Page Two THE MICHIGAN DAILY Thursday, July 3, 1969 cinema art 'If:' In By FARGO BERMAN Mick Travis heads a group of three rebellious students at a fictitious British school named. College. Most of the upper- classmen accepted the school's repressive rules and rituals long ago and most of them are prissy homosexuals, so it is hard to blame Travis' trio for not fall- ing into line. Travis can never accept his fantasies as mere. fantasies - if he can imagine stealing a motorcycle, he actually takes it. And by the end of the film, when Travis and his group could Just "murder" the school's staff, students, and the student's fam- ilies, who have gathered at a pompous assembly, it is almost possible to accept the fact that they do their best to machine- gun every one to death. The conclusion is not, how- ever, fully acceptable a n d, If,.. is not a potent "mes- sage" film because, as repulsive as the school's system is, and even after the group of rebels has been caned, it is not cred- teresting but impotent The eternal siare at 'U nius AGIANTOFA OVIE FEATURE TIMES 2:00 375 No.MAPLE RD.-769.1300 7:00 THURSDAY TIMES 7:00 9:30 ible that the trio had to go to the extremes they did to pre- serve, their self-respect and sanity. Their crisis is not a true one. Travis, a character with what will have to be the most per- fectly cast face of the year, is the standard class clown; he is exceptionally wild because Col- lege's repression is abnormally rough - but he is not capable of what director Lindsay Ander- son wishes to lead us to believe, To be fair, one must keep the film's title in mind; If ... asks the viewer to examine his values as to how far he will go ihi a battle against society's restric- tions. The movie pictures the prob- lem of society's self-perpetuat- ing encumberments (through the microcosm of the school) and admits there is no clear solution. Anderson presents an excellent view of a tragi-comic school world. He includes many bizarre episodes,. using exagger- ation to add immeasurably to the film's richness. But the final chapter of the film is hard to accept because actual murders are too grave a contrast to the rest of the movie, which has a basically light-hearted tone. If the rebels' actions are to be considered a serious possi- bility, the school establishment's repressive acts would have to be far more severe than they are. Except for the uncomfortable unreality of the last scene, If ... is a damn enjoyable movie. There are about ten titled segments covering differ- ent facets of life at the school, although the titles are not necessary except as a satire of documentaries. The pacing of the film is bril- liant, with each scene or story being allotted exactly enough time to be savored without overstaying its welcome. There are just a few faces which stick in the mind - the colorful characters along with the many who soon fade into the back- ground are all sensitively cap- tured by the camera. There are few camera tricks, but the direction and photog- raphy bring many feelings across. We are always in the right place at the right time to catch the vital facts. When Travis and his two friends are whipped one at a time, we first see the nervous anticipation of the two boys waiting their turn, and then the cold-hearted tor- mentors, who are classmates of Travis and his cohorts, but are the appointed monitors of the student body, named "whips". Finally we see the underclass- men's reactions as they hear the lashing sounds coming from the floor above them. Certain- ly nothing new under the sun in film direction, but there is the feeling that we have not missed out on any important aspect of the incident. If... is highly entertaining. The problems involved in re- bellion and revenge are not well developed as a topic for serious consideration, but while missing the "social - political deep- meaning" boat, Anderson has created a very nice film to see and enjoy and not take too seriously. An unusual exhibition devot- ed to "The Square in Painting" will open at the University Mu- seum of Art in Alumni Memorial Hall this Sunday, July 6 and will continue through Aug. 24. Selected by painter Richard Anuszkiewicz, the exhibition is being circulated throughout the country under the auspices of the American Federation of Arts The exhibition surveys the use of the square in 20th cen- tury painting with emphasis on the. contemporary artists who, in many cases, may not be wide- ly known to the general public. Beginning with reproductions of works by Mondrian and Male- vich as "fathers" of the exhi- bition, the show includes paint- ings by the established masters of the square such as Josef Al- bers, Ilya Bolotowsky, Fritz Glarner, Victor Vasarely, and Charmion von Wiegand. Anuszkiewicz explains in the foreword of the exhibits ilus- trated catalog: "Man has i - volved himself with the phe- nomenon of the square since his beginning, The square is found in anciet tings and in rock inscriptio ... ..!"rsstC?... . "if" ':t .:°'^{ a''Wi, iv°irr: : .:r., ..t.....n .."s'{:° ..o . .tar .:7".r .vr : :: "r. a '