Newspaper Page Text
PAGE 6—The Georgia Bulletin, April 18,1974
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BELMONT ABBEY COLLEGE
presen+s a Theology Seminar
for those in pastoral and
educational ministries
CHRISTIAN VALUES
IN CREED AND LIFE
!)r. Monika Hellwiv* • (The ( rood in relation to l ife»
Rev Berard Marthaler - (The Lives of the Saints and ( hristian L ife)
Rc\ l ugene Mai> - (C reation in Genesis and Paul)
Dr. Josephine For<l - (Life and Vocation. The Value of Suffering)
Dr. Atulv Thompson - (Ldueation for C hristian Values)
For Information: Rev. Jerome Dollard
Belmont Abbey College
Belmont, N.C. 28012
Tel. (704)825-3711
Date: June 10-13 1974
Cost: $70.00 (Registration Room & Board)
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Ex-Film Star Betty Hutton
Now Working in Rectory
PORTSMOUTH, R.I. (NC) - From Hollywood star
to Catholic convert and rectory cook! That has been
the story of Betty Hutton, the Blonde Blitz of the ’40s
and ’50s.
Just how she arrived in Portsmouth as the
housekeeper and cook for St. Anthony’s rectory is a
long and dismal story, one that Miss Hutton prefers to
leave sketchy.
“Let’s just say, I was
broken, down and out,
without a dime to my name,”
she said. “I left Hollywood
and landed in New England
where I quite accidently met
Father Maquire who was kind
enough to take me in, and
Father James Hamilton who
was generous enough to
instruct me in Catholicism.”
Father Peter Maguire is the
pastor of St. Anthony’s and
Father James Hamilton is the
curate.
Miss Hutton’s story was
told by Father Barry R.L.
Connerton in a copyrighted
story in the PROVIDENCE
VISITOR, Providence, R.I.,
diocesan newspaper.
The exuberance and
flamboyance that electrified
her stage performances slowly
returned. And as she
explained her conversion
after her recent
Confirmation, she punctuated
her sentences with flaps of
her arms, shouts and
whispers. She stood; she sat;
she walked about.
“Let’s face it. I’m
53 years old. I didn’t have to
become a Catholic. I
converted because I believe
there is no other faith. I
believe in the Catholic
Church or I couldn’t have
stood in that church tonight
and said it.”
Her desire to become a
Catholic, however, was not
recent.
“I have only now found
the Jesus Christ I have been
seeking since I was
nine years old and first heard
his name,” she said. “My
mother didn’t know about
God; she never taught me
about God. I never knew a
family faith in God.
Consequently, I landed on
the merry-go-round of
Hollywood.”
Miss Hutton, who arrived
at St. Anthony’s about the
end of February, said she first
came in contact with
Catholicism when she was in
Hollywood.
“I would occasionally go
to a Catholic Church for a
funeral or something and see
all these wealthy, glamorous
stars in their beautiful
clothes,” she said. “But I
know how they behaved after
they left church. It was
fake.”
However, the people she
saw when she arrived here
were different, she explained.
“Their clothes were not the
most fashionable. They
looked tired and weary. But
when they knelt down to
pray the Mass, I could see in
their faces that this was real.”
Miss Hutton starred in
“Annie, Get Your Gun,”
“The Greatest Show on
Earth,” “Happy Go Lucky,”
and many others. She has
worked with Bob Hope, Fred
Astaire, Howard Keel, and
Cecil B. DeMille.
But only now she has
found real success.
“My marriages have not
been happy; my children
didn’t bring me happiness,”
she added. “Nothing has
brought me true happiness
until I discovered
Catholicism.”
Looking around the
rectory living room where the
interview was held, Miss
Hutton noted, “It wasn’t
until I came here and
experienced the concern of
the priests and the simplicity
and devotion of the
parishioners that I discovered
that true love really does
exist.”
As she ended the interview,
her new-found peace and
happiness were obvious. After
all, how many people
conclude an interview with a
gusty rendition of “Anything
You Can Do I Can Do
Better.”
fiCaU? H>i. HTc^tpb ?Mg!j g>t!)0Ql
WO] 320 CourtlanD
Atlanta, <@a. 30303
A co-educational Catholic High School in downtown Atlanta
Is registering students in grades 8 through 12
for the 1974-75 school year
For further information write:
Rev. Richard A. Kieran, Principal
or call
(404) 659-6300
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Sheraton Hotels and Motor Inns. A Worldwide Service of ITT
*
GOLDIE HAWN AND WILLIAM ATHERTON are a
young couple who hijack a Texas Highway Patrolman,
portrayed by Michael Sacks, and force him to drive
them across the state in Universal’s “Sugarland
Express,” a serious drama with a comic style. The film
is booked to run at the Peachtree Battle Mini Cinema
through July 2.
