PAGE TWO THE MICHIGAN DAILY FRIIJAX. APRIL 14. 1967 PAGI~ TWO THE MICHIGAN DAILY "RIDaYat. APR..." AZ, AEV FILMS Oscar Winner Lacks Subtlety, Sub stance ART, 'U' Buses Spark Controversy Detroit Exhibit: Showpiece of New Forms CfromPI h ae d versity " purchased. By PAUL SAWYER1 "A Man for All Seasons" has landed in town, complete with a flourish of bugles, six shining Os- cars, and a line to greet it that stretched around to the gas sta- tion on the corner. Obviously, with financial prospects so shaky, the Campus Theater was° obliged to take austere economy measures: tickets up to $1.75 and no free passes for reviewers. But then "A Man for All Sea- sons" is good in all the things you usually get when ticket prices are high: costumes, scenery, pagean- try, color, acting, and even com- petent (but that's all) direction. It only has one conspicious failing, which is the script. Robert Bolt's play is an empty, pompous rehash of the death-rather-than-dishonor theme, most recently seen in Ann Arbor when several audiences last week were forced to watch the hero of "The Crucible" choose life, then death, then life, etc., etc., etc., for about an hour, until he died. They all do." This film is based on Sir Tho- mas More's refusal to endorse Henry VIII's marriage to Anne Boleyn and to recognize him as the head of the Church in Eng- land, "You should consider the facts and not be swayed by all this morality," says the unscrupu- lous Cardinal Wolsey. "With a little common sense, you would make a good politician." The King demands Sir Thomas's support; he keeps silence. They threaten him and imprison him; he keeps silence. They cut off his head.- And that's it, for two hours and six Oscars. I'm not against Honor per se, I guess, but it seems that by now we can ex- pect a subtler and more complex discussion of moral situations in literature and 'the film than this simplistic kind of presentation. The screenplay has the addi- tional problem that the charac- ters each have a very predictable, very stereotyped mode of behavior. There are the vicious Cromwell, the treacherous lackey, the faith- ful wife, and the foolish son-in- law. The saving grace is the dia- log, a great deal of which con- sists of very clever repartee be- tween Sir Thomas, himself a law- yer, and his various persecutors. Sir Thomas himself is exquisitely acted by Paul Scofield, who takes this potentially stiff and static role and turns More into a wise, gentle, stern, kindly old man, peculiarly detached from his surroundings, and strangely sad, like our image of the lawyer Abraham Lincoln. But Scofield is unable to create much dramatic interest out of this role. Sir Thomas, by his very excess of wisdom and benevolence, remains as predictable in his be- havior as all the rest. Weak Characterization Part of the woodenness which pervades this film stems from the weak characterization; but ar- other cause is the excessive talk- iness of the script. Finally, Fred Zinnemann's direction, though I have called it competent, is clearly modelled after an Olivier filmed version of Shakespeare, but with- out Olivier's dash and exuberance. The characters move as if in a pageant; the cook falls weeping on cue as soon as Sir Thomas says he must, release his servants; and Vanessa Redgrave as Anne Boleyn giggles stupidly as King Henry sings to her. King Henry himself is the stereotype of a lusty brawler, in other words, a steal from Peter O'Toole's Henry II in "Becket." Well, as I said, there is lots of color and there is Paul Scofield. The Oscars could have done worse. They have many times. By ANDREW LUGG The new exhibition at the D troit Institute of Art, "Col Image and Forum" completelyr futes all those critics and case viewers who maintain that mo en American painting can bee plained using such slogans "minimal art" or "systematic a or that the occasional article1 Lawrence Alloway is the last w on the subject. It is true that the artists restri themselves to minimally structu ing the painting space and th most of them have banished t sensuous from their work, but t does not mean that they have li ited their vision, or rather sta ment. Quite the opposite, th artists have, by controlling th painting habits, liberated the selves to investigating form problems and a whole host "propositions" that are usuallyr served for philosophy or literatu The artists represented in t exhibition seem to be embarrass by the "indulgence" of the a stract expressionists. Paintingf the sake of painting has beens perceded by an aesthetic wh denies the importance of thea tual physical process, that sexu activity which used to be cal "being within the painting," a extols the