Page Two
THE MICHIGAN DAILY
1Nednesdtay, March 10, 197 1*
Page Two THE MICHIGAN DAILY
Wednesday. March 10. 19714
r
cinema:
READ
_-_ _. ®® I1
Duck,
s(EDITOR'S NOTE: Because t h e
screnings of, films entered in the
9th Ann Arbor Film Festival run
until 1 a.m. or later it is difficult
to review them adequately in time
for Daily deadlines. Last night's
program will be reviewed in to-
morrow's Daily. The following arti-
cle was written in advance for-pub-
licat ion this morning.)
By JOHN ALLEN
The button says it all: a word-
less, black-and-white image of a
duck.
"What's the button?" they ask.
A duck," I reply.
"Obviously," they, say, slight-
ly miffed. "But what's it for?"
(We have learned, as a race.
that buttons are "for" things.)
"The Ann Arbor Film Festi-
val," I tell them. "March 9 to
14, in the Architecture Auditor-K
ium. It's the best thing happen-
ing in Ann Arbor all year." I
"Film festival, huh? Those are
those dirty pictures, I hear.
What's the duck got to do with
it?"
Filming
(EDITOR'S NOTE: This is the firstv
part of an article of the trials and
problems of filming Pamela and Ian
alfull length feature movie. The writer
is a teaching fellow in the Residential
College.)
By FREDDY SWEET
- For several months David
Greene, :a Junior in the Resi-
dential College,.has been direct-
ing a feature length film in and
around Ann Arbor. It is called
Pamela and Ian. David, who is
the founder of the Ann Arbor'
Film Cooperative, has been in-
terested in films for several
years. He has made some short
films, but Pamela and Ian is the
first time he has attempted a
project of this magnitude.
The plot of the film is basical-
ly a bi-sexual love triangle.M
Pamela played by Pam Seamon,
and Doug, acted by Doug Lich-
terman; are lovers; but Doug
also loves Ian, played by Ia n
Stulberg. The situation of the
lovers fits into a theoretical
framework, which David con-
ceived before the lovers' plot,
and which is the most innova-
tive aspect of the work. T h e
theory derives f r o m a notion
that the .characters only exist
for the duration of the film,
that. they are born when their
first image appears on the
screen and that they die when
the.. projector .goes out at the
end.
David is. now completing the
editing of this film, which will
be about two heurs in length.
He has used his friends as ac-
tors and as crew, for whom the
film has been a labor of love. In
spite'of the fact that David has
not had to pay hi, friends, he
has spent,. $6000 on equipment
rental. film stock, and process-
ing. He has borrowed from his
friends, w h o have contributed
their energies and time, beyond
any of our expectations.
David launched the film on C-
sheer enthusiasm and will. Bor-
rowing $500 in order to shoot
the first week-end, and knowing
that a full day's shooting in any
studio situation rarely results'
i more than four minutes of
finished film time, he announc-
ed -that the film would be fin-
ished at the beginning of March
His determination and a kind of
gambler's spirit pushed us into
one shooting week-end after an-
"M other and pulled himddeeper in-
to debt. He would rehearse and
shoot in marathon stretches of
up to twenty-six hours, rehears-
ing Friday night, beginning
shooting Saturday after only a
couple- hours sleep. We would
shoot all day Saturday and well
into Sunday morning. It w a s
during these periods of exhaust-
ing labor that the camaraderie
between director, crew and cast
emerged' as one of the most sat-
isfying aspects of our four
months of almost constant work
together.
appear with
I refrain from suggesting t lat
"duck" rhymes with what they
can do to themselves.)
'The button is being sold by
the film festival people, and the
duck is on the button-see?"
"No," they say. "What's the
connection between ducks and
movies? I don't get what the duck
is supposed to mean."
"It doesn't mean anything. It's
just to make you ask questions,
Preppie."
"Bullshit. You film freaks are
all weird."
And so on.
What the duck-button really
means, of course, is that people
are going to ask you what the
hell it means if you wear one.
And what underground films
"means is that people are going
to ask you what they "mean" if
they find out you like them.
The button is really the best
explanation I can think of.
