DAILY TROJAN, Vol. 52, No. 44, November 17, 1960
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«THE YEAR’S MOST EXCITING FILM” m —i«*—» J/f !/!*(/?? horda à »UC CLUN€* |..«.i,IWM«N ,y«r ‘«»sw C3» lÓ«N GH-IGUO • CL»i»t »LOOM »»l*« #iCha»OSO* CEOR'C M»»OVKiCKE lAURENCE OltvtE* - Hfl»!/»* •»oo*»"# rv»ct»« .» LAURENCE OLIVIE» Renoir’s Merry ‘Picnic on Grass’ Toys With Artificial Insemination DAILY TROJAN THur«J*y, Navcmbtr 17, 1960 ★ ★ ★ Director Has Quiet Faith In Own Craft By DAVID ALLSWAN«. Contr»Nitin” Editor An interview with French film dircetcr Jean Renoir is an inspiring experience. The elderly gentleman speaks with a quiet confidence abcut his craft in a sincere desire 10 communicate never to impi ess. His home is Hive with creative vitality. There i« an atmosphere of lived art stemming from his father'? mcsterpices (Pierre Auguste Rinoin. both painting and sculpture. Ahieh live side by side on his walls with vcrks rf Degas. Cezanne and E aque. The Mediterranean milieu rf Renoir's French birthplaec is suggested by the 100-year-old olive tree which grows in his backyard and is now in full fruition. He likes to think of an olive tree as a possible hiding place for 9 nymph or a wood sprite rather than a combination ei hydrogen and water. He speaks of its twisted trunk affectionately as he does of the haunting mythology which pervade« his native Provence. Father’s Influence We asked Renoir whether his fathers work has influenced ’lal approach to “Picnic on the real voices are as much a part of them as the color of their hair and the expressions on their •pent much time with his fani- an(1 gl^n„ hirth to psychological faces Ily. He thought the influence nonsense.'1 Renoir would like to was derived mote from the eld- do Sl>me television work for just er's way of viewing the world in ,ha, icason—he can work fast terms of shape and color than with the medium and avoid the the conscious adaptation of spe- pretentious “perfection" exemplified in some Hollywood films. FITS SPECIFICATIONS - Scientists Raymond Jourdan and Jean Claudio measure bubbling Catherine Rulvel to see if she meets the physical specifications of her new lover in Jean Renoir's bright new French comedy, "Picnic on the Grass," opening tomorrow at the Beverly Canon Theater, 205 N. Canon Dr., Beverly Hills. Film Mixes Science, Sex Via Genius One and a half hours of riotous fun opens tomorrow at the Beverly C non theater. ‘JO.i N. | Canon Dr.. Beverly Hills. Jean Renoir's "Picnic on the ¡Grass" makes merry with 'he ' seldom treated 'hemp of aiti-i ficial insemination. With his long-proven cinematic talent. Re.ioir has written, di-| rected and produced a film with ¡a recipe r two parts fantasy to one part science with a cupful of spontaneous acting, a measure >f beautiful scene y and a pinch of genius—h i s favorite ingredient j <h° uses it so often'. The scientist, Etienne 1 Pat’I Meurisset. is running for Presi dent of Europe on a platform of “leaving the mak'ns of children to spe ialists" of "curing pas sion like a cold.’- But what hap pens to he who vould "parallel Europe's conscious with chro-) mosomes" when he encounters nature in the raw—the vibranl iXenette (Catherine RouveD— ta j the tune of an aphrodisial flute I slyly tooted by a bedraggled | Pan? Imagine the engagement of j TOP ENTERTAINERS Bud and Travis, who will star at Troy Jubilee in Shrine Auditorium Saturday night, are rising fast in the world of show biz. The duo, who mix scng and comedy, was dubbed "Most Premising" last year. He is enthused with his units- that people it» to films to see [particularly trying for actors j this scientific srvior to a frigid Entertainment BARBARA EPSTEIN • Daily Trojan Feature Editor Bud &. T ravis Have Talents For Hit Show lake t»v*> m un'i talents, put them together and you mijht 4 have an evenings en»»rtainment. If the two talents are guitar- playing folk singers Burl and Travis votive got an exciting show. That's what the musica1 pundit- from coast to roast have been savin? about the jiiun; duo who will star at Troy Jubilee m Shrine Auditorium Saturday night. The ballarieers. v< ho like mixing comedy w ith their musical notes, last year were tabbed the “Most Promising" ringing duo in the f-ountry b\ the nation** disc jockeys. The droll pan like »0 think of themselves as a quartet because* they play counter melodic movement« against their melodies They turn their guitar.