Page Two
cinema-
An, orgy of Roman art
THE MICHIGAN DAILY
Thursday; September 10, 1970 *
Players announce
annual premiere
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GAY LIBERATION FRONT
Meeting, Thursday 8:30 P.M.
ASSEMBLY HALL,
SOUTH BASEMENT, UNION
Girls and Guys-Straight arid Gay
-ALL WELCOME-
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By NEAL GABLER
Ben Hecht once decreed Hol-
lywood movies as variations on
the theme of "the triumph of
virtue a n d the overthrow of
wickedness." Back in those days
the hero was an upright fellow
w h o never missed Sunday
School when he was a kid, and
his girlfriend was a flaxen-hair-
ed virgin who still believed that
babies were brought by the
stork. You could always tell the
villain because his upper lip was
trimmed with a black, pencil-
thin mustache. And though he
got away with blackmail, rob-
bery, murder and rape (as the
camera pans to an open window
and the curtains flutter in the
breeze), in the end he got his
due. Moral: God rewards up-
right fellows who have flaxen-
haired girlfriends and punishes
evil-doers who have black, pen-
cil-thin mustaches.
Since then the heroes a n d
villains have changed but pic-
tfirps are still essentially mor-
,my piays. This doesn't apply
only to Walt Disney and John
Wayne (wave that flag and kill
those Cong, Duke). T h e em-
phasis has recently shifted from
immoral individuals to immoral
systems but the message of a
film like M*A*S*H is nothing if
not moral. Or take Easy Rider,
another film condemning sys-
tems and n o t people. Despite
the acclaim it won, it wasn't
able to transcend t h e stereo-
types and give us a Sodom in
whichcyclistssare Just as trap-
ped as rednecks. Hopper. tried
hard, but each time I saw it
the audience cheered Billy and
Wyatt and condemned the goit-
ered assassin; the cyclists are
good - moral; the cracker is
bad - immoral. How can you
blame audiences conditioned by
years of movie going?
The new liberty in movies has
freed the film-maker to focus
on violence and lust in blood-
red and flesh-pink Technicolor.
But instead of amoral films bas-
ed on ethical relativism, we get
a de Sade or am I Am Curious
(Yellow) which, by virtue of the
disgust they generate, have to
be among the most moral pic-
tures ever made. W h a t these
film-makers didn't realize is
that there is more to "freedom"
than licking Smucker's straw-
berry jam off a lady's nipple
or kissing a fellow's testicles.
Morality is rooted in struc-
ture. What is purported to be
amoral is really immoral so
long as actions are set in a lin-
ear narrative framework. (I
contend that there is a story
tucked away in I Am Curious.)
No matter how much we thump
for Free Love, when we see two
characters actually doing it be-
fore our eyes we feel the pangs
of the Puritan morality our par-
ents tried to inculcate in us. So,
the first lesson the maker of
amoral films should learn is:
Don't let the viewer intellectu-
alize about what's going on. Let
him feel it.
Fellini knows this, and the
result is the first totally amoral
film I've ever seen. The Rome
he evokes is full of sodomy, bru-
tality, cannabalism and deau-
chery, but it is without moral
Judgments (thus innocent) be-
cause its amoral acts are not
part of a shocking narrative
that compels us to moralize. As
a matter of fact, there is little
narrative at all. What plot there
is concerns the odyssey of En-
colp us, a young buck in search
of his boy (and I don't mean
son). His journey takes h~im to
Vernnachio, an actor whose rep-
ertoire includes the blast of a
fart as well as the turn of a
phrase; Tramalchio, a burping
prophet ala Nixon; and Lichas,
a homosexual w h o defies de-
scription. To fill the roles Fel-
lini has once again issued a call
to the gutters of Rome, assem-
bling the biggest menagerie of
cripples, freaks, queers, dwarfs,
fat people and odd faces that he
has ever put together.
All kinds of conclusions can
be drawn from what he lays be-
fore us, and it is obvious that
his Rome before Christ in many
ways prefigures our Rome after
Christ. Frankly, I'd rather leave
these profound interpretations
to those movie-goers who accept
every import as a mental chal-
lenge and are only too glad to
tell us simple folk what the for-
eigners mean by it all. What-
ever its message, Felini Satyri-
con is an experience much more
than it is an intellectual exer-.
cise; to look for a message is
as foolish and self-defeating as
trying to lay out in a few neat
paragraphs the "message" of
2001. Both films are a m o n g
those commercial rarities that
work on the gut as well as the
brain. Both films dispense with
tight plot. Most importantly,
both films are more than a col-
loid of picture, word and music;
they forge these into a unity, a
distinctive art form.
Although it assaults the sen-
ses, I don't want to give the im-
pression that Fellini Satyricon
is a Roman Light Show. It is'
interesting visually, alternating
between smoky greys, recalling
dark temples, and intense, glar-
ing yellows. But Fellini relies
more on structure than image,
using the film's amorpliism to
create the anomie of ancient
Rome. It is not merely a film
a b o u t chaos; it is a chaotic
film about chaos.
