The Los Angeles Times from Los Angeles, California • 78

6 hrt Saturday June 30. lS4 Co Anfirlee tXirnra MOV IE REVIEWS Uwvi mm a i stucmcm roua Greystoke TARZAN 'CANNONBALL? IS NO JOYRIDE Placa claaaitiad ad go away receive all calls Call (213) 629-4411 aaW ctetttos Mn UW 4 MSI tOt AflatUS k. ji i 7- KM 00 4 OO HI Times Classified i liitiej 07 17 Ads Nounraoo tons at acm sauna homca 4l JUM HkWtVIOIJI taviM4HU NOW SHOWING CMtCS MAM MCHtll 14111 ti IJ0.4JO SWSIOHM i.iu II LMe Us A kVM sWst) ill jyi um 4aQ0 1 ItrpTT cu cca mum 1T1 trwsnj- Mcioaik age mm4H, long to introduce the various contestants, including lough dames Susan Anton and Catherine Bach plus Sammy Davis Jr and Dean Martin. However, "Cannonball Run is an instance of the just-plain-bad regressing ever so gradually lo the so-bad-it -actually -gels-laughable. Things pick up when Reynolds and DeLuise give a lift to patently fake nuns Shirley MacLaine and Manlu Henner, and the film is at lis perkiest when it sticks with this quartet, who play off each other delightfully.

What a team Reynolds and MacLaine might make if they had a hole movie to themselves. "Cannonball Run II" at last explodes when ex-stunt man Needham gets to stage an all-out brawl at a desert hideaway (never mind how we get there). Needham always takes obvious pleasure in selling up such scenes, and al this point, although much too late to matter, the movie actually seems to come alive. Frank Sinatra, in his Chairman of the Board guise, plays himself in a brief appearance, making the film a Rat Pack reunion (with Davis. Martin and Mac-Laine).

and other stars that show up in the course of the film range from kung fu whiz Jackie Chan lo Molly Picon. The silliness that "Cannonball Run II" (rated PC. but it's virtually a G) aspires to is more than welcome, but it isn't nearly funny enough to take us along for the ride. Ry KEVIN THOMAS, Times Staff Writer If you bother to submit to "Cannonball Run 11" (citywide) and happen to go the distance, be sure to stay for the end credits, the funniest part of the picture by far. As they unroll on the left of the screen, we're treated to a series of bloopers showing the stars breaking each other up during shooting, blowing one lake after another.

Ah. if only this antic humor had been allowed to burst through earlier. From the start it was clear enough that the cast was having a ball, but for the most part the matenal is so puerile that the Mm is that familiar instance of the actors having more fun than we are. Once again Burt Reynolds and sidekick Dom De-Luise have entered that maverick cross-country race, the Cannonball Run. which this time has a Sl-million stake thanks to sheik Jamie Farr, who's also competing.

Incredible as it seems, director Hal Needham and producer Al Ruddy, who wrote the script with Harvey Miller, don't get the Redondo Beach to-Darien. Conn.k race under way until the 44-min-ute mark of their one-hour. 46-minute movie. Amid a thicket of stale Mafia intrigue plus other uninspired shenanigans not worth explaining, it takes that THE FUNNIEST FRENCH FILM SINCE 'LA CAGE AUX FOLLES AND A LOT BROADER IN ITS APPEAL. Depardieu and Richard are what high comic style is all about'' -Richard Freedman, NEWHOUSE NEWSPAPERS f-TTTTTTTTTTTTTTTTTTTTTTTTTTTTj tU rtlMtt, tiaitttt i i i cm wmtm mmn um iaaba litaatmini (M ni-4NM tU tt MtS () Sot-trat 9HATU aBA wis tstta 4i TCWlCftTJ 41 I'M mm US 44 44irJ ii" oaamj suao at trwuitt, ()4) tm rtsma a tit (7t475t 4ta4 1am MM tm tijsYfa "Richard Depardieu play off each other beautifully, not unlike a contemporary, more sophisticated, Laurel Hardy." -Kaaa Thomas.

A. TIMES one of the funniest films in years Will leave you weak with laughter." -Jay Carr. BOSTON GLOBE ts i aw BAoiaos ptaftitj 1 to tAMtl I 7M K1-49H lAtniTSMa. towictrru" itint aiM tatwanirsi litt mnm fmm SS T4t tm RARITY: AN AGGRESSIVE HEROINE IN CHINA OF THE '20S (iHTii-wj SI M-AJl I mah im mim iiiaj 7M TV 44 ImuBHaaHai 10UTM COAST otmm 4MTMVtMrTAllt4l ttiMAI TW'l im.w (7M S4S 211 tt Its) .44 to) a I Htaattanitai mnm wmm 9 4 9 Qtt) tai-stai ittATf ts i UJtftfiltWtS asstwMMi AArt. 4S 44 SJt ti (TU 4J1 S1 IMMJ 94 MS I A- OUTM COAST St 4 44 lot 7WVNJ 2711 11 T41MS3 tSMkw.

