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South Texas Community News, Vol. 2, No. 8, April 20, 1978
File 012
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South Texas Community News, Vol. 2, No. 8, April 20, 1978 - File 012. 1978-04-20. University of Houston Libraries. University of Houston Digital Library. Web. October 29, 2020. https://digital.lib.uh.edu/collection/gcam/item/2423/show/2409.

Disclaimer: This is a general citation for reference purposes. Please consult the most recent edition of your style manual for the proper formatting of the type of source you are citing. If the date given in the citation does not match the date on the digital item, use the more accurate date below the digital item.

(1978-04-20). South Texas Community News, Vol. 2, No. 8, April 20, 1978 - File 012. Gulf Coast Archive and Museum (GCAM) Digital Archive. University of Houston Libraries. Retrieved from https://digital.lib.uh.edu/collection/gcam/item/2423/show/2409

Disclaimer: This is a general citation for reference purposes. Please consult the most recent edition of your style manual for the proper formatting of the type of source you are citing. If the date given in the citation does not match the date on the digital item, use the more accurate date below the digital item.

South Texas Community News, Vol. 2, No. 8, April 20, 1978 - File 012, 1978-04-20, Gulf Coast Archive and Museum (GCAM) Digital Archive, University of Houston Libraries, accessed October 29, 2020, https://digital.lib.uh.edu/collection/gcam/item/2423/show/2409.

Disclaimer: This is a general citation for reference purposes. Please consult the most recent edition of your style manual for the proper formatting of the type of source you are citing. If the date given in the citation does not match the date on the digital item, use the more accurate date below the digital item.