It's hard to describe verbally
exactly how Fellini accomplish-
es this. The picture is segment-
ed into a series of Encolpius'
adventures, but except for En-
colpius himself each incident
stands alone, unfinished parts
of an unfinished whole. There's
enough footing in the script so
that the viewer doesn't entirely
lose his balance, but there is
an ample supply of confusion
stirred in to insure uncertainty.
All of a sudden we find Encol-
pius fighting a gladiator. How
did he get there? Why is he
fighting? And who are these
people anyway? All these ques-
tions are unanswered.
Perhaps the best analogy to
how the film operates on its
audience is Fellini's own com-
parison of his movie to a "fresco
in fantasy key." Fellini Satyri-.
con is like walking through a
gallery of ancient Roman art
in which the portraits have
sprung to life. On a moral level,
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as I've already said, it has all
the amorality of a wall-paint-
ing of an'orgy. On another level,
the level of sensation, the de-
gree of intellectualizing neces-
sary is only a little greater than
when relating directly and emo-
tionally to a painting. Unlike
reading Gibbon or watching a
Joseph E. Levine spectacle, this
Rome is a sensation, expansive
and unpolished, emotive rather
than cognitive. This explains
why the film ends in mid-sen-
tence--the feeling of Rome can't
be put in the narrative frame
we've become accustomed to see-
ing on the big screen; unbridled
passion doesn't make that kind
of sense.
By this time I may have
scared off people who were so
baffled by La Dolce Vita, 81/2 or
Juliet of the Spirits that they
shudder to think of an almost
non - narrative F e 1in i film.
Emotive films are relative new-
comers to commercial screens,
and it will probably be some
time before people accept this
new cinema without clucking
their tongues and saying, "What
does it mean?" The trouble is
we feel so duty bound to use our
minds that it's a chore to relax
and take things non-intellectu-
ally.
Many critics were turned off
by 2001 because they weren't
prepared for a movie that wasn't
perfectly straight - forward in
development unless, of course,
it was by Bergman or Anton-
ioni, and who understands them
anyway? For most critics Ku-
brick's film was like a Jig-saw
puzzle to scale of the Sistine
Chapel - too massive for one
sitting. Fellini Satyricon is the
same way, and if it is to suc-
ceed, for you, don't attempt an
instant analysis; you'll ruin the
movie.
Which isn't to say that you'll
"like" the movie in any conven-
tional sense, no matter how
you approach it. The film is
epic depravity, out-doing any-
thing DeMille could conjure in
his wildest dreams. In its chaos
it brilliantly communicates the
chaos of the Age. Through all
this it is provocative allegory.
Above all, it applies Fellini's
lunatic genius to a new area of
the cinema art. Fellini meets
Petronius is a masterpiece,-out-
rageous, disgusting, o b s c e n e,
boring, bizarre but unmistak-
ably a masterpiece.
TV RENTALS
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University Players is pleased
to announce plans for its an-
nual Premiere Performance.
This year's production will be
The Refusal, written by Ransom
Jeffery and directed by James
Baffico. This is the second col-
laboration of this pair of artists.
Last year the Professional
Theatre rPogram produced Mr.
Jeffery's play The Union. He
held the Shubert Playwriting
Fellowship at the time and Mr.
Baffico, a PTP fellow in 1969-
70, was the directors This is
their first work as a team for
University Players.
Jeffery has had his works pro-
duced at a dozen universities
across the country in recent
years. His play, The Guest, won
the 1969 Playwriting Contest
of the American National Thea-
tre and Academy. Last year he
received the top award of $2000
in the University of Michigan's
Hopwood Contest. Most recently
he has been working on a movie
script, commissioned this sum-
mer, and will be in residence at
the University during the aca-
demic year.
The Refusal will be perform-
ed in Trueblood Theatre next
March 17-20 as part of the re-
gular University Players Sub-
scription series which includes
Caucasian Chalk Circle, A Mo-
dern Odyssey, Timon of Athens,
The Devils and the Girl from
Maxim's. Also, to be placed on
the program for December, will
be a play from the Black Thea-
tre under the direction of one
of Michigan's leading b 1 a c k
directors. Mail orders for the
season are being taken now by
University Players, Department
of Speech University of Michi-
gan, Ann Arbor, 48104. The box
office will be open for season
subscription sales from Sep-
tember twenty-eighth through
October tenth.
The Professional Theatre
Program will present its F a 11l
Season Oct. 12 - Nov. 1 in the
Mendelssohn Theatre, featuring
the Actors Company in a Con-
temporary Theatre Festival.
Launching the autumn dra-
matic scene will be the recent
success, In the Matter of J.