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POl ia ma 4j) 4 rat 4i (Tm I7B 4M1 ttaty Bl SS mm awi lati atta txrai 144 tOt Cmriu cn. a tt B1fl (7U 94S 7444 TMn (a4IA Jmam i4t. 4 a tat t4t (7t4 SB-4M1 ItBltSS IR.ST0L mMi (7M D40-7444 watawi Lia, txttaa rAomiii tar tttanipsi lata 7 jo not Ttasy B7 a mm I tt 44MM tJS 4 44 a 1 st A RONALD GOLDMAN I ISAM. 4 MOUSTAPHA AKKAD PrrvnU I fnmrvr iiiistol Biiiwuisiipai 100 ISO 90S tVM-tftKArt (7M 349-7444 ra tot aa TtatFt a mm I mt PG With AN NY DUPEREYand MICHEL AUMONT EXCLUSIVE ENGAGEMENT Imagine the heroine of a Chinese period film getting the man of her choice drunk, seducing him and then claiming that she's pregnant in order to force him to marry her! It sounds incredible, but that's exactly what happens in "The Rickshaw Boy" (at the Grande), surely one of the finest recent films to arrive from the People's Republic of China. As radical as its heroine seems in contrast to the usual demure maidens of Chinese movies, the film is actually based on a famous novel by Lao She 1899-1966).

As the title suggests, it is the story, set in the '20s, of a handsome, wiry young man (Zhang Fengyi) who only wants to own his own rickshaw. But fate keeps placing him at the mercy of the uninhibited, aggressive daughter (Siqin Gaowa) of the proprietor (Yan Bide) of a Peking rickshaw company. "The Rickshaw Boy" is slow getting under way, suffering from a pronounced lack of economy in its development, but begins to exude a pull and build momentum once the couple are married. From the start, however, it is sustained by the remarkable portrayal of the bride by Siqin. a striking Mongolian actress who asks no sympathy for her initially shrewish-seeming heroine.

Siqin's performance is balanced by that asaMsuair) tM ta-t-tt-tat ttJt (MXS Q3SSI litB4SaM of the understated Yin Xin as her neighbor, a delicate beauty forced into prostituting herself to support her two motherless little brothers and her aging, drunken father, a worn-out rickshaw "boy." "We sell our sweat; our women sell their bodies." he observes bitterly. Ultimately. "The Rickshaw Boy" is a tragedy, an indictment of the harshness and injustice of life in China in the '20s. something that director -adapter Ling Zifeng, born in Peking in 1917. experienced firsthand.

(He even pulled a rickshaw himself for a time after his family lost its money.) For all its rich color and quaintly exotic settings, "The Rickshaw Boy" (Times-rated Mature for adult themes) is special because of the dynamic presence of Siqin Gaowa and, above all, the exquisite sensibility of Ling Zifeng. K.T. THE RICKSHAW BOY A laser A Berk Productions release produced by Huang Zhaoyi. Wang Lianaheng. Liu Jirui.

Director Ling Zifeng. Screenplay Ling Zifeng; based on the novel by Lao She. Camera Liang Ziyong. Wu Shengpu. Photographic adviser Wu Yiruoan.

Music Qu Xuoan. Art director Yu Jiming. Costume Wang Feng. Film editon Ma Zhizhen. Wang Cheng.

With Zhang Fengyi. Siqin Gaowa. Yin Xin. Yan Bide. Ll Tang.

Li Xiang. Han Yan. Gao Feng. Wang Cunren. In Chinese with English subtitles.

Running Urn: 1 hour, 52 minutes. Times -rated Mature. IIUtTOL ltn tmxMl VtUMSill 15-B)-1(H)0 1 i BEVtTRLT HILLS NUKT1KT0I (794)540-7444 t4 2S-4S t7t TMCawAAJlM SUN. a WED. MUSIC HALL 9036 WILSHIRE 274-6869 OOAXKIt 15-4 15-6 10-8 00-10-00 73 944 7 a 1 (7MB4B-a Ta to a mm sm viuo Tana OMtMWUT ss atstaaiif i it a satnAytiu Htataaa tiirl ii ii at Buaa voair smmm taicttt aa-aa I 7HSS1-al38 Taawy Ca AMI Ipa (7M) uo awn iai4Nit tt i44Ajy K3i mm 1 PM C(WaWtT VIUO TW1S ta 7t4asi-M6 COt 7 54 a 204 4 a 1 46 46 Ttan a mmlm 4)130 1 74) Jtmj CM mm DHCttA WIST SUM at w-ociirsi 7 MBBS-3B3S 1146-1 4S-4a a tIl ca mm If OHraU WIST tor anirai is ttwawk ta a Sr3-7 ti ta Hm, 7MSB1-9B3S ISOSTaam a aassannavpci 6 146 MBSCB Taasy PM mm Ja 7K) atts-aso V1EJ0 KAIL tsaiiti HTSaM 1T4SM 4 O0 430 nlALUI uaTAMiBVawlA.

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