The daily Nebraskan. ([Lincoln, Neb.) 1901-current, January 24, 1973, Page PAGE 2, Image 2

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Steve McQueen . . . stars in The Getaway.
Review by Jim Gray
Most often, the intelligentsia avoids
adventure movies as if they were the
bubonic plague or Rod McKuen.
Consciously or unconsciously placing all
action movies into the James Bond-John
Wayne stereotype, they refuse to recognize
any merit in a celluloid chase scene.
In the case of Sam Peckinpah's latest
effort, The Getaway, that could be a
mistake.
The Getaway is an adventure flick, there's
no denying that. But it is a good adventure
flick, and that's worth something.
Initially, the movie has a lot going for it.
Take, for example, its ample castSteve
McQueen and Ali MacGraw in the leading
roles, with Ben Johnson of the Last Picture
Show, Sally Struthers (of All in the Family),
Slim Pickens (ever-present character actor)
and Al Lettieri (late of The Godfather) in
fascinating smaller roles.
The film also presents well-planned
effects and cinematography and, even better,
Walter Hill's glossy screenplay, taken from
Jim Thompson's novel.
And, of course Sam Peckinpah's direction
doesn't hurt either. Taken together they
almost manage to make Getaway an
interesting, exciting and technically
excellent adventure. Almost.
Getaway revolves generally around a bank
robbery which husband and wife, McQueen
and MacGraw must pull off in exchange for
McQueen's prison release. Complications
arise' when the robbery leaves the bank guard
and one robber dead and McQueen and
MacGraw are double-crossed by a third
robber (Lettieri). Plans generally go awry,
with MacGraw killing the heavy (Johnson),
and starting the duo on an incredible
YrTthe course of the Getaway, Peckinpah
takes them across the Texas landscape,
conjuring up some most amazingly
understandable, If exaggerated, vignettes of
life in the United States. The scenes include
a stop at a drive-in restaurant, a howlingly
funny assault on a police car, a
barbecued-ribs duel between Lettieri and
oversexed housewife Struthers, and final
getaways in garbage trucks display humor
which usually goes unnoticed everyday
Starkly contrasted with this humor,
Peckinpah periodically chimes in with a bit
of savage, well-planned violence which, while
essentially unemotional, keeps the audience
alert and interested. This seasoning heightens
the effect of the action, making The
Getaway a delightful escape and well-done
adventure. In periodically interlocking
sequences of violence and humor,
Peckinpah's timinq is excellent. .
The film's main problem, however, lies in
the acting of the major roles. In the two
roles which should have commanded a little
more depth than the minor characters,
MacGraw and McQueen come off incredibly
flat. For MacGraw, it's back to Love Story,
as she bursts forth with a zero-dimensional
performance. And'McQueen, as usual, takes
what could be a sensitive, moving role and
turns out Sgt. Friday.
Despite the two, Getaway is a damn good
film. Peckinpah uses some trick effects and
somehow makes it almost possible to
overlook his stars' transgressions. Which
makes him a helluva director.
The Getaway is good adventure fare,
nothing more.
aTHEEs
Hollywood & Vine a big dose of nostalgia
Hollywood &yine has come to Lincoln, bringing with it a
heavy dose of nostalgia. "' "'
No, the Lincoln Street Department hasn't renamed the
local thoroughfares a la Hollywood. Lincoln's Hollywood &
Vine is a new two-theater complex in the Glass Menagerie
shopping center at 12th and Q Streets.
Owner Peter Frederick said he felt the Glass Menagerie is a
good place to house theaters showing films of the classic, avant
garde and foreign genres.
"The shops are college oriented, close to campus and
should help attract an audience interested in seeing old films,"
Frederick said.
"With two theaters, we have a lot of versatility in being able
to show varied films," he said. "We have the Bogart classics,
such as Casa Blanca and The Maltese Falcon which we can
alternate with something from W.C, Fields or Mae West,"
Frederick said.
He added he also has booked some first run movies such as
Jimi Hendrix's film Rainbow Bridge.
Plans for the theaters had been in the works since February
1972. The owners employed a local architect to help overcome
problems as the noisy bar across the hall.
"The theaters had to be carefully designed to give the best
sight lines, pictures, and sound available. We've installed the
best equipment available. Our projectors have xenon lamps,
which are the best light source for a steady, clear picture,"
Frederick said.
Frederick, who called himself a film nut, has booked some
of his favorite classics for future showings. Among them are
Citizen Kane, directed by Orson Welles, and San Francisco,
with Jeanette MacDonald and Clark Gable.
Just because a show is old doesn't mean that renting costs
will be less. According to Frederick, some older films have
only two or three prints which are rented out.
"We think Hollywood & Vine are unique and that there
are enough people interested in the films and in going to a
nice, intimate theater in Lincoln," Frederick said. "We've tried
to put the best qualities of presentation together."
doily nebraskan
EdItor-ln-Chlef : Tom Lansworth. Managing Editor: Cheryl Westcott.
New Editor: Michael (O.J.) Nelson,
Special Editor: Jim Gray. Sports Editor: Dave Sittler. Photography
Chief: Gall Folda. Night News Editor; Bon Cllngenpeel.
The Daily Nebraskan is written, edited and managed by students at
the University of Nebraska-Lincoln. It Is editorially Independent of the
University faculty, administration and student body.
The Daily Nebraskan is published by the Publications Committee on
Monday, Wednesday, Thursday and Friday throughout the fall and
spring semesters except holidays and vacations.
Copyright 1973, The Daily Nebraskan. The Daily Nebraskan reserves
rights to all editorial material produced by its staff, excepting material
covered by another copyright.
Second class postage paid at Lincoln, Nebraska.
Address: The Daily Nebraskan34 Nebraska Union1 4th & R
StreetsLincoln, Nebr. 68508. Telephone: 4024722588.
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daily nebraskan
Wednesday, january 24, 1973
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