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Al $5 OFF! *1 ON OUR BEAUTIFUL - *1 ALREADY LOW-PRICED MEAT OR DAIRY TRAYS With This Coupon * 1 1 • Not Good .Day of or Before Holidays • 10 Person Minimum ■ onsommoromme......m.......o==== ■ 11 • Ex fires 4-2-88 • One Per Person TURKEY BREAST $399 lb. NO L111///7""! SAT. & SUN., MARCH 19 & 20 I OPEN 7 DAYS 7 a.m. to 10 p.m. I STAR DELI * 24555 W. 12 MILE, Just West of Telegraph, Southfield 64 352-7377 OPEN 7 DAYS 7 a.m. to 10 p.m FRIDAY, MARCH 18, 1988 Youth, War Juxtaposed In New Louis Malle Film HEIDI PRESS News Editor I nnocent, carefree youth sheltered at a French ' convent school during World War II. A once-cautious friendship blooming into full kinship until the horrors of Nazism shatter it to pieces. It is against this backdrop that filmmaker Louis Malle presents his current work, Au Revoir, Les Enfants (Goodbye Children). In his film (in French with English subtitles) opening tonight at the Detroit Film Theater of the Detroit In- stitute of Arts, Malle recreates a time in his life, which he says at the end of the movie, he will never forget. The nearly two-hour film, which is based on Malle's own wartime experiences, recreates the friendship bet- ween Julien Quentin (representing the adolescent Malle) and a fellow student, Jean Bonnet, whom the future filmmaker discovers is a Jew — real name Kippel- stein — being hidden from the Germans by Father Jean, the school headmaster. How inno- cent Quentin is, how precocious, how protected from the heinousness which takes place outside his small universe. For example, Quen- tin asks his older brother, also a student at the school, "What is a Jew?" to which his brother replies, "They don't eat pork, and they crucified Jesus." But the brother is more interested in chasing girls than discussing Jews. By letting the children be children, Malle allows his young actors to tell the tale. He films them in class, at play, reading under flash- lights in their beds, rough- housing. They carry on their daily routines aware of the soldiers, the air raids, the bombings, but are really quite naive about the atrocities perpetrated close to home as they sit in class and study the geography of Europe. The story centers around the arrival of a new student, Bonnet, whom the students take great delight in calling -"Easter Bonnet." But it is a pseudonym to protect the Jewish boy from a fate that has already led his father to incarceration in a POW camp. Bonnet is bright in school, talented . as an artist and pianist, and a voracious A German soldier escorts the headmaster of the convent school and his three Jewish wards in a scene from Au Revoir, Les Enfants (Goodbye, Children). reader, arriving with a suit- case stuffed with books.,, Soon, _ he and Quentin, a wheeler- dealer, who trades food and God-knows-what with the other boys, become friends. At first, Quentin is jealous of the new boy, but soon he allows Bonnet to teach him how to improve his piano playing and the two join in for a boogie-woogie session filled with giggles. - By letting the children be children, Malle allows his young actors to tell the tale. He films them in class, at play, reading under flashlights in their beds, roughhousing. Malle is wise not to force the Nazi aspect of the film. Of course, Nazis appear periodically. In one scene, a group gives a ride to Bonnet and Quentin when they get lost in the woods after a treasure hunt. In another, a Nazi soldier comes to the school for confession. But it is the naivete and innocence of the young schoolboys that are the focus of the film. When the soldiers make their final pass through the school, it is then that the children — and the audience — feel the enor- mity of the evil that they represent. It is then that the boys lose their innocence. Young Quentin has plenty of opportunities to betray Bonnet. He discovers the Jewish boy's true identity by snooping in his locker. Late one evening, as the children are supposed to be sleeping, he discovers his friend daven- ing over Shabbat candles. When both are laid up in the infirmary he asks "How do you pronounce it — Kippels- tein of Kippelsteen?" Despite being the conniver, Quentin proves he has more smarts than the audience is led to believe; and he is not the betrayer after all. Malle, who wrote, produced and directed Au Revoir; Les Enfants, waited many years before committing his memories to film. He told the New York Times: "When I first started getting involved in films, I didn't want to do this one. It was too com- plicated, too personal, too in- timate, too difficult. Then, as I became more of a film- maker, it occurred to me that I should deal with it, but I didn't know how. It was a very intense, but very short ex- perience, and how to make a film out of it was very dif- ficult." Whatever his difficulties, Malle has created an ex- ceedingly touching, sensitive, delicate work. Au Revoir, Les Enfants warmly touches memories of youth as well as that one special moment when innocence is lost and maturity found. Au Revoir, Les Enfants can be seen at the Detroit Film Theater at the Detroit Institute of Arts at 7 and 9:30 p.m. to- day and Saturday; 5, 7 and 9 p. m. Sunday; 7 and 9:30 p.m. March 25 and 26 and at 1, 4, 7 and 9 p.m. March 27. For tickets, call the DFT box office, 832-2730.