‘Sugarland’ Offers Cross-Country Humor
While Fashions Steal ‘Gatsby’ Thunder
Universal Pictures’ “Sugarland Express,” booked for an
extensive run at the Peachtree Battle Mini Cinema, begins as a
fresh-faced young woman (Goldie Hawn) visits her equally
young husband (William Atherton) at the Texas prison farm
where he is awaiting release in a matter of weeks.
Before he quite realizes what is happening, she has goten him
to “take a walk” with her as she leaves the minimum-security
facility.
Requisitioning a smokey old Buick for transportation, the
couple begin the strange odyssey that makes “Sugarland
Express” an archetypal road movie. Their objective is to reclaim
their baby at the other end of the state. The child, living with
foster parents, is about to be permanently adopted, and Ms.
Hawn is just not about to let that happen.
Based loosely on a true-life incident that unfolded in Texas
back in 1969, “Sugarland” is the first film of director Steven
Spielberg. Told in serio-comic style, it is basically a drama about
the deadly innocence of the young couple in opposition to the
prudent experience of the lawmen who literally join a parade
heading across Texas for the fictional little town of Sugarland.
The event that brings the two forces together occurs when
the old Buick runs amok after a routine check by a young Texas
highway patrolman (Michael Sacks), and the couple manages to
get the trooper’s gun and commandeer his car, with him as
hostage-chauffeur.
Proceeding with complete openness on their route, the odd
triumvirate is soon joined by other patrol cars, who, once the
couple’s intentions are annnounced over the police radio, and
once the commander of the highway patrol (Ben Johnson)
determines that the youngsters are not really dangerous - follow
discreetly behind in an ever-increasing phalanx of vehicles.
Most of the drama unfolds within the confines of this or that
cramped patrol car: the couple and the trooper, who has been
on the force for only a few months, strike an uneasy and subtly
shifting relationship; the chief follows closely but keeps himself
and the others in check, waiting for a break that will allow
capture-rescue without bloodshed.
We know, of course, that such things, especially in the movies
(even those based on real life), always do end in bloodshed, so
our interest lies not in the ultimate outcome but in the tension
that develops along the way. Unfortunately, Spielberg (working
with a Hal Barwood-Matthew Robbins script) resorts to
hyperbole and a carnival atmosphere to sustain his film.
In truth, the actual events upon which “Sugarland” is based
lend themselves to sensationalism, and much of rural Texas was
caught up in the mile-by-mile radio reports on the couple’s
journey to get their baby. But the film strains credibility in its
depiction of the masses lining the highways and cheering and,
most glaringly, in its creation of a seemingly endless parade of
patrol cars strung out behind the car occupied by the couple
and their hostage.
There is also the obeisance on the film maker’s part to the
mystique of the automotive machine, of which the highway
patrol car, with its exotic gadgets and powerful engine, is an
apotheosis. Yet the celebration of automobile is at once vulgar
and appropriate, as is the heavyhanded implied commentary on
the mass hysteria created by this little saga.
For its strengths, “Sugarland” can credit its young director’s
visual sense: when he comes to control his themes and moral
ambiguities as well as he does his camera movements and actors,
Spielberg will perhaps be a major film maker. He in turn can
thank his cast for their generally solid work, although Ms. Hawn
suffers somewhat from both her presold “Laugh-In” image
(which remains her albatross) and her tendency to overact with
voice and facial expression.
As her boyish, unstable husband, Atherton is quite
convincing as a man trying desperately to keep up with a
situation that rapidly overshoots his abilities to cope. Michael
Sacks, whose previous film appearance was as Billy Pilgrim in
“Slaughterhouse Five,” has captured the young trooper’s
vulnerability tempered by the sense of dignity and control he
acquired from recent police training. And Ben Johnson, as
usual, is his quiet, commanding seif, moving with authority
through a relatively undemanding role to gradually assume the
rueful responsibility for the resoiuton of events and
inevitabilities.