* into two other voice«, not simply rhythm accompaniments. Not content with strumming the music of many lands. Bud and Travis also like to add their own bit to their folk song bag. Between them they've written more than 400 songs. Both claim they write a sons a day and can write them on request. Their partnership was sealed two years ago over a cun of expresso in San Francisco when Travis was at the hungri i and Bud was at the Purple Onion across the street As soon a« they got together the audience* were delighted. human beinj; and their his own cinematic technique. He Glass. He made the film rapid-sr.id this was inevitable as he lv “not dwelling on the theme staff>.' he said. cific devices The film-maker was anxious to discuss his latest work, "Picnic on the Grass.” We asked him what inspired this strange, fantastic story. “I w-anted to capture the spirit of the Mediterranean area. Both the talented young actress. Catherine Rouvel and the Provencal «•untryside contributed to that effect. I was interested to hear that response to the film has been greatest from young people hire several writers to check “The new wave of young French directors is a good thing for the industry- When art be- who must undergo a personality ¡German scoutmistress: add to sacrifice to become a success, that a retinue of hi* apostles and However, he does think that tel- her girl scouts, evision is the best training Nymphs to Satyr« ground for the aspiring novice. Now picture this sensual Writing Book 1 group (sensual like a boiled lob- At present, Renoir is writing I ster) as thev are rendered help-a book about his father which .less by a driving wind—concomes a collection of tricks in- he says is “not exactly a biogra- j jured by that devilish goatherd, stead of an aitempt to under- phv." At the same time, he is pan—and wh:sked into the foli- stand the world then it needs seriously thinking of doing a age, man and woman, like "The audiences do not ant renovation.” said Renoir. He is screen adaptation of the Nor- Xvnnph~ to the Satyrs, perfection; they go to films to particularly impressed by the wegian novel “Hunger" by Han- see the work ot a particular art- work of Trouffaut, creator of sen. ist not of huge production “The 400 E>íows. Before we left Renoir s home The director includes among we were taken into his office his influences: Charlie Chaplin, and shown some of his father's farce pu| 0ver fov witty dia D. W. Griffith. Stroheim, and paintings which illustrated the ]ogue ^rp directjon and . HIGH NOTES Dice Toss Picks Soloists During Copeland Concert If all this seem amusing it's only because the case has been understated. It's much mar» than thst; it's a rollicking, gay "The system of the major studios is crumbling because it just i-n » logical. They try' to deliver to the public the stars they want and in the roles the audi- Robert Flaherty On Nationalism One of his favorite themes is _ the foolishness of nationalism, ence expects them to plav. Thev m . . ,. . v J He hopes for mankind s eventual under 35,” he added each other. Mv own distributors As the film suggests. Renoir aie l),e5>smg me 10 make films arbitrarv p<->jitica| designat costing at least S2 million “ is awed by the destructive powers of science. He speaks of his »dentist friends “who talk of a hydrogen bomb as though it vere a cigarette.” name stars can be employed.” he said. Renoir is an avid foe of language dubbing. He