Fonda in Shadow

For those who missed Robert Altman's ICA presentation/disintegration last week, tough luck--it was almost worth the $4.50. Actually, Altman was delightful at his press conference in the afternoon, (SEE SCRUTINY, page one) but appeared flustered by a) the technical problems (the projector belt broke) and b) the obnoxious boneheads in the audience, who asked every conceivable sort of stupid question. ("I'm Joe Blow from B.U., and I'm getting my M.F.A. in theater this year, and I want to know if you'll be needing any apprentices..." Altman: "I won't be needing you.")

Another famed director, Eric Rohmer, will be at the Brattle tomorrow night (Friday) in a fundraiser for the French Library in Boston. He will present his 1969 film, My Night at Maud's [Ma Nuit Chez Maud], and will probably discuss his latest work, Perceval (which will open in several weeks at the Welles). You may recall Claire's Knee and Chloe in the Afternoon, both of which dealt with sex and sexual fantasy in surprisingly moralistic ways. Ma Nuit Chez Maud is one of the earlier films in this series--once again about a potentially romantic, sexual relationship that doesn't come off (the main characters' Catholocism is too strong). Admission is $5.00, which is probably worth it to glimpse Rohmer while he's in this country. Friday at 8.

Klute. In 1971, Jane Fonda won an Oscar for this film. She didn't work in Hollywood again until 1976. It's good to have you back, Jane, but Klute almost sustained us through those barren years. Somehow thrillers where the characters matter seem richer in atmosphere and tension--and Fonda's Bree Daniels, the call-girl who is the object of a shadowy killer, involves us so totally that the girl-in-the-abandoned-warehouse routine at the end doesn't even appear schematic (well, it does, but we're still scared to death). You gotta credit Alan J. Pakula though, who here, as in All the President's Men and the Parallax View, conveys the someone-is-always-watching-you motif with incomparable creepiness. Donald Sutherland is an intelligent, if pallid detective, but the protagonist is Jane all the way, the frustrated hooker trapped by the emotional and physical perils of her profession. Her best performance to date.

The Last Supper. Tomas Gutierrez Alea, the Cuban director whose Memories of Underdevelopment was popular in this country, directed this 1976 tale of a slaveowner overcome with "religious humility" who invites 12 black slaves to dinner on Holy Thursday, and casts himself in the role of Christ. Critics have labeled the film a bitter satire, which turns violent and moralistic when the slaves disobey their overseer the next day, trusting in the "magnanimity" of the Count to defend them. He doesn't. This is the New England premiere, and is highly recommended.

Thoroughly Modern Millie. Memories are hazy, but this was a delightful film once upon a time, when the tunes seemed pleasant, the acting infectious and the fireworks funny. George Roy Hill directs, slickly, and the cast includes a long-haired Mary Tyler Moore (a charming ingenue), Julie Andrews (sparkling teeth), Carol Channing (cast as an eccentric. Surprise.) and wicked Beatrice Lillie as a landlady who sells young girls with no families into slavery. Cute.

The Adventures of Robin Hood. Erroll Flynn's greatest romantic performance is Captain Blood--but Robin Hood is preferred by many transexual classicists because of the cute breeches. None of the Disney gruel here. Second greatest soundtrack to Days of Heaven. Some filmic dryasdusts dredge up the 1914 seven hour version with Belgian director Lionel Von Rennselaeaer's lighthearted experiments in figure/ground confusion done on highly explosive nitrate stock, but the lead was played by a stolid burgher whose sword work looked something like Boog Powell trying to bunt. Flynn, the great rakehell, leaves no doubt that he knew how to rustle Maid Marian's bustle and no one could accuse his progeny of lacking cojones--witness Sean Flynn's disappearing into the Cambodian jungle with a moped, a Nikon in his quiver, a few cigarettes and a flawless jawline. Not unlike Operation Sherwood Forest in 1936 color. Infra dig, Mr. Eastman! Love it.