Robert Oppenheimer, w h i c h
deals in dynamic terms with
the controversial atomic scien-
tist's Congressional hearing.
Oppenheimer -scored a long-
run hit at New York Lincoln
Center last season and will be
staged by Alan Fletcher, artis-
tic director of the Actors Com-
pany. The title role Will be play-
ed by Josef . Sommers, w h o
comes to Michigan from a sumA-
mer as a leading player at the
American Shakespeare Festival
at Stratford, Conn.
APA player, Clayton Corzatte,
seen in past Ann Arbor seasons
in major roles in "War and
Peace," "You Can't Take It
With You" and "The Show
Off."-will return to direct "Sum-
mertree," the second play of
the forthcoming Fall Festival.
Written by ,22 year old Ron
Cowan, ,the moving and poetic
play deals with the life/and
death of a young soldier in Viet
Nam.
The Contemporary Theatre
Festival will climax with car-
toonist-dramatist Jules Feiffer's
satiric study of urban violence,
Little Murders. An hilarious
black comedy which had long
runs in New York and London
and is now being filmed, Little
Murders farcically explorer the
life-style of urban dwellers in
the chaos of the city.
Subscriptions at reduced rates
are on sale for the Festival at
the Professional Theatre Pro-
gram Ticket Office in the lobby
of the Mendelssohn Theatre.
Students will receive special dis-
counts. Subscribers may select
nights and seats of their choice
by mail or in person.
UNION
BILLIARD-$1 /AR.
TABLE TENNIS-50c
9 A.M.-NOON MON.-SAT.
1 P.M.-6 P.M. SUNDAY
ANN ARBOR FILM COOPERATIVE
Organizational Meeting
8 P.M. Tonight-Sepi. 10
Union room 3B
Everyone interested in Filmmaking
is urged to attend
0
PRESENTS
DAVE VAN RON*K,
Quite Simply, the Best
That Is
330 Maynard... .Up the Alley
FRIDAY, SATURDAY, SUNDAY 8:00 P.M.
Join The Daily Sports Staff
\$.075 flicks: Every
night amovies
BACK TO
By ROSE SUE BERSTEIN
The $.75 movie, long popular
on this campus, has taken on
new dimensions over the sum-
mer months. Now students will
be able to attend first rate mov-
les on a second-run basis.
Tuesday night's showing of
Blow-up began a series of films
sponsored by the Ann A rb o r
Film Cooperative. Cinema II is
back in Angell Hall, and t he
Cinema Guild has expanded its
program to a six-day week, in-
cluding a special series of films
sponsored by the Pilot P ro-
gram. Thus it is possible, for the
first time, to attend a cheapie
movie every night of the week.
The Film Coop is a student
organization started by f o u r
members of the Residential Col-
lege to support independent
filmmaking. Supplying the ini-
tial financing from their own
pockets, they worked through
the summer to organize the pro-
gram.
Tonight at 7:30. the Coop will
have a general organizatignal
meeting in the Union for all per-
sons, interested in sponsoring
and making films. The entire
program is meant to correspond
with the Free University film-
making course. Its planned pro-
grams include setting up an
editing room and a showing of
Ann Arbor made films.
Throughout the semester, on
Tuesday nights in Auditorium
A, the Film Coop will present
such movies as Rosemary's
Baby, Cool Handl Luke, and .If.
Meanwhile, Cinema G u il d
has expanded to include a regu-
lar Wednesday night series of
films with American Directors,
featuring such widely acclaimed
tot*I40w
movies as Captains Courageous
and Intruder in the Dust.
In conjunction with the Pilot
Project, Cinema Guild will pre-
sent the Grove Press Film Fes-
tival. (Friday evenings in Alice
Lloyd Hall and Monday eve-
nings in the Architecture Aud.)
And for those who love to
wait in long lines to view super-
ior, popular movies, Cinema nI
is thriving in Angell Hall. Al-
ways a favorite with students,
Cinema II attracts large crowds
with its contemporary movies,
most of which are aimed away
from the art films of the Cin-
ema Guild variety.
This semester, then, promises
to be a great one for all strains
of -movie fans. With the variety
and abundance of low-cost but
high quality films, no one need
sit home alone, bored, any night
of the week.
Ar
Kunstier's,
Cunning!'
Ntional General Theatres
OXVILLa5E
3751. MAPLE RD.-7694300
Mon.-Fri. 7:25-9:45
Sat. 5:10-7:25-9:45
I
Corner State & Liberty Sts.
DIAL 662-6264
STARTS
TODAY!
SHOWS AT:
1-3:15-7:05-9:10 P.M.
Box office opens 12:45 P.M.
a
Barnabas Collins, ire,
takes a bride in a bizarre act
of unnatural love.
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COLUMBIAPIOTRES,..a.
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Metro-Goldwyn-Mayer presents A Dan Curtis Production "HOUSE OF DARK SHADOWS
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