Page 2--Sunday; December 9, 1979-The Michigan Daily

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The Michigan Daily-Sunday, Decer
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BY TERR YLaBAN

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A CR OSTIC PUZZLE

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A. Recounted; related

8. Steep too long
C. Paraphrase
D. One who causes
bewilderment
E. Collection of selected
writings
F. Cool indifference; lack
of concern
G. Foiled to understand
H. Flowing freely; prosperous
I. Repetitious
J. Sexuality unrestrained; lewd
K. Person with an exaggerated sense
of self-importance
L. Strike out again
M. Satirical novel (1534)
by Rabelais

19 174 25 66 184 111 127 192
5 11 30 92 114 123 138 32
6 41 102 109 85 95
20 46 53 86 100 70 141 171 179
52 130 150 1 10 67 84 99 120
34 65 72 101 112 122 166 168 188 193 81
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N. Raked; broadsided
0. Assented mutely
P. Free verse poet who depicts
ideas and emotions vividly
or graphically
0. Omnipresence
R. Kiss; smudge
S. Succeed to; acquire;
occupy
T. One who receives erotic
gratification from self- -
admiration
U. Elderly woman of stately
dignity
V. Romantic hero of Mormion (1808)
by Sir Walter Scott
W. Heavily dependent in a
close relationship
X. Indulge in mawkish
sentimentality
Y. Cancer and Capricorn

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BY
STEPHEN J.
POZSGA I
Copyright 1979
INSTRUCTIONS
Guess the words defined at the
left and write them in over
their numbered dashes. Then,
transfer each letter to the cor-
responding numbered square
in the grid above. The letters
printed in the upper-right-hand
corners of the squares indi-
cate from what clue-word a
particular square's letter
comes from. The grid, when
filled in, should read as a
quotation from a published
work. The darkened squares
are the spaces between words.
Some words may carry over
to the next line. Meanwhile,
the first letter of each guessed
word at the left, reading down,
forms an acrostic, giving the.
author's name an4 the title of
the work from whilh the quote
is extracted. As words and
phrases begin to form in the
grid, you can work back and
forth from clues to grid until
the puzzle is complete.
Answer to Last Week's Puzzle
"Deep-space activity
within the limits of our
solar system's 'continen-
tal shelf' during the next
century I suspect .. .will
be confined to stroid-
mining, to communities
roaming the solar system
for ,research, and to
small fixed research
colonies on habitable
plants. "
Gerard K. O'Neill
(The) High Frontier

EN IS A SNAPPY little tease of
title, a coy wink at the audience
that promises a shameless sex-
ploitation fantasy. By now it's old news
that the movie is just the opposite-a
cozy comic fable about a pop-
composer's mid-life crisis. But it's the
farcical tone-and not the soft-core
title-that turns out to be the real
disguise. For 10 is a distasteful Older
Generation morality play, a rap on the
kuckles of the laid-back California sub-
culture. Featured star Dudley Moore,
an English comic of Python caliber,
gives a hysterical performance, but the
movie's sexual politics are puritanical,
and it pays the kind of facile lip service
to feminism that, in 1979, has become
pure, contemptible tokenism. Director
Blake Edwards (known for the Pink
Panther series) claims 10 "is not a
sexist movie," but he must have some
idea of what's drawing people into the
theaters. One look at the cheesecake ad
campaign, and you can bet it isn't Julie
Andrews.
Perhaps this wouldn't matter much if
10 were a one-shot, made-for-TV
quickie, but it's already raked in close
to $20 million, making it one of the
year's top grossers and an unqualified
hit. And why not, considering all the fun
in store for the audience? Peek with
Dudley Moore at his naughty next-door
neighbors, as they copulate on a pool
table; watch Bo Derek's breasts bounce
up and down under her skin-tight swim-
suit in slow-motion. Just don't enjoy
it too much, since the movie's message
is that all that sexy stuff is a big, empty
downer.
Moore plays George Webber, a 42-
year-old Burt Bacharach-ish song-
writer with everything in the world ex-
cept what he really wants: Youth and a
chance to play out all his carnal fan-
tasies. George is depressed that the
anything-goes L.A. lifestyle is passing
him by. He's got a girlfriend, Sam
(played by Julie Andrews, in a good bid
for this year's Heart of Stone award),
but she's a dour, "mature" woman,
forever involving him in petty squab-
bles about sexual equality. The couple's
habit of just missing each other on the
telephone gets a bit grating, but
qualifies 10 as this year's model of the
tepid, late-seventies screwball
comedy-a House Calls with nipples.
Owen Gleiberman is co-editor of
the Sunday Magazine.