There's a little more to it than
ducks, but the rest is harder to
put into words. Underground
filmmaking - or "independent"
or "experimental" or "personal"
filmmaking - does not boil down
to any one thing. And even if it
did, for a given period of time,
there is always the chance that
it would be something different
the next time around.
It is safe to say-for the time
16mm
being - that the underground
is still where it began fifteen
years back: that is, "unde'-
ground." A few Warhol pictures
have surfaced, Kenneth Anger's
Scorpio Rising plays an obscure
commercial house here and
there, Robert Downey has "made
it big" with a film or two. Shel-
don Renan's observation in his
book on underground films and
filmmakers holds true, however :
"The commercial film is a me-
dium of and for bankers, crafts-
men, filn crews, and audiences.
The underground film is a me-
dium of and for the indiv7idual, as
explorer and artist."
Perhaps the idea of "explorer"
film fe
is the correct one for categoriz-
ing the best approach to the
films that make up a festival like
the one running this week in
Ann Arbor. Those Kho prefer
Love Story to Trash might bet-
ter stay away. Those who prefer
Jerry Lewis to Fellini might as
well spend the week in the li-
brary. Those who want predict-
able plots and Jack Nicholson
are in for a hard time at the fes-
tival The urge to explore had
better outrun even the urge to be
entertained, since there will be
dull stretches in the festival -
anywhere from a minute or so to
large chunks of an -ntire eve-
ning.
For explorers, though, there is
that magnificent hope that over
the next ridge, beyond the sur-
rounding bog, at the opening cf
some battered valley -- there
will be the exciting glimpse of
new territory. Every festival has
its ridges and bogs - but every
festival has its glimpses, too.
Usually they are worth the sad-
dle sores one develops sitting for
hours on end, so to speak, ir the
Architecture Auditorium's fold-
down torture machines.
Past festivals give reason to
hope for the health and wellbe-
ing of the current venture. Ed
Emshwiller is back on the pro-
gram with a new film called
Film With Three Dancers. Film
freaks will remember Relativity
a few years back. Richard My-
ers, whose film Akran took top
honors two years ago, will have
two entries this year - Akbar
and Bill and Ruby. Last year's
winner, Morley Markson, has en-
tered a feature-length film again
this year called Breathing To-
gether: Revolution of the Elec-
tric Family. Those who remem-
ber The Tragic Diary of Zero,
the Fool, will doubtless want to
see more of Markson's work.
Other old hands are back:
Stan Vanderbeek and Standish
Lawder, Tom Palazzolo and Bob
Giorgio. This year there are
three Bartletts instead of two on
the program: Scott and Richard
are joined by Joanne. Films are
entered from California, New
York, Massachusetts, Ohio, Vir-
ginia, Ann Arbor, Chicago, and
elsewhere. Titles are suggestive:
Lovemaking; Devil is Lived
Spelled Backwards;,Honk; News-
reel of Dreams.
Ann Arbor folk are on the pro-
'4 - -_________
AIRPORT
LIMOUSINES
for information call
c971-3700
j Tickets are available
at Travel Bureaus or
the Michigan Union
32 Trips Day
stival
gram, too-Andrew
nold Lowe, Danute
name a few.
Lugg, Rey-
Miskinis, to
-JAMES WECHSLER-
in
i
;W
For statistics fans it might be
worth mentioning that approxi-
mately 300 films were submit-
ted this year, running a total of
66 hours. Only about 30 hours'
worth fit into the available
screening time, however - so
maybe the dullest 50 per cent
has already been weeded out.
Statistic No. 2: the average age
of the filmmakers represented is
28. Don't ask me why I know, or
even who cares. I wear a button
with a duck on it. In some circles
that makes you privy to careful-
ly guarded secrets.
If you missed the opening
night, you can read about it to-
morrow. In the meantime - if
you're an explorer - you might
as well forget about studying for
the rest of the week, equip your-
self with a cushion, buy a bag of
caramels, and plunge in.
And buy a duck button while
y-u're at it so we can wave at
one another on the street.
