Undercover cops Dom DeLuise, Jerry Reed, Suzanne Pleshette and Luis Avalos stop for a sandwich and some "bread" in "Hot Stuff."

'Hot Stuff': Runyonesque characters

by Larry Vitacco

"Hot Stuff" (Columbia Pictures) could very easily have fallen into. the tired and tacky category of film fluff comedy, but thanks to the polished and considerable comedic talents of its performers and director, it's a bouncy, fast and often times very funny movie.

Loosely (and admittedly so) based on factual government files, "Hot Stuff" uses the premise of a Miami undercover police fencing operation trying to stop illegal fencing tactics, that culminates in the arrest of 107 shoplifters, thieves, muggers, murderers and other low-life criminals-all in one fell swoop. The movie is as successful as the real-life scheme proved to be, with plenty of slapstick, peak one-liners and Runyonesque characters to keep the audience laughing, tittering and guffawing throughout.

Director-star Dom DeLuise is afunny man, who uses his hefty physical attributes as well as is comic intelligence in bringing his particular off-the-wall brand of hijinks and humor to the screen. Watching him running around the streets and alleys of Miami chasing crooks, muttering to himself. and cursing the culprits for making him exert himself so physically, is a virtual giant sight-gag in itself-a full, long belly laugh.

As a first-time director, DeLuise proves he is as adept behind the camera as he is in front. There are one or two instances where he lingers too long on one certain gag (similar to the pork and beans fireside scene in Mel Brooks' "Blazzing Saddles"), but his highly charged and hilarious handling of the big climactic party scene at the end more than compensates for the few-and-far-between faltering. scenes.

DeLuise's fellow "cops in crime," Jerry Reed, Suzanne Pleshette and Luis Avalos, are ably outrageous and subdued in turn. Reed possesses an affable macho charisma on screen that perfectly compliments DeLuise's harried and huge presence. He may not win any awards for his acting, but like Clint Eastwood or Burt Reynolds, he uses his limited talents to the best effect.

Aside from being pretty to look at and a fine dry comedienne, Pleshette can toss a one-liner from here to there and keep on walking. She's a tough cookie; the guys wouldn't be able to operate successfully without her..

As the fourth member of the undercover team, Luis Avalos is properly subdued and takes a back seat to the other three, but like Pleshette, if he weren't around he would be missed.

The screenplay by Michael Kane and Donald E. Westlake makes use of many stock supporting characters; the old Jewish lady, the "flaming faggot," the stuffy uppercrust married couple, the black and white hoods and addicts, the absurdly serious bigger-than-life mafia boss-they are all recognizable but none of them offensive. "Hot Stuff" is too much a good natured and frolicsome comedy to be taken as anything more serious than an infectious carnival of comic characters and situations.

Reed's composition and performance of the title song, as well as Patrick Williams' underlying music score, helps a great deal in keeping the movie at its bouyant, bouncy 91-minute running-time clip.

"Breaking Away" (20th CenturyFox) is first-rate moving making. It's a story of growing up in a college town, of four boys fresh out of high school and looking to the future. It's a homily to the generation gap between parents and children, of dreaming ambitions and realistic competition.

The plot follows the four protagonists as they wander through the summer and wonder about the future. They spend as much time together as they do apart, but when apart, Dave's story takes prominence. Unsure about whether or not he's college material, he spends his time "becoming Italian," in word, thought and deed. much to the chagrin of his parents. and preparing for the international speed bike race, a sport imported from Italy. Conflicts arise in his relationship with his parents, and the boys' collective struggle with the bigotries of the college students. towards the "Cutters"-the born

GAY NEWS-Sept. 21, 1979

and bred but not college-bound natives of Bloomington. Indiana. The movie climaxes in a nail-biting bicycle race in which all four boys participate.

From start to finish, producerdirector Peter Yates keeps the action and emotion intact: the adolescent shenanigans, adult tutelages and campus conflicts merge and flow, bump and bang in all the right places. With a fresh and unpretentious screenplay by Steve Tesich, the action never becomes silly or contrived, nor the emotions imbecilic or embarrassing.

Dennis Christopher. gives an unabashedly honest performance as Dave; never once does he allow his laughter and tears, bewilderment or determination seem false. A gifted performer, his acting career will be one to watch. As his three buddies, Dennis Quaid, Daniel Stern and Jackie Earle Haley all give straightforward and totally convincing performances. All four actors play off and compliment one another perfectly.