maintains acceptance of the human race on terms of common humanity, not ions. Renoir said that he w'ould never advise anyone to undertake a career in the motion pic- pastoral scene he had used "Picnic." It was clear to us that j he had indeed felt the elder's | influence but vve were constant- i ly refreshed in seeing a man who has adapted for his genre much arts have j By BOB SANGSTFR Contributing Editor A roll of the dhe and^the problem was solved at the birthday concert for composer Copeland Monday night. The three pianists participating in the concert were all far ties over to Leo Smit. the third and responsive t the ryhthms. of the pianist trio. Pianist Lukas Foss' perform- Following this unconventional a°ce of Bernstein s pi a nr arrangement of “El Salon Mexico” pi of what the other found valuable. Jean Renoir is net a man to i rest on ancestral fame but has ! distinguished himself in his art theme serious enough to appear . , . . „ miliar with the dti piano work 100 per cent absurd when sun K . . , . „ . • 1 . to be performed. “Danzon Cu >ected to Renoirs satirical seal- \ , bano. but ... . . . _ ..._______ which two would plav it for the Watching a Renoir film, one v - is constantly aware of a superb The three pianists all had they couldn't decide their chance to P|a> individually. however. Leo Smit opened the ture field. “You have to have as dynamically as did his father the bug," he said. He feels it is morp than .i0 years ago. ‘Live Wire’ Thespians Hopefully Wait For ‘Big Break’ Inside Quonset Hut By PENNY LERNOI X Daily Trojan City Editor Cooperativism and Actors' | Equity7 may seem strage literary j bedfollows. hut Gat son Kanins' “The Live Wire" now playing at the Cabaret Conceriheater. 4212 Sunset Blvd.. has managed to merge ihem into a sporadically humorous, satiric and thoughtful play. The production's story centers mound * quonset hut tyes. a quonset hut • which a group of young, would-be thespians have purchased from Army surplus to live in. They set then hut up on » tinted lot on 49th near Second Ave. in New York, and there the action evolves as the actors wait for “the bi? break'' in a eoopera-tive, laundry-included set-up » Moralization on the leng'hs to which some will go to reach the magic pinnacle of success, a couple of hot but brief love interests and lively dialogue arid eelor to a novel, interesting and *>n the whole, amusing play However, in many iti'-tan'-e«. there is *on much similarity between the pUy’s characters and the semi-professional ado: - portraying them, probably in hopes ft’, “the big break," too. Consequently. the show doesni live up to the script until the second craftsman at work. He uses his camera as a poetic instrument searching out the symbol, the lyric. and sometimes, just for fun. the frivolous. Reflect« Artistry His work with scenes of pastoral antiquity, photographed on his artist-father’s estate, re- flects an artistry bred from in timate acquaintance. This film was, in a sense, an experiment for Renoir. He worked rapidly, capturing his in, spiration before excessive re another stage prop — this time flection could make it overly log- i with dialogue. ¡pal. TTip excitement be must However, some sparkline, hu- have felt in the conception is im morons performances are pro- P|jcit in the finished product: vided by such supports as Bob the delight rr the audience in I Darst, T. E. Kennedy. Al Terry, Renoir's film Is inherent in t. | Ray Dennis and Dorothy McKin- ]OVf> for the boldly admitted ri- | non diculous. Dennis is particularly good as n^rn,, of Renoir's film, if the fairyish publicity agent who j mav distort the context of the I claims Mack as his own upon quolation. is well put bv Ed-the actor's publicity success. m „ n d jn s^^are's “Kin? while Terry's lunatic antics and ' Lear”. -T h o u Nature, art mv beginning, the two selected Aaron anjst<! and th<fj|. pag(. turner col- was rytfmiic and fiery. Although laborated in an imaginath e pet 8n orchestral piece originally, formanee of Copeland s witty the music is very effective in the “Danzon Cubano ’ P«ano arrangement, and Fosa demonstrated his wonderful sen sitivity and talent Perhaps the most interesting music on the program was C»pe- composer's musical USC birth- concerto w,th Copeland s P,ano land> .