Locked into this tiresome romance, it's
no wonder that George has his eye out
for something better, and when he cat-
ches a glimpse of Jenny (Bo Derek),
the perfect 10 of the title, there's no put-
ting his libido on hold. He wants (no,
needs) her body, and trails her and her
new husband on their honeymoon in
Mexico. There, in a scene that stretches
the outer limits of farce, he rescues the
beach-bum husband from drowning
(and from a plastic-finned shark), and
shacks up with Jenny for a night.
But George's erotic angel turns out to
be something less than Heavenly.
Derek was obviously chosen for the
part because she typifies the sort of
hollowly beautiful, Farrah Fawcett-ish
good looks that have been elevated to
the American pop-culture sexual ideal.
And she's a book you can judge by its
cover. Her gatefold goddess is a
balloon-inside, it's all air-and when
she lectures George on the freedom of
the New Values, she sounds like one of
the "kids" in Blow-Up, living for the
Moment, incapable of moral decision,
bored by commitment. Her wedding? A
marriage of convenience. Her husband
calls while she and George are cavor-
ting under the silk sheets, and she's as'
casually unconcerned as if it was the
hotel desk clerk phoning to say her pan-
ts-suit was back from the dry cleaners.
Sex is just a kinky, casual game, no fun
unless you smoke grass, put on Bolero,
and play by the rules. Worse still, she
beds down with George not because
he's anything "special," but
because-the motto of amorality-'"I
felt like it."
Well, George wants to swing, but his
roots are still deep in older generation
soil. Jenny's anonymous fooling around
disgusts him so much that he refuses to
have sex with her, and goes crawling
back to Andrews. For all her bitching at
his male chauvinism, she welcomes
him with open arms. And George learns
that it's true love-and not gorgeous
young California Girls-that makes the
world go round. Q.E.D.
10 is based on the standard Victorian-
era lie that sex and love reside on op-
posite shores, and that ne'er the twain
shall meet. It's a lie that movie can't
tell with a straight face. Even after

George's limp encounter with Jenny,
we never believe he's as hot for An-
drews as he was for those visions of
starlets dancing in his head. The
climactic sex scene is played for gutsy,
grinding realism, but when George gets
together with Sam-pow! we're back in
fun, farcical never-never land. Sure,
there's Moore in the last scene, gently
unbuttoning Andrews' blouse. But their
sex is quaint, playful, and "ten-
der"-none of those moans and messy
orgasms. (If we'd seen that, we'd never
believed in George's desire to run off in
the first place.) This would be accep-
tible if 10 were even straining for a
pure,'French-comedy zestiness, but it's
not. Despite a few strokes of low
comedy (notably an unending bit with
Moore slipping down a weed-infested
hill), the film announces that it's going
after the Big Issues, e.g., what to do
about the seven-year itch, and with an
almost bleak seriousness. Then it ducks
out of the problem by having Jenny
embody everything Blake Edwards
thinks is wrong with contemporary
society.
"This is Blake Edwards at his best
and most honest," says Village Voice
critic Andrew Sarris. "He could have
stacked the deck for middle-aged
sexual conversation by treating Jenny
as a mindless gargoyle of vulgarity. In-
stead, he presents a truly sensual and
amoral creature, who gives us a forbid-
den paradise for repressed males. " If a
"truly sensual and amoral creature"
isn't Sarris' idea of a stacked deck, I'd
hate to be around when he's dealing
blackjack. Jenny is sensual, but as
shallow as the spacy, carnal dumb-
bunnies who populated the wildly far-
cical landscape of Robert Altman's The
Long Goodbye. Atlman wanted his
audience to play neck-craning voyeurs
to forbidden fantasies, as bumbling
Philip Marlowe strolled by, comically
oblivious. In 10, we're seeing
everything through George's eyes.
When , he won't sleep with Jenny
because her "soul" isn't in it, it's a con-
trived bummer. Since he first sees her
driving to her wedding, adorned in
virginal white, we're supposed . to
believe it's George's notion of her as a
spirt ually pure princess that sets his
heart a-flutter. But the rest of the movie

By Owen Gleiberman

belies that assur
the camera prol
like a piece of
block. George is
charms that he c
At one point, whe
warm, attracti
age-one who
him-he can't p
why: His mind is
ideal-on his 10
ment has nothin
ter the perfect,
fuck.
Why has this
glowing reviews
loathed Woody
because of its se
'10 is
standard I
that sex a
on opposi
that ne'er
meet. '
says that 10 is on
the decade. Sarr
Personally, it do
great even as a
comic rarity-a
the physical grai
artist-and he tt
sand into a bumb
the verbal humo
you can count th
one hand. I can o
that one of the
people to this ma
nally sympatheti
who feel passed c
sexual liberatio
derlying fantasy
types like Jen
vacuous zombies
that serious adu
with monogamy
is laced with sle
like your avers
episode, they're
males. But Bla)
both ways. He wI
tasies, then put
the anti-pornogr;
keep a stack of s
tom drawers so
the evidence. A
laugh about.

44 124 145 89 178 153 31

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