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-entert< Here she com Freshman Sarita Mye at tho annual pageant Ballroom. Celebration I continues tonight with the bedroom. 'Gandl LongBy Doug Bell Sir Richard Attenboroi over. "Gandhi" is on the s worth the effort and expei mixed feelings. Attenborough commits when an Indian acquainta of Mohandas Gandhi, philosophy of "peaceful i India's history. Attenbor ough's enthui rejections from producei from Indian officials, th< portantly, the question of MEANWHILE, ATTE been limited to acting, be, host of screenwriters bu sharpened his directoria Winston" (1973), "A Brii (1978). Gradually, he courted camp. A young Indira Ga had a minor hand in the p for information and broa in 1980. "Gandhi" opens with a1 its necessary incomplete 4 ~ A r cuuiu iun accuuiu ior ever The tone of the introduc in me. If the director af formal, encyclopedic att being laborious, heavy-ha THE MOVIE proper b and funeral. While the n flowery tribute by work ascends to stratospheric ceremony. My first instinct was th would not go unchecked, j rest of the film to shatt timoniousness. One migl the seamy underside to some unsavory details ? trace of mystery and hum Attenborough doesn't s< T r*..? l - juiiii orney are conient v in the pages of history a major events of Gandhi' even to the point of shootii actual event. Attenborough's goal is much as possible. But i futile? It is impossible f person. The artist's only lies in his ability to offer historical figure. Neither to stick out his neck so far THIS ALL boils down tc movie. It is, however, a v an aesthetic level, but or involving. Attenborough's acting < on the subject. Performs cellent to sublime; V $ :: : ?" |:ip :'xx-*':* > &>:*ag^^; :^& :-^:-:'::::::: :: : ti:^:.. x-J?0jt: :iB .:?-::'-: waEK ,f tirimmMfrtff ::x;. :?HIHEB9v6SRHkx<^s9W9B^SSnI Pfioto by Herbfrt Miller es... irs vas chosen Miss Black USC Sunday night in Russell House of Black Observance Month Dr. Henrie Turner speaking in bT awaited film s irflt *c? OA tmn?? I? fi?.-11 ? jg" o ^v-jfcai avi uggic is Llllclllj screen. As to whether or not it wag lse ($22 million), this reviewer has Ki himself to the project in 1962, nee urged him to read a biography the inspirational leader whose resistance" changed the course of iiasm survived many obstacles: s, delays from financiers, hostility 3 death of associates and most im whom to cast in the title role. NBOROUGH, whose career hac gan to produce and direct. He keDt s sy on the Gandhi project while he il skills on such films as "Young dge Too Far" (1976) and "Magic' the Indian government over to his ndhi (no relation to the Mahatma) roject when she served as minister dcasting. Production finally began written prologue that apologizes for ness, as if Attenborough is sorry he y minute of his idol's existence. tion signaled an immediate caution >proached his subject with such a itude, how could the movie avoid nded and dull! egins with Gandhi's assassination lartyr is eulogized in tribute after I leaders of the time, the camera heights to reveal the scope of the at such grandiloquent hero-worship iGrhans At.tP>nhnrriiicrV? J >ruuiu UDC IIIC er this great-men-of-history sane it hope the film would scratch intc undercut the historical pose with anything that might give Gandhi a lane fallibility. ee it that way. He and screenwriter vith the super-human Gandhi found nd biography. They dramatize the s career with painstaking fidelity, ng a scene on the anniversary of the to re-create the "real" Gandhi as sn't any such attempt ultimately or an artist to imitate the "real" hope for significant achievement a personal "interpretation" of the Attenborough nor Briley is willing > one thing: "Gandhi" is not a great ery good one. It might be bereft on i a dramatic level, it is thoroughly jxperience makes him an authority ?nces in "Gandhi" range from ex Theater By John Vaughan Workshop Theatre tonight o comedy that received a popula But Workshop's production throwback to the original sh earlier. Written by Paul Osborn, "fl staged in New York by Joshu revived three years ago, se Awards. But Workshop's set, designee one used in the modern Br< "revives" the 1920s as the play THE COMEDY is the story c age and their quirky families strates how family relations!: even after 50 or 60 years. Directed by USC's Ann D Drucilla Brookshire, Jo Mer Nancy Vosburgh as the si: Hungerford and Robert Steinn fhn