- --- - ----------
CRAFTS FAIR
CREATIVE ARTS FESTIVAL 1971
MARCH 27 Union Ballroom
SELL WHATEVER YOU MAKE
AT NO COST TO YOU
Must Register at UAC
Office to Participate
$2.00 Fee to Cover Costs
ADULTS, ONLY
"THE DEAN'S WIFE"
PLTUS
"TH E MUT HE RS"
I
I1
Vizi
I
RATED Q
You must be
1d8 yrs. of age or,
.older to get in
$1.50
I t. 'I
IN SIN-A-MA-SCOPE
and
BLUSHING COLOR
continuous showing from 1 o'clock
FRI.1-SAT.-
SUN.
BOB
Dennis J. Reardon and Ransom Jeffrey are shown discussing the forthcoming premieres of their new
plays, "Siamese Connections" and "The Refusal" in'Ann Arbor. Both young authors were given Play-
writing Fellowships by the University of Michigan Professional Theatre Program; both wrote their plays
while in residence on campus. Reardon, author of "The Happiness Cage" which won critical applause
in New York last fall, will be given a Professional Theatre Program premiere of "Siamese Connec-
tions" at Mendelssohn Theatre March 16-21. Jeffrey, whose play "The Union" was produced by Pro-
fessional Theatre Program last season, will be given a production of "The Refusal" March 17-20 by
the University Players in Trueblood Theatre. "Siamese Connections" marks the tenth premiere of a
new work for the theatre to be presented by The University of Michigan's Professional Theatre Pro-
gram.
WHITE
Accompanied
by
David
Bromberg
*
A AFC
DOUBLE FEATURE
75c
Lon Chaney in
Phantom of the Opera
(1925 Classic Silent version)
AND
7th Voyage of Sin bad
Aud. A ThursMar.11
Daily Ciassifieds Get Results:
Nominated Academy
For Awards
Best Picture
Best Actress
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AND OTHERS
GP IN COLOR
DOORS OPEN 12:45
Shows at 1, 3, 5, 7, 9 P.M.
FREE LIST SUSPENDED
Th urs.-75c
JON
SUNDELL
is back in town
- +-
4{- 00 FREE R :[E~
.4
"Really better than the book:
Rip Torn obviously has the time
of his life. Always lusting, always
hungry, he scrounges for free meals
and free love with a Satanic glee
that is delightfully infectious!"
-John Wingate, WOR Radio
"Gorgeously strong feelings and
a furious contempt for convention!
Henry Miller with a funny bone!"
-Joseph Morgenstern, Newsweek
"Another step toward complete
movie freedom! Accurately captures the
spirit of Miller's famed controversial
work-his bawdy humor! Some of
the incidents are wild! But woe
to the prude!"
-William Wolf, Cue Magazine
Ee
"THE U.S. CUSTOMS BUREAU -
BARRED IT AS OBSCENE!
READERS FOUND IT SHOCKING
AND SCANDALOUS! AND NOW,
FORANYONEOVER 18 ! .Y
IT IS A MOVIE!"-r ucuaA,Z -M'
HENRYMILLUERS -
qfENRY er -, . .,;.;
directed by JOSEPH STRICK who also made:
F'IF'TH FOPLJm "ULYSSES" and "THE BALCONY"
R1PT1hAVENUEwAs-:IE5O9: O
IONTONANAO Shows-7:15, 9:00-
NFORMATION 761-9700
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Wed.-
Hoof 50c
with
Paramount Pictures Presents
Ali McGraw . Ryan O'Neal
John Marley & Ray Milland
Program Information 5-6290
Bob White
Jon Sandell
Dav*d Biomberg
603 E. LIBERTY
v
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Dental Fraternity
T.G.
fri., March 12th
7-110p.m.
1502 Hill St.
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"Rush"
Tickets:
New From Levi
For the Student Body:
Boot Jeans
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200
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herson-no choice
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4:00 to 4:30
AT THE
14li11 nwitnrim
PRESENTS
MENUHIN FESTIVAL ORCHESTRA
YEHUDI MENUHIN
CONDUCTOR AND SOLOIST
Tonight at 8:30 P.M.
IN HILL AUDITORIUM
Program:
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