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VIDEO DOPE •• /h by BALLARD LESEMANN GRUMPY OLD TREASURE Walter Matthau, whose performances as sly, crusty and endearing curmudgeons made him a distinctive leading man in films, theater and television, passed away this month after suf fering a heart attack in Santa Monica, California. He was 79 years old. Born Walter Matuschanskayasky on October 1, 1920 in New York City, Matthau grew up poor on the Lower East Side, dabbled in the local Yiddish theater at an early age and continued as a staye actor through his 20s and 30s. Although his early big screen roles of the late-'50s and early '60s cast him as villains, heavies and straight men {The Kentuckian, Fail Safe, A Face In The Crowd), true fame came with his first two performances with Jack Lemmon in his roles as dapper scheister lawyer "Whiplash Willie" in 1966's The Fortune Cookie and as the poker-lovin' slob in 1968's The Odd Couple. "I think doing comedy is more difficult than doing non comedic or tragic or whatever you want to call it," Matthau once said. "Because it's difficult to make all kinds of different audi ences understand what you're doing, and moving you to laughter." Although he reportedly disliked being tagged as "comedic actor"—and was devastatingly effective as the squinting straight man in most of his dramatic roles—he embraced the "lovable cur mudgeon" character in his later pictures. People were never sure if he was joking oi saying things seriously, either on-screen or off. New York film critic Alan Price described the actor as "a blood hound with a head cold," and "a man who is simultaneously biting on a bad oyster and caught by the neck in lift doors." Matthau was always able to establish a convincing rapport with both kids and adults. The sharp, funny banter between Matthau and older colleagues such as Lemmon -nd Ossie Davis in 1996's I'm Not Rappoport, and George Bums in 1975's The Sunshine Boys is as natural as that between him and young Tatum O'Neal in 1976's The Bad Newj Bears or young Mason Campbell in 1993's Dennis The Menace. It's a terrible shame that Matthau's final (typecast) role came earlier this year as the grouchy but almost-lovable alco holic father in Diane Keaton's trite and insensitive flick Hanging Up. He was as good as ever, but the movie was garbage. Here are a few of the stronger Matthau pictures—most of which showcase his range as an actor—available on video cassette around town: THE FORTUNE COOKIE (NR) 1966. A mixture of dry comedy and stylish '60s-style Big Apple drama directed by the great Billy Wilder. The first on-screen meeting between Matthau and Jack Lemmon, who plays a well-meaning TV cameraman slightly injured by a sideline collision at a football game. Matthau, who plays his crooked lawyer brother-in-law, hopes to make a few bucks on the injury case. THE ODD COUPLE (G) 1968. The Matthau picture. In director Gene Saks' 1968 big screen version of Neil Simon's play "The Odd Couple," Matthau's definitive turn as slob sports writer Oscar Madison and Jack Lemmon's portrayal of the anal-retentive Felix Unger make this a true comedy classic. KOTCH (PG) 1971. In his first and only go at directing a picture. Jack Lemmon cast his pal in this touching but slow moving drama as Joseph "Kotch" Kotcher, an elderly gentleman who absolutely does not want his children to retire him. A predecessor to Matthau's warm portrayals of old-age characters in Grumpy Old Men and I'm Not Rappoport. PLAZA SUITE (PG) 1971. Three Matthau extiemes in one. The actor romps his way through three stylized, comedic one-act plays from longtime collaborator Neil Simon. Worth a look to see Matthau in the hotel suite as the Hollywood hotshot who pro nounces his "nine" as "nyun," the philandering husband and as the incensed father who nearly loses his marbles trying to coax his daughter out of the bathroom just before her wedding service. BAD NEWS BEARS (PG) 1976. I was playing my second year of "coach pitch" baseball when I first saw this hilarious examination of the world of American Little League. Matthau is brilliant as Coach Buttermaker, a cranky, dry-witted, beer-swilling shell of a man who somehow turns a ragtag, multicultural ga.«g of young misfits into a real ball team. This hit spawned two sequels and a television series. Directed by Michael Ritchie. FIRST MONDAY IN OCTOBER (R) 1981. Not the best comedy of the early-1980s, but significant in that it approached the issues of chauvinism, sexual harassment in the workplace, women's lib and conservatism during the very beginning of the Reagan era. The story follows the first woman in history to be appointed to the US Supreme Court (Jill Clayburgh) as she becomes a friendly rival to a smart-mouthed conservative judge (Matthau, who floated through his performance with a crumpled expression and a crusty demeanor). Directed by Ronald Neame. GRUMPY OLD MEN (PG-13) 1993. Lemmon's ana Matthau's sev enth film together borrows from the classic "Oscar and Felix" per sonalities and casts the two as "John and Max"—two elderly neighbors who have been feuding for years and don't remember why. The action heats up when a saucy "young" woman (Ann- Margret) moves in across the street. With its wintry Minnesota backdrop, the comedy juices the rivalry with a string of hilari ously nasty practical jokes and ribald banter (Burgess Meredith plays Lemmon's ancient father, and his one-liners are howlers). Matthau's on-screen grouchiness barely veils the twinkle in his eye. Directed by Donald Petrie. After a successful sequel, 1995's Grumpier Old Men, there was talk of releasing a Grumpiest Old Men in ‘99 or so, but sadly Matthau's health problems (heart con dition, bouts with pneumonia) prevented any further plans. I'M NOT RAPPAPORT (PG-13) 1996. One of the few (or possibly only) films in which Matthau smokes weed. Matthau is severely grumpy old Nat Moyer, a beret-wearing, 81-year-old New York City "philosopher" who loves to carry on about Jewish radicalism and grumble about politics, the ridiculousness of modern times and the bad old days. Veteran actor Ossie Davis is wonderful as the fellow octogenarian. Beth men stubbornly try to maintain their dignity and humor while facing life in a "home." Directed and written (from his stage play) by Herb Gardner, the film is an amusing and bittersweet examination of life's twilight. OUT TO SEA (PG-13) 1997. Not just another Lemmon/Matthau vehicle. Matthau's Hawaiian-shirted character cooks up a scheme to pose as a dance host on a Caribbean cruise ship after some rotten luck at the track. He tricks his equally grumpy brother-in- law (Lemmon) into joining him for his romp with "a bunch of rich broads" looking for love. Director Martha Coolidge (Valley Girl) was clearly aiming at the more mature crowd, but young sters could easily enjoy. The film showcased the actors' keen sense of comic timing, and strung together one chuckle-inducing zinger after another. Highlights include Matthau as he lies his way through poker gamzs with Dyan Cannon and "dances" some thing called the "Brazilian Creep” with golden girl Rue McClanahan. C JULY 19, 3 Lavers SUmmCA SOUP ANO SANOWICp - vicffisoissc and cucumecA iomATo sanowich 6. *Kr SPlNAcp SAlAO WlTfl flUC CHCCSC, SPtCCO PC CANS, PC A*. ANO A llO-HT TfNmC VINAKrACTTC 5- m£D(T£AAfiN£AN SAlAO (f TOmKTOCS, FCPPCAS, CAPCAS, f£TA ANO A AAUCrUlA WtTH focAcClA £. 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