-Vitebsk Study ^ , day. Fantas>. Jewish 'rheme." On a very sim- So. rfter the "eading of a tel- The fantasy is a complex work pie. chant-like theme, Cooeland egram of greetings from Cope of much rubstance. The many writes some intriguing and com-land—who was in New York for moods and subtleties make the plex variations. His instrum»ntaJ a similar concert at .Tuilliard— piece difficult—it could perhaps combination« of violin. c-M • -•* the three pianists tossed the dice be more effective in an orches- piano yield some wonderful on the Hancock Auditorium tra| arrangement, where it could sounds. stage. Lady Luck gave the per draw on the orchestra’s infinite Violinist Kudice Shapiro's lean forming horns to composer-so- resources for color and con tone blende? beautifully 'vitit loists Lukas Foss and Ingolf frast. But Smit played the work the rich , ello of hej hn'b^nH Dahl, handing page-turner du beautifully, .ert to the nuances Victor Gottli?b in »b» perform- ance. Ingolf Dahl played the piano part precisely a n r! »»«(•• Cinema Unlimited Midnight Lace — Our cinema correspondents tell us that this film is not another “Psycho." but Hitchcock gives the viewer plenty of thrills in his new terror delight. This time Doris Dav Copetand: Symphony No. 1. The Alamo Kind of a "Le- London Symphony Orchestra, gions of the Nile" set in the Coneland. cnnductin*. Ev*re«t West. Take two countries, spt in- SDBR SOI* kle lightly with a “fight of enslavement." and put in 7.000 Mexicans and cowboys and an old American landmark. Oh yes. teams with Rex Harrison for the John V\ ayne acts, produce«, di-Fifteen Southland the- recT< anri owns ,his Production. suspense aters. opening week. Cart hay Circle, lone run. QUONSET HUT THESPIANS — Leslie Summers and George French artfully mix satire into "The Live Wire," now play-ng at the Cabaret Concert Theatre, 4212 Sunset Blvd.-Story concerns a grcup cf actors* waiting for "big break." net. by which time l>eslie Sum- ism to his role with clarity and ¡ i'C’1 ''1 i;i the ¿afire. One ran almost see the screwed-up face provide entertaining slapstick. Miss McKinnon, as the dry, brittle Life photographer, also adds a brief but competent touch ol humor to the play with her sourdough expression, perpetual slouch and acid comments. Not I'tili/.ed The play itself is basically an excellent vehicle for humor and goddess, to thy law my services are bound . . .” —I).A. Album Gives Shostakovich Dark at the Top of the Stairs A hit play gone wrong. Someone should have laughi Delbert Mann, the director, how to use a movie camera. Fifteen Sonth- Siiostakovltch: Symphony No. movies. Fifteen Southland theaters, first week. leads are proving the plays I ; 1 - with more support from Ihe re>t rf the cast. French as Leo Mack, the actor who got his "break" by stepping on the possibilities of the lest ol the cooperative's inhabitants. brings a professional real- Theater Unlimited The Con lection the world of Junkie? and frustiated narcotic addicts invades the s t a c e for nearly three hours during 1'”-♦motional purging of t-ie :;udi-nnce. The mood ranges fr m boi-edom to violence, from a dr fuate acting to superb acting. a thoroughly professional level. Pasadena Playhouse. * * * Kat^ki Isolation and inter-rieprndence add up to t<>p-fligh* dra ia in this story of an American and -tap nese soldier trapped on a desert inland during and from «Kl jazz to hot jazz. World War II. Jan Merlin and Le Grand Théâtre, make teser- Ishimoto give deep. penetrating vations early. performances. Gallery. character, which seems like