - i mese are a iew example Summer Repertory Theatr progress since May 29. Actor, day to begin a 14-hour-a-d schedule, according to Dr. P head of the USC Departmei and Speech. Ten actors, five techniciai other experts and helpers working seven-day-a-week sc then to prepare four pla formance, with the first, i>r\ Man," opening June 16 a Theatre. THE COMPANY works or four shows every day, said ( called it a "truly grueling everyone...(but) a very fine p Gillespie, who as head of th is producer for all shows Summer Repertory Theatre except for 1976 the comps formed every year since. "I was very interested professional theater-partic tory theater--to Columbia, Repertory theater allows ai see an actor play a numbe roles ; other theaters producc stuffs it into a closet to begi letting the audience see the one role, Gillespie said. AS A PROJECT of the D< berg horror film i >^4 i'/': ' ^^^^^-mSBBB^BSSSSSm. ';: V!: !>: ' - ^11 ^HnHHHK^ '$Eg&Sfa ': yx< HMI BP^ % m j - Bfe Hp.. ' ' j Ki:;SHIHnnnBi :: ;^KnRBHBHBHBHHBBHBHHBHHHHHH^BBBnB8N^^^H Beatrice Straight stars as a parapsychologist in "Dnltnrnnlm* " - 0 VflOf repertory theater ir season's opening Theatre and Speech, the company serves ?plica of the the dual role of providing Columbia with le midst of repertory theatre and giving the best ning a newly- theater students a chance to work as alriiKt in roin appIamo1 11 umiig ami lam i^iuicooiuuaid, muse iwu jic C(]U31iy fathered; and important," Gillespie said. "I really think e and buttons of those in the same sense.'' i radio plays The company's 10 actors are round. professionals, chosen from auditions of s of the USC more than 600 actors from 14 states. Each e's work, in actor performs in three of the four sum5 arrived that mer shows. ay rehearsal atti Gillespie, CHOOSING THE shows to oroduce is as it of Theatre big a task as producing them. USC faculty members James Patterson, artistic is and many director, and Elbin Cleveland, technical have been director, work with Gillespie to consider hedules since all aspects of each play considered for the ys for per- summer season. rhe Elephant t Longstreet First, Gillespie said, the casts for all four plays must have the same man/woman ratio, with similar traits such i three of the as age and build when specified by the *:ii : ~ -L ^ . *iuespie, who plays. Other aspects considered are schedule for costuming and set design. These are rogram." important to keep the budget lower, ace department cording to Gillespie, since summer theater , began the funds are included in the total department in 1975, and funds for the academic year. iny has per"(THE) MOST* difficult thing every in bringing summer is trying to run a professional ulary reper- repertory company inside a university " she said. setting ... Whenever you're dealing with a i audience to bureaucracy ... there's always that tenr of different sion," Gillespie said. You have to "try to ; a show, then mesh the requirements of the university n a new one, with the requirements of a professional ?r?fnr in nnlv pnmnanv " coiH t ror> ?a >? w..? J f-?-V U?v "?IVJ UKH UOb (t III] 11115 Summer Repertory Theatre, however, have built a good working relationship ipartment of over the years.