Days of Heaven. A stupendously beautiful film, as visually and aurally rich as any ever made. And forget the other critics--the elemental storyline and characterizations are perfect. No one has ever used a moving camera more effectively than director Terence Malick (Badlands), and the compositions recall the early Russian classics. Magnificent music and performances. This film will be discussed in far greater detail at a later date, but see it now, fast--it's a Barry Lyndon that breathes.

A Wedding. Robert Altman's long-awaited black comedy is an annoyingly shallow disappointment, but it's not, as you might expect, all bad. The company began with Nashville's loose, polyphonic structure, and crammed 48 characters into it, without, it seems, thinking much about who all those people were, and why we needed to meet them. You get the feeling that the improvisatory style which worked so well in Nashville just never got off the ground this time. The characters are awkward stereotypes, and the little vignettes are often cruel and crude. But the film gets better as it goes along. Altman's whipped up a surrealistic storm sequence that will stun you, and in quieter scenes he's evolved some subliminal editing techniques that immerse you in the characters without your even realizing it. Vittorio Gassman,

At Harvard

Adventures of Robin Hood. At Hilles Library, Friday at 8, Saturday at 8 and 10.

Thoroughly Modern Millie. At Dunster Dining Hall, Friday and Saturday at 8 and 10:30.

The Last Picture Show. At Quincy House Dining Hall, Friday and Saturday at 8 and 10.

Klute. At Science Center B, Friday and Saturday at 8 and 10.

Fists of Fury. At Science Center C, Friday and Saturday at 8 and 10.

The Last Supper. At Center Screen, Carpenter Center, Friday, Saturday and Sunday at 7:30 and 9.

Around Cambridge

My Night at Maud's. At the Brattle, Friday at 8. With director Rohmer in person.

La Strada. At the Brattle, daily (except Friday) at 6:35, 10:05. Wknd. Mat. at 3:05. With Wild Strawberries at 5 and 8:30.

Eraserhead. At Central Square, daily at 5:15, 6:55, 8:40 and 10. Wknd. Mat. at 3:35.

Red River. At Central Square, daily at 7:30. Wknd. Mat. at 3. With The Misfits at 5:15 and 9:45.

1900. At Harvard Square, Friday at 2 and 7:30.

The Wizard of Oz. At Harvard Square, Saturday and Sunday at 1, 4:35 and 8:15. With Singing in the Rain at 2:45, 6:20 and 10.

Woody Allen: An American Comedy. At Off-The-Wall, daily at 6, 8, and 10. Weekdays at 2, weekends at midnight. With selected shorts.

Opium War. At the Galeria, daily at 1, 2:45, 4:30, 6:15, 8 and 9:45.

A Slave of Love. At the Welles, daily at 4, 6, 8 and 10. Wknd. at 2.

Celine and Julie Go Boating. At the Welles, daily at 4 and 7:50. Friday and Saturday at 3:45, 7:30 and 10:40.

Madame Rosa. At the Welles, daily at 4, 5:50, 7:45 and 9:45. Wknd., Mat. at 2.

Martin. At the Welles, Friday and Saturday at midnight.

Harder They Come. At the Welles, Friday and Saturday at midnight.

The Bitter Tea of General Yen. At Harvard-Epworth Church, tonight at 7:30.

Underworld. At Harvard-Epworth Church, Sunday at 7:30.

In Boston

Interiors. At the Exeter, daily at 12:30, 2:15, 5:45, 7:45 and 9:45.

Girlfriends. At the Pi Alley, 1, 2:45, 4:30, 6:15, 8 and 10.

A Wedding. At the Sack Cheri, daily at 1, 3:15, 5:30, 7:45 and 10:15.

Animal House. At the Cheri, daily at 1, 3:15, 5:30, 7:45 and 10.

Up in Smoke. At the Charles, daily at 1, 2:45, 4:30, 6:15, 8 and 10.

The Boys From Brazil. At the Pi Alley, daily at 1, 3:15, 5:40, 7:45 and 9:45