just grease rw^zins off his well-combed hair and well-trained finger for the pot of fortune. ' Miss Summers also brings a biting sharpness to the play as the chorus girl in search of a husband with mon^y. On the other hand. Jeff Manor as John Tobey. the would-be husband. seems amateurish and overplays naivete to the point of embarrassment. Lee Peters as Dorothy Parrish, the Life reporter who gives Mack his opportunity for publicity and success, also lacks a polished touch. She speaks her lines too smoothly, too superficially. Consequently, there is no sense of real truth to her satire, but Director Robajt Ravis II “1903"; French National Ra-has not utilized its full worth elW> Orchestra; Cluyten«. con-due to lack of consistency in the ductor; Angel 3586. acting of his players. However. Critics have attacked thi« mu there are enough moments of sjc auaehing to it such labels as . “vapid” and "excessively long.' Their crit;cism is not entirely' without justificaton, for it is a long, quiet and subtle symphony. an extremely ! Legions of the Nile Well, you take two continents, sprinkle lightly with a “dance of enslavement.” put in 7.000 gladiators and a circle of fiery death, and iand theaters, you have this adventure story. * * I^ave junior home before you Spartacu^Pu, Kirk go see it . . . he's probably seen peter Ustinov. Charles Laughton, conduct as illuminating and ef- it before in several different Laurence Olivier. Jean Simm®ns fective a performance of t h 1« anri Tony Curtis in “Legions of mu<ic a« the composer himself, the Nile.” and you have this It is genuinely exciting. Ever- multi-million dollar film. Pan- est's engineering is superb, with tages. long run. good stereo balance. Perhaps Copeland's m< * found work, this syrrphony ;« one of the most individual state ments of American music. It >« an austete powerful work. >eeming ro strike directly at tb* core of America. Copeland's masterful orches-tr tion builds a frame around hi« musical idea« and expresses them in a complex and excitinz wav. I consider this one ot the greatest works to come out of musica! America, comparable *<* liferatuie's hypothetical ‘'grea* American novel.” 1 daresa, that no one could Time Remembered—a combination of make-believe, sophisticated slapstick and ironic, wit- are funny, but the show never tv dialogue fills this comedy I's quite make« it. We can t say • Jev to watch even though llir why. but it tends to become too rerformance« f.re not always on long a show. Biltmore. Second-' la.=f> postage paid at L,os * * * Angfle?. California. Entered a? seo- Once Upon a Mattress—Bus- ond-cla.-» matter April 11. 19<1. at ter Keaton and Dodv Goodman comedy and professional actin to carry his production of “The Live Wire" through to a fair night's entertainment of easy humor. The Caberet Conceitheater itself add« to the atmosphere of the play. Arrived at only after descending two flights of stairs from Sunset Blvd., it is a garish combination of tables and chairs, stone maidens and a bar with ? wall paper background in disturbing scarlet red. Taken in ^or * sympathetic govetn- total. the cabaret is different and ment. arty enough to provide an amus- This is one of Shostakovitch 5 ing change fiom such «taid most individual and profound theaters as the Biltmore or Pa«a- symphonies, dena Plavhouse. —R.R.^. Butterfield 8 Don't dial it, ! see it for Elizabeth Taylor who gives an Academy Award-type performance (she'll probably be up for an Oscar*. Laurance Harvey is miscast, Eddie Fisher i« a bad actor and John O'Hara, the author of the original, was However, it is an extremely j ,eff QU| of ,he script Hollywood interesting nd deeply construed Paramount_ ,hird week, symphony. I t s program is th» Russian revolution of 1905. and it depicts the misery and oppres sion of the Russian people and their bloodv and unhappy strug- Ben Hur — Something like “Legions of the Nile.” only bigger. Egyptian, first year anniversary. the post office at Lo.s Angeles. Calif., under the act of March 3. 