existence of the pain ing (artifact) itself. The "psych ogy" of the artist is irrelevant.1 attempts systematically to rem himself from the expression his own "struggle" with the pai Thus, he uses acrylics instead oils to give a smooth finish toY work; and to banish from t painting all the textures (perso ality) that are part and parcel oil painting. Some painters ha gone further so that their wo becomes "untouched by hum hand." In the end, this sort of Art interested in intellectual proc and not physical process. Itd rives ideas thought out in advan of the moment of commitment De- or, re- ual od- ex- as rt" by ord 'ict ur- I hat the his during the painting process, The Detroit exhibition shows that this mode of painting can produce works that incorporate a large range of techniques and that come from many different "points of view." A list of the artists exhibited- canvas and are not thought out purpose. "Horse" by Anthony Caro, which consists of bolted girders and slabs of steel with all its rough "earthiness" has a gentle subtlety which sets Caro up, al- most as being an electic. It is this balancing between the massive and the elegant that makes Caro so important and his unerring choice of "right" scale that sets him apart from his imitators. In this review I've hardly touch- ed on the goodies that can be seen now in Detroit. This exhibi- tion is the most complete and var- ied "show-piece" of modern art that we have been privileged to see hereabouts for a long time. The DSR's action was report- edly prompted by a rash of trans- mission failures. Some difficulties with brakes had been experienced earlier, including one rear-end col- lision. According to V. E. Hardesty, re- gional sales manager of Flxible, the DSR's problem was prompted by installation of an experimental brake valve as original equipment at DSR request. Hardesy indicated that Flxible agreed to DSR's request to take back the coaches to avoid further controversy. Flxible says it is paying close attention to its buses here. 'Whenever we hear of the tin- iest thing wrong with any of our brakes we send out our mechanics to do a cmplete overhaul. We can't afford the kind of publicity we got in Detroit," adds Hardesty. Koester says that when he heard of the DSR trouble he talked to "the superintendent of mainten- ance at DSR in Detroit. He told me the buses were fine and to go ahead and buy them." Some drivers are reluctant to talk about the Flxible buses. They indicate they fear University re- prisal. "The school might stick us with all the night and weekend bus runs it we talked," explains one quiet bus driver. t Frankenthaler, Noland, Olitski, Ellsworth Kelly, Stella, Wessel- mann and some twenty others-is M O1scoS ow H g lihs both impressive and a fairly com- plete representation of these 1 y "points of view." (That Rauchen- berg and Larry Rivers have not R eopening been included in the show - they e -- m te es ei m na of re- re hi se ab- fo ich ac- ua] le nd nt 01 H Ove o nt o hi the n of av ork an i es de- uce to r SALVATION! That's right, brothers and sisters-you can save your soul (and ease the wearying woe of finals) by taking an evening off to gather with Sky and Nathan and Harry the Horse and all the others in Ann Arbor Civic Theatre's production of GUYS and DOLLS Next week in Lydia Mendelssohn Theatre: Wednesday through Saturday, 8:00 P.M. Sunday, 7:00 P.M. - both develop their ideas during construction-establishes the lim- e its of the exhibition). r Tom Wesselmann is represented .. by one of his Great American l nudes, this one number 85, two f seascapes and a study for a sea- - scape. All of these, except Sea- e scape No. 17, are in painted s moulded plexiglass, which gives d the paintings a bold impertinence - which is in tune with the wry bu- r mor of the subjects. Seascape No. .. 17, is acrylic on canvas and shows h two large breasts, beautifully at- - tached to a suntanned body l against blue. This raucous com- d ment is highlighted by a sky blue d line dividing the breasts from the - sea which is so gentle that it al- - most destroys the form. Almost. e Helen Frankenthaler indicates e how this form of painting can be f used subjectively. Her Interiior t. Landscape in subdued browns and f greens presents a quiet invitation s to "introspection" which is not e normally associated with such - monumental canvases. f Ellsworth Kelly's huge canvases' e oil painted, but flat, simple, un- k adorned shapes, blocks of color, n tightly controlled by the picture space; austere statements; paint- s ings, quite simply, that demand an s existence for themselves - make - even Gene Davis' glaring vertical e stripes look