University of Virginia Library

CINEMA

Boo! Hiss!!
RPM Is A Rip-Off

By Susan Hardwicke
Cavalier Daily Staff Writer

"R.P.M.*" stars an unlikely duo
— Ann-Margret and Anthony Quinn
— in an unlikely situation, at least
for those two. Quinn plays Pacos, a
sociology professor, the writer of
several books on revolution and
general advocate of relaxed sexual
standards. He has a mistress, none
other than Ann-Margret, who is a
25-year old graduate student.

At the beginning of the movie,
the students of the university have
taken over the administration
building and refuse to move unless
the Board of Trustees meets certain
demands, one of which is that
Pacos be appointed President of the
university. In desperation, the
Board agrees to appoint him
which gives Pacos the opportunity
for putting into practice the
theories he set forth in his books.

Writer Erich Segal (of "Love
Story" fame) could have created a
better screenplay. Some of the
dialogue may be witty, but it is far
from believable, and far from
achieving the right touch to give the
story meaning. Director Stanley
Kramer did an excellent job of
miscasting. Aside from the
incompatibility of two actors such
as Quinn and Ann-Margret, neither
one is suited to the roles they play.

Quinn is too good and too deep
an actor for the shallow role of a
professor who discovers that his
theories work only on paper. He
occasionally projects a Pope-like
image (another "Shoes of the
Fisherman"?) rather than a human
one. This type of performance
would suit a serious film; yet
"R.P.M.*" is anything but serious,
while at the same time far from
humorous.

Perhaps the only funny scene in
the film is the one in which
Ann-Margret attempts to pour out
her heart and her sordid past. The
only tears she could possibly draw
are those of laughter; the only pity
she could arouse is that for the
death knell of her career as a sex
object.

Another booby prize should be
given for special effects, which
contribute nothing to the film but
more confusion. In addition, the
student demonstrators are too
stereotyped to be considered
realistic characters, and their abuse
of language is entirely unnecessary.

"R.P.M.*" achieves neither
entertainment nor enlightenment;
its theme, if there is any, is obscure.
Therefore, the letters of its title can
be interpreted not only as
"Revolutions Per Minute," but also
as "Really Poor Movie."