1879. Published daily except Saturday. Sunday. examination * eek and vacation, week? during the »cademir vosi at SMS l niv*r«tty Avenue. 1»? Angele" Calife! nta. "refreshingly unique improvisation#! comedy b«s*d on audiences' suggestions CHAMELEON PLAYERS Performing Nightly (except Tues.) at 8:30 P.M. Two Shows Fri. - Sat. at 8:30 and 12 Midnight the KALEIDOSCOPE TKf»*fr#-Rtst«uran^ 6266l/j Sunset Blvd. (near Vina) * HO 2-9577 _un COVE* • NO ADMISSION • NO MINIMUM SAVE SI 00 ih* N*w 4**4«« Motif*! dH TWE BOY FRIEND (»et»« raeupcas mimi -Ó25 H. Lj Brea Av*. Hollywood 28, Calif. *tilf*ood and Suese» Bivit) HO 4-8311 Fri. 4 Sat. 7:30 4 10 p.m. Student Discount Ticket« et USC ticket office Refreshment* Served HURRY! POSITIVELY ENOS TUESDAY, NOV. 22 rtus THE LUSTY. BAWDY MUSICAL SaTIR? OF HOGaRTHS ENGLAND ON WHICH THE 3 PENNY OPERA IS BASED. LAURENCE OLIVIER IN BEGGAR'S OPPRA WIÇT A Speciol Student Discount Y ID I A CONTINENTAL THEATRE NO «-US7 SUNSFT AT HOLLYWOOD
|Title||DAILY TROJAN, Vol. 52, No. 44, November 17, 1960|
|Description||DAILY TROJAN, Vol. 52, No. 44, November 17, 1960.|
|Contributing entity||University of Southern California|
«THE YEAR’S MOST EXCITING FILM”
J/f !/!*(/?? horda à
»UC CLUN€* |..«.i,IWM«N
,y«r ‘«»sw C3»
lÓ«N GH-IGUO • CL»i»t »LOOM »»l*« #iCha»OSO* CEOR'C M»»OVKiCKE lAURENCE OltvtE* - Hfl»!/»* •»oo*»"# rv»ct»« .» LAURENCE OLIVIE»
Renoir’s Merry ‘Picnic on Grass’ Toys With Artificial Insemination
THur«J*y, Navcmbtr 17, 1960
★ ★ ★ Director Has Quiet Faith In Own Craft
By DAVID ALLSWAN«.
An interview with French film dircetcr Jean Renoir is an inspiring experience. The elderly gentleman speaks with a quiet confidence abcut his craft in a sincere desire 10 communicate never to impi ess.
His home is Hive with creative vitality. There i« an atmosphere of lived art stemming from his father'? mcsterpices (Pierre Auguste Rinoin. both painting and sculpture. Ahieh live side by side on his walls with vcrks rf Degas. Cezanne and E aque.
The Mediterranean milieu rf Renoir's French birthplaec is suggested by the 100-year-old olive tree which grows in his backyard and is now in full fruition. He likes to think of an olive tree as a possible hiding place for 9 nymph or a wood sprite rather than a combination ei hydrogen and water. He speaks of its twisted trunk affectionately as he does of the haunting mythology which pervade« his native Provence.
We asked Renoir whether his fathers work has influenced ’lal approach to “Picnic on the real
voices are as much a part of
them as the color of their hair and the expressions on their •pent much time with his fani- an(1 gl^n„ hirth to psychological faces Ily. He thought the influence nonsense.'1 Renoir would like to was derived mote from the eld- do Sl>me television work for just er's way of viewing the world in ,ha, icason—he can work fast terms of shape and color than with the medium and avoid the the conscious adaptation of spe- pretentious “perfection" exemplified in some Hollywood films.
FITS SPECIFICATIONS - Scientists Raymond Jourdan and Jean Claudio measure bubbling Catherine Rulvel to see if she meets the physical specifications of her
new lover in Jean Renoir's bright new French comedy, "Picnic on the Grass," opening tomorrow at the Beverly Canon Theater, 205 N. Canon Dr., Beverly Hills.
Film Mixes Science, Sex Via Genius
One and a half hours of riotous fun opens tomorrow at the Beverly C non theater. ‘JO.i N.
| Canon Dr.. Beverly Hills.
Jean Renoir's "Picnic on the ¡Grass" makes merry with 'he ' seldom treated 'hemp of aiti-i ficial insemination.
With his long-proven cinematic talent. Re.ioir has written, di-| rected and produced a film with ¡a recipe r two parts fantasy to one part science with a cupful of spontaneous acting, a measure >f beautiful scene y and a pinch of genius—h i s favorite ingredient j