The film is rather neutral in its position on the issues it raises,
but it does try to present its characters as humans deserving our
sober consideration. This fact, rather than the occasional
expletive and the final shoot-out, suggest an adult audience,
although “Sugarland” is certainly accessible to thoughtful
teen-agers.
(Reviewed by the USCC Division for Film and Broadcasting.
Rated Morally Unobjectionable for Adults.)
‘‘Great Gatsby’
Paramount Studios’ production of “The Great Gatsby” now
showing at the Capri Theatre and lavish to the point of being
<
bloated, is the studio’s third try at the cinematically elusive F.
Scott Fitzgerald classic.
As if to make sure that no chance of failure exists, the studio
has oversold the picture for the past several months, ironically
insuring that it couldn’t possibly live up to the ballyhoo (there’s
$18 million in advance bookings!) no matter how much of a
masterpiece it turned out to be.
Alas, this “Gatsby” is no masterpiece, although it is masterful
in a number of important ways. It is well written in a faithful
adaptation by that prolific young movie master, Francis Ford
Coppola, and it is well acted by an extremely able cast.
Robert Redford and Mia Farrow, as if anyone did not know
by now, play Gatsby and his ladylove Daisy. As the fatally
ill-matched and impossibly romatic lovers, they project
everything Fitzergerald could have wanted. Redford’s Gatsby,
especially, captures the sinister blend of corruption and naivete
so basic to his obsessive dream of lost love regained.
Bruce Dern acts the Tom Buchanan part, and if Dern is
essentially miscast as the swaggering, spoiled rich boy from
Chicago, he manages to inhabit the role with the inexplicable
combination of charm and violence that makes the
characterization such a fascination. As his mistress Myrtle
Wilson, Karen Black has the right amount of vulgar, erotic
energy, and Scott Wilson as her defeated husband is also
appropriately twitchy and unstable.
Director Jack Clayton has gotten strong performances from
all his cast, although Ms. Farrow is required little more than to
look delicate and perishable, and he is particularly fortunate in
having Sam Waterson as the pivotal
narrator-observer-moral-commentator Nick Carraway. But
Clayton seems, in the end, to have given his movie over to the
set decorators, choreographers and, especially, the costume
designers.
Against their collective lavishness with gilt, patent leather,
and chiffon the very literate and frequently literal Coppola
screenplay is too often reduced to something ponderous and
hopelessly pretentious.
The power of the novel, and its reason for continued
popularity, lies in the effervescent, radiant shimmer of
Fitzgerald’s prose; the words defy being concretized on the
screen and as a result wither the image and choke the speech.
This is not to say that 1974’s “Gatsby” isn’t worth seeing.
Indeed, few will want to miss it, especially those who want to
share in a Hollywood happening that amounts to a rhinestone as
big as the Ritz.
(Rated Morally Unobjectionable for Adults.)
Lutheran-Catholic Statement
Subject of NBC ‘Guidelines’
NEW YORK (NC) - The
statement of “common
ground” on the difficult issue
of papal primacy, issued
recently by a group of
Lutheran and Catholic
theologians, will be discussed
on the NBC “Guidelines”
radio series on successive
Sundays, April 21 and 28.
This program is heard in
Atlanta on WSB Radio at
6:35 a.m.
F’ather John F. Hotchkin,
director of the secretariat at
the U.S. Bishops’ Committee
for Ecumenical and
Interreligious Affairs, will be
interviewed on the programs
by Father William Ayres,
coordinator for radio and
television in the Rockville
Centre, N.Y., diocese.
In the 5,000 - word
common statement on papal
primacy, issued March 4, the
theologians, while
acknowledging “remaining
disagreements” and “points
yet to be examined,” said
they had found “common
ground on the issue.”
In the “Guidelines”
programs, Father Hotchkin
will discuss the theological
foundation of the statement
and its implications for
relations between Catholics
and Lutherans on the parish
level.
“What is most striking
about the document,” Father
Hotchkin said, “is the marked
change of attitude it conveys.
F’ar from holding back, the
Lutheran participants reveal a
real Christian concern for the
emergence of a renewed
papacy, and Catholics show
an equal concern that in the
future the papacy may come
to be a source of support or
service to the Lutheran
churches without infringing
on their heritage and proper
self-direction.”
The discussions of papal
primacy were the latest in a
series that began in 1965 in
which members of
the National Lutheran-
Catholic Dialogue have found
“broad areas of agreement”
on such matters as the Nicene
Creed, Baptism, the Eucharist
and the ministry of word and
sacrament.
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