February 24, 1970 The N. C. Essay Page 2 PATTON: HE Li uuincenT cflnev PATTON: A Salute to a Rebel looks and sounds like the epic Ameri can war movie that the Hollywood establishment has always wanted to make but never had the guts to do before. The film, is 20th Century-Fox's $12-million tribute to the late General George S. Patton, Jr., the brilliant, unstable World War II tactician who saw himself as nothing less than the divine instrument for making the world safe for future wars. The fact that a supposedly sympathetic character, in a superspectacle such as this, will admit to loving war is, in a negative way, a refreshing change from the sort of conventional big-budget movie claptrap that keeps saying that war is hell, while simu- taneously showing how much fun it really is. The existence of a movie like "Patton" does not necessarily mark an advance in the civilizing processes of our culture, but it's a good deal less hypocritical than most patriotic American war movies. If I sound ambivalent about "Patton", it's because the movie itself is almost as ambivalent about its hero. The opening of the film, which is really all overture, comes very close to being conscious Camp. Patton (George C. Scott) stands on a stage addressing us, the people in the movie audience who have become, apparently, his troops, He is a fine, overly virile figure of a man. riding crop in hand and with so many medals on his chest, that he could be a member of the chorus of The Student Prinae. He exhorts us, with manic intensity, not simply to kill the enemy, but "to tear his guts out". "All Americans love the sting of battle", he says, and the audience giggles in embarrassment. "That's why we've never lost a war (the giggles stop)..-We're going to go through (the enemy) like crap through a goose!" Thus, consciously, I'm sure the contradictory tone of the film is set. "No bastard ever won a war by dying for his country," he says. "He won it by making some other poor bastard die for his country." Although the military reasoning is sound, the speech is one of astonishing arrogance, a jingoistic tour de force, full of enthusiasm for the butchery to come and reeking with the assumption that there is a God who is, of course, on the side of the Allies. The almost three-hour film follows Patton's career in what is essentially a series of magnificently photographed tableaux vivants de- repnhWW n.V. TlfDES picting the North African campaign, the assault on Sicily (including the incident in which Patton slapped a shell-shocked soldier for being a coward), climaxing in the brilliant sweep of his Third Army through France some weeks after the D-Day he was not allowed to participate in. Patton's private live> his relations with his wife and family, are not even hinted at. Instead, the film presents what could be called an intimate por trait of a public figure. The portrait does not really change in the course of the film; it is simply filled in with additional details. Depending on your point of view, these details show Patton as the embodiment of all of one's fears about the rich, white, Protestant military establishment, a man who confidently believed that America and England should rule the world, or, as a ruthlessly dedicated, eccen tric genius, described with great affection as "a 16th-century man lost in the 20th century." The film is shot in 70- millimeter. A film process called Dimension-150, it is extraordinarily, almost unrealistically, beautiful - the epitome of Pop movie epic with lots of broad vistas caught in clear, deep focus. The battle scenes, including desert confron tations as well as Patton's dash through France in the deep of winter, are always more spectacular, than bloody. In one frame, you might have Patton in foreground, a tank attack group in the middle ground, and a line of fighter planes flying in over the horizon. A sense of the true horror and panic of battle is thus distanced, replaced by the awe one has of such carefully coordinated, logistically complex film-making. Schaffner shoots his interior scenes - mostly the cavernous castles and baroque pal aces in which Patton was bivouacked - with a similar eye for grandeur. More than one scene opens with a shot of a frescoed ceiling, followed by a slow pan that carries the eye down to the action below. It's almost as if the director, like Patton, were constantly paying his respects to God. fvom The N.Y. Times this week's staff box is naught but a nondescript , nonsensical nattering,ie. list , of those same names you've seen before editor - anthony senter michael ferguson sandra williams gwen spear kathleen fitzgerald sam barceiona advisor - anthony fragola "GUVS'n’DOLLS’' cortV. ^rom\ ector for the production and con ductor of the orchestra. Michael Colina of Charlotte, a music major, is assistant musical director, and Sandra Williams of Mobile, Ala., a dance major, is dance assistant to Noble. Scenery and costumes have been designed by Christina Giannini of New York, a member of the visiting faculty at the School of the Arts. Costumes have been executed by Linda Rogers, resident faculty costuiiie designer. Richard Spock of the design and production faculty has designed the lighting and is production manager. Susan Palmer, also of the design’and production faculty is production stagemanager. f Diction Coach is Lesley Hunt, teacher of speech in the school of drama. Vocal coachers are George Trautwein, teacher of voice for drama students and a member of the visit ing faculty, and Cynthia Siebert of Richmond, Va., a music major. "Guys and Dolls" which has been called a musical fable of Broadway, is based on a story and characters by Damon Runyon. It began a nearly three=year run on Broadway in Novem ber, 1950. That year it received e eight Tony awards. The movie, "Guys and Dolls," was released in 1955 by Metro Goldwin Meyer. Principal roles (in order of appearance) will be played by: Stanley Bernstein of Flushing, N.Y. as Nicely Nicely Johnson. David Sutor of LYnchburg, Va. as Benny Southstreet. Randall Rich- man of Raleigh as Rusty Charlie. Joanne Greene of Augusta, Ga. as Sarah Brown. James Stubbs of Rock ingham, as Arvide Abernathy. Michael Zande of Asheville, Mona Hanes of Clemmons, Lois ARtis of Goldsboro- Mission Band.