Barbara Barrie and Paul Dooley offer fine characterizations, and thankfully not caricatures. as Dave's parents. Their development as parents "growing up" with their son is tenderly and humorously etched.

"Breaking Away" is a small gem: everything about the movie, including the beautiful camera work. smooth editing and accompanying music score, fits like a homespun sampler. It would be difficult to choose one or more favorite scenes as there are many choice. ones: Moochie (Haley) literally punching the time clock at the car wash after listening to his bigotbraggart boss mouth off about his being late; or Dave racing a Mack truck at 50 mph on his bike; or the free-for-all at the campus night spot; or Dave's father's utter astonishment at seeing his son shaving his legs (like the Italian racers do"); or the bicycle race that climaxes the movie.

"Breaking Away" is an invigorating and moving cinematic experience. and just goes to prove a movie needn't cost a million dollars to look like it.

'Sugar Babies'

a sweet treat

by Frank Broderick

At the beginning of the second act of the new musical revue "Sugar Babies," a candy hawker appears in the audience, promising free prizes (like a watch "with a space in the back for 21 jewels") for every 10 boxes of Sugar Babies candy sold. When he calls, "Now who wants to buy?" cast members throw bags of the famous caramel morsels to the theatergoers. The skit neatly summarizes the musical -a little tawdry, but a sweet treat. "Sugar Babies," at Philadelphia's Shubert Theatre for a four-week tryout run, is a tribute to burlesque. Not the latter-day variety with bored strippers performing in rundown theaters before old men with raincoats in their laps, but the original burlesque-a cousin of vaudeville, but naughtier. Double entendres, "boob jokes," and a little bump-and-grind mingle with minstrel numbers, slapstick and a dog act. Burlesque is the passion of Ralph G. Allen, a theater professor who researched burlesque archives in writing the show's sketches, all based on authentic routines.

The material is clearly a treat for Mickey Rooney, who deserves his top billing. He is such a ham he should be vacuum-packed in a tin. Rooney is a natural in baggy pants. and a fright wig. He wisecracks and leers in some hoary but hallowed

audiences with her rapid-fire tapping, estimated to be a world's record 500 taps a minute. Miller, in a recent interview, said she believes the image of glamor she cultivated in her MGM days is still very much in demand, and is why she remains. professionally active. Her presence in "Sugar Babies" bears out this view. Whether belting out a torch song ("Don't Blame Me," a tribute to Ed Wynn) or saluting Uncle Sam wearing a red-sequined majorette costume, Miller can only be described as "classy."

Among the supporting players. Jack Fletcher stands out as the prissy announcer of the Gaiety Burlesque. He further heightens the already high camp of the production. Sid Stone recreates his pitchman character known to millions from Milton Berle's "Texaco Show" and is just as nasally grating. Jimmy Mathews is another performer who fits the show like a glove; he should-Mathews has been a burlesque comedian for 40 years, and claims to know more than 300 routines by heart.

A mention must be made of Bob Williams and his dog Louie. Like a proud parent, Williams is anxious for his dog to make a good impression by performing tricks. Louie, through no fault of his own, lets him down because he doesn't know any tricks. To cover up his inadequacy as a trainer, Williams

Ann Miller and Mickey Rooney recreate the naughty fun of burlesque in "Sugar Babies."

roles: the odd fourth member of a barbershop quartet; the bad boy in the little red schoolhouse; the workman interrupting a diva's aria with his hammering; and the lascivious judge "scrutinizing" the pretty widow on trial for murder. Rooney is his most hilarious as an aged whore in a day-glo dress, the Countess Francine du Potato, sadly reminiscing over her ex-lover. In spite of his lisp and mincing, the former Andy Hardy even coaxes laughs in drag.

Another MGM refugee. Ann Miller, also scores a hit. The tapdancing star of "On the Town" and "Hit the Deck continues to amaze

valiantly tries to convince the audience of Louie's acrobatic prowess, and fails hilariously..

The sets and costumes by Raoul Pene du Bois successfully evoke those of the cut-rate circuit shows: the patriotic finale-featuring chorus girls with masted ships for headgear and Ann Miller as the Statue of Liberty-is marvelously schmaltzy. Fifty-year veteran songwriter Jimmy McHugh has contributed a collection of tunes that will make a listenable cast album.

"Sugar Babies" opens Oct. 8 at the Mark Hellinger Theatre in New York.

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