fKrnn mowifkrl o*n UlV UU VV liictl 1 Itu OIOIUI O. Steve Miller and Mary Jeffc not-so-young lovers. "Morning's at Seven" will r formances at 8 p.m. except fo There will be no performances for the general public and $4.5 tresses epic r m 1 "1 1It | f . J \*?r 4 I Ben Kin^sJoy plays the ti remarkable ability and physici ?????? revives | pens "Morning's at Seven," a I ir revival on Broadway in 1980. jj actually may be more a ow that played four decades * Morning's at Seven" was first la Logan in 1939. When it was iveral performers won Tony J by Mary Garvin, is unlike the >adway revival ? instead it 's time frame. >f four sisters well into middle5. Playwright Osborn demonlips can change dramatically reher, the play will feature jgedoht, Nancy Truluck and sters. Johnny DeHart, Bob leyer will portray husbands of oat will appear as the comic, un through Feb. 13, with per- i r a matinee Feb. 13 at 3 p.m. i Feb. 6 or 7. Tickets are $5.50 a 0 for students, senior citizens o! e-creation, lai \ w J > p' i ' ^ B n w Si rr lis role in "Gandhi" with p] il similarity. a, tmmmmmmmmmmmmmmmmmmmam play's ori t. J.: \. ^^Rs^?^|J|^l|?f]||| :^-v -v.if* BB^BBBbBBWBBWMHBBPw'^BW Steve Miller and Mary Jeffcoat ri oles in Workshop Theatre's "Morni nd military personnel. For more ffice at 799-6551. :ks artistic gr film revi The supporting cast reads like inema," including Sir John Mills ohn Gielgud. Candice Bergen abdued performance as the hotographer and adventuress, Ms harleson and Martin Sheen also aj Briley's script is as straightforw pisode from "Masterpiece Theati arrative unfolds in flashback, ifficulties in overcoming prejud ducated lawyer in South Africa. I f his "peaceful resistance" phil< ecomes the credo that wins India': GANDHI HIMSELF rises so h steem that he can quell any i ireatening to fast to death. Though it calculates and pre esponse, the script serves as a 'randhi's philosophy. A scene in Dllowers advance quietly to thi arrison, knowing full well they lubs, so deeply affected Sheen tl ntire salary to charity. Anvone who's sp*?n th? mmno notivation. The little brown man ffecton people. And, as Ben Kingsley plays allowers in theaters everywhere. KINGSLEY'S PERFORMANCE ctor conveys Gandhi's moods wi ase. In dramatic moments, he in omparable to James Stewart's /ashington"; in lighter moments nd exotic asE.T. As an actor Kinociou , ***Ujr V C. helming debut. He may fall into luni in the 1930s, playing nothing ever establishing his own consii ingsley portray another historica had better be Attila the Hun. Ian Charleson seems to be stuck laying a part similar to his Eri< ire." MANY PEOPLE have expresse lm's "prettiness," as if this were i But Attenborough is no camera s >sy cinematography proves nothi aid, "Beauty in cinema is the i leans"; prettiness has nothing to c If one wants to see some trulv h* lis reviewer would recommend ovies ("Patnther Panchali," "Woi Still, I recommend that you see storical re-creation, it is enterta ildly inspiring. It moves faster I is reviewer can recall. But don't be hoodwinked by go roduction values into believing it r.t . . ? igins Bhearse their comedic ng's at Seven." information, call the box eaumss iew I a "Who's Who in British >, Trevor Howard and Sir turns in an appealingly famous Life magazine irgaret Bourke-White. Ian j I ppear. i ard and uncluttered as an re". After the funeral,'Ihe | beginning with Gandhi's lice as a young, Britisht follows the development ! osophy, which eventually 5 independence. ugh in his countrymen's j nici udi aunt; smipiy oy j digests every emotional marvelous platform for which waves of Gandhi's I b gates of a barricaded 9 will be beaten by British hat the actor donated his can understand Sheen's in the loincloth had that him, Gandhi is gaining S is a rare wonder. The I th utmost conviction and stills an emotional fervor in "Mr. Smith Goes to H he seems as cute, fragile B r recover from this over- I the trap that caught Paul I ; but historical giants and 9 stent personality. Should I figure in the near future, in his priest's robes, here S c Liddell in "Chariots of d their admiration of the nstant proof of greatness. tylist and, Billy Williams' ng. Critic David Thomson ntegrity of meaning and lo with it. tautiful films about India, H I wnjr ui oaijfajH XVtty 5 idofApu"). I "Gandhi." As a straight ining, involving and even than a 31/2 -hour movie I od photography and epic a great work of cinematic fl