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Title South Texas Community News, Vol. 2, No. 8, April 20, 1978
Date April 20, 1978
Language English
Subject
  • LGBTQ community
  • LGBTQ people
Place
  • San Antonio, Texas
Genre
  • newspapers
Type
  • Text
Collection
  • University of Houston Libraries Special Collections
  • LGBT Research Collection
  • Gulf Coast Archive and Museum (GCAM) Digital Archive
Rights No Copyright - United States
Note This item was digitized from materials loaned by the Gulf Coast Archive and Museum (GCAM).
Item Description
Title File 012
Transcript Page 11 Community News CUIIENT CINEMA 61 £AL SfeRUMfi-, IPHIGENIA (U) Directed by Michael Cocoyannis With the popularity of free-wheeling, nonthinking films such as "Star Wars" and "High Anxiety," which are made strictly for fun, it's nice to-have a "thinking man's" picture out, even if/JPHIGENIA is not a complete success. The f. ilffl,was~noraj,nated for "Best Foreign Language'Film" at this years Academy Awards. The film lost, however, to an unheard of film, "Madame Rosa." Michael Cocoyannis has filmed two earlier Greek tragedies, "Electra" in 62, and "The Trojan Women" in 71. IPHIGENIA is based on the play, IPHIGENIA AT AULIS by Euripides, and quite often, the film seems somewhat stagey. Of course a lot of the acting is (overly) melodramatic, but you must take into consideration the time and place. Cocoyannis has not made his own version, he has kept it in its nearly exact original writing. And for that he is to be commended. The story concerns the demand, by the Greek fleet, assembled to sail for Troy, that'Agamemnons• daughter be sacrificed and killed. In their belief that her death will bring wind for their ships to sail by, Iphigenia is brought to her father, by her mother, under the impression that she is to marry Achilles, a young, attractive hero. In actuality,, of course, her marriage will be a wedding with death. In feeling sorrow for the beautiful 13 year old, Iphigenia, one cannot help but feel that Euripides story is somewhat ludicrous, and that the films intentionally depressing mood is a bit muchj^^ Irene Papas is impressive as the mother, though occasionally she is forced to deliver a rediculous line, which prompts unkind and nervous laughter from the audience. As Agamemnon, Costas Kazakos, is rough and unloving. He cares for *yj3 daughter, possibly, but the Greek fleet come f iFSt", and though he contemplates the decision of the sacrifice, you are always certain that his final decision will result'in death for Iphigenia. The most brilliant of the cast is Titiana Papamoskou as Iphigenia. Her beauty and innoe cence is incredibly touching. Her performance is the most controlled, making her role seem the most natural. IPHIGENIA is the best screening of this type that I've seen. However, its long length and numerous boring sequences go on too <long and keep it from being the perfect picture that it might have been. In seeing it once, one can marvel at its eagle-sharp photography and the sensitiveness of its tittle character. But to set through it another time, would be, quite frankly, a chore. (**i) "CROSSED SWORDS" Directed by Richard Pleisher, based on Mark Twain's THE PRINCE & THE PAUPER (PG) I have to admit right out front that when I was a child, Twain's PRINCE & THE PAUPER was one of my favorite ' stories. Also, when I was ten, I discovered a musical movie titled OLIVERI and from that point on, Mark Lester, who played Oliver Twist in the film, (he plays the prince AND the pauper in CROSSED SWORDS.) became my idol,(or hero, whichever you prefer,) and OLIVER1 will always be one of my very all time favorite movies. So, in reviewing CROSSED SWORDS, keep in mind that my opinion is somewhat biassed. a IT sucksb! My god, what has happened to Mark Lester! In his youth, his looks personified perfection. Perfect facial features-; perfect blonde hair, perfect innocence. Now he's twenty years old and he's about j six feet tall, and weighs about 60. I swear he is so skinny that he looks like a polio victum. His door knob looking knee caps simply beg to be turned. His acting performance here fluctuatessbe- tween clumsy and just plain awful. Can this be that beautiful, promising little boy from OLIVER! ? The film is creatively photographed, and it captures the period wonderfully. But into this is thrown the, most rediculous all-star cast* ever assembled. Ernest Borgnine, Rex Harrison and George C. Scott are at their all time low. Raquel Welch is the token woman, though her character isn't even remotely believe-ri-. _. able. Oliver Reed is the best of the mess,' -■" (he played Bill Sykes in OLIVER!) but he -lv can't begin to save it. Actually, reviewing this is hard on \ me- I've been anticipating its arrival for over a year - and I thought I would \.x love it, (I wanted to.) But it is, I regret to say, the pits. (0) "RABBIT TEST" (PG) Directed by Joan Rivers Either Joan Rivers doesn't write her own jokes when I see her on television talk shows, or she didn't write this film. The credits say she did, and I just can't believe it. I have always felt that she irssthe greatest female, comic in America. But her new movie, RABBIT TEST is in- concievably unfunny and nauseating. The film should have been titled RABID TEST, as I would rather suffer through rabies twice, than set all the way through this even once. Billy Crystal (of SOAP fame,) is Rivers' starring victum, and though he's charming and sensitive, his "throw-away" one-liners are far from showing any talent. Rivers throws so many silly gags at her audience in every second, that I had just flat o.d.'ed after the first tKirty minutes. I saw the next thirty minutes in a disbelievable coma. All of middle *-^3 class America was laughing around me, but I was just amazed at their stupidity. To save my life, I just could not find angt of it funny, it was just one little skit after another, no worse or better than T.V.'s "Hee Haw" and "Laugh-In." After one hour, I could stand no more, and fled from the theatre, and as I walked out I could hear the audience laughing. And for just a moment, I imagined them "to be laughing at me. Joan Rivers had played an ultimate joke on me: She had tricked me into seeing her film.,. Too nervous to walk very far,(because I get upset when I think about there being movies that bad,) I snuck into the theatre next door, where a very familier favorite of mine was play- 1 ing to a practically empty house,(even though it had won "Best Picture Of the Year" at the Academy Awards four nights earlier,) All I can say is, thank god for people like Woody Allen and Diane Keaton, and movies like ANNIE HALL. For those of us who are amune to a "television society," movies like this ^Ofc are all that keep us from going totaly insane. (0)
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