thin, self-conscious. And so on: we have Kenneth Noland's diamonds, Jules Olitski's gentle "hazes", Frank Stella's shaped canvases and (of course) Warhol. These paintings, simple, there in all their monumentality, have a presence to be reckoned with-the content, colors, form a definite, at times even offensive, assault on our intellect and on our senses. The sculpture serves a similar TONIGHT SALT OF THE EARTH directed by Herbert Biberman, 1953. American. First time in Ann Arbor- revolutionary worker's film for which the writer, producer and director were blacklisted. SHORT: "PAKH ITABAUET" -Bolshoi Troupe Saturday-Sunday THE WILD ONE with Marlon Brando, Lee Marvin. The celebrated motorcycle morality play. SHORTS: 3 Mgoo cartoons 7:00 & 9:05 Architecture Aud. STILL ONLY 50c DIAL 5-6290 After months of shrouded sec- Expressionism. Grigaut explains recy, the University Museum of Magnasco's development in the Art will reopen on April 22, with exhibit booklet: a featured exhibition of the worksb of the eighteenth century Italian "First come episodes from the painter, Alessandro Magnasco New Testament, followed by the (1667-1749). religious scenes with monks, The exhibition, which is a joint nuns and hermits, which are effort of the University Museum perhaps the most characteristic and the J. B. Speed Museum of part of Magnasco's oeuvre. Then Louisville, will be the first retro- come a group of genre scenes, gf Ma c which express unwittingly the work ever presented in the United angoisse sous le masque so oft- States. Prof. Paul Grigaut of the en found in Settecento Italy. A history of art department, asso- series of landscapes, In which ciate director of the museum, Magnasco shows himself to be terms Magnasco "the most person- . . . un realiste du fantastique, al artist of eighteenth century brings the exhibition to a close." Italy." The remodeled museum will pro- "Magnasco's technique," says vide Magnasco with a splendid set- Grigaut, "is extraordinary. His ting. The main hall on the first spontaneous fa presto style lead floor will now house contemporary many to see him as the founder art; the hall was used formerly of Impressionism." for portraits of past present Uni- Conversely, Magnasco's sombre, versity presidents. Two side rooms, tragic coloring make him a fore- former offices, are now the Parker runner of the darkest aspects of Galleries of Oriental Art. Nights & Sun. $1.75 Today at 41i7:00 & 9:15 I I wi CAMP OUT AT DURING OFFICIAL HUMPHI MONDAY, April 17: ALL TIME BOG HIGH TUESDAY, April 18: WORLD WAR I I SAH WEDNESDAY, April 1C EARLY BOGART E: AMER ICAN BLACK THURSDAY, FRIDAY, GRETA GARBO-T NINOI SATURDAY, SUNDAY, The Rollicking MA DUCK 7:00 & 9:05 CINEMA GUILD EXAMS! REY BOGART DAYS! ART FAVORITE SIERRA ON THE DESERT CINEMA II presents RICHARID, LESTER'S THE KNACK .and how to get it! Starring RITA TUSH INGHAM Cinema I1 salutes Fritz Lyon and "THE APPLE JOKE" FRIDAY and Showings at 7,9, and 10:30 PA SATURDAY 50C Auditorium A, Angell Hall WINNER BEST OF 6ACADEMY AWARDS INCLUDING PICTURE OF THE YEAR! COLUMBIA PICTUE FRED ZINNMANN'S mE, presenTs From the play by ROBERT1 BOLT ' 1U}W1 ARA A. XX(POSE OF HOODED TERRORISTS! LEGION April 20, 21: HE MATA HARI OF I NOW SHOWING TCHKA The box office will open Monday at 10:00 and remain open all week. Why not call t' 'ere (668-6300) and see what you can get for a buck seventy-five! I , April 22, 23: RX BROTHERS in: SOUP r }7....n.....r...n....r:.:::.::.;w~v; }i::i: :::'::.':. ,. .i ., .. ,,....:........,...... ..... .........: s{ ....::r.:.. .. :.: v":: ....: .....r"-: :{ 4r . ..r.}. . ..r . . ....v..:}.-....... . .r r%' European Concerts-University of Michigan Men's Glee Club-Summer, 1967 THE UNIVERSITY OF MICHIGAN MEN'S GLEE CLUB cordially invites students and staff of the University who are traveling abroad this summer to any of its European concerts. Performances in Europe include: Helsinki, Finland-Tuesday, June 20-8:00 P.M. Student Theatre, Ylioppilasteatteri, Seurascaari Stockholm, Sweden-Thursday, June 22-8:00 P.M. Skansen Island Theatre Oslo, Norway-Sunday, June 25- Folkemuseum-1:00 P.M. Opening Ceremony (University of Oslo)-7:15 P.M. Copenhagen,,Denmark-Monday, June 26-8:00 P.M. Tivoli Amusement Pork Amsterdam, Netherlands-Thursday, June 29 -8:00 P.M. Bachzaal at Conservatory of Music STILL ONLY 50c .r . 0 TATE i fVINNER OF ACADEMY AWARDS INCLUDING BEST ACTRESS jr ELIZABETH TAYLOR BEST SUPPORTING ACTRESS SANDY DENNIS Feature Times 1:30 4:00 I TinVE.13 IN ERNEST LEHMAN'S PRODUCTION OF EDWARD ALBEE'S 20th CENTURYF0X PRESENTS The new... Flint adventure... m T -Ah MT Vi SHOW TIMES: FRIDAY-7 & 9:30 P.M SATURDAY-5, 7:30, 10 P.M. SUNDAY-6, 8:30 P.M. A I I Ii