Page Two cinema- An, orgy of Roman art THE MICHIGAN DAILY Thursday; September 10, 1970 * Players announce annual premiere ,Gy:X ' "a>,{," , p . g ";r.;;:;: ;:;r:"' :;%?:. n;.p }:1:": :^'r': ::":?e:" :::: :": XC>> {yv,""r.i'.v>.3 "> "?3 s>.. ' Y?:'". ""r ,p .' . 44::":JD 'ax."::":." :":":"'":::a 5k":>.iv:{v::i":":"Y."."."."."?i::S : r"."."> vs4:: 4X:ti::?.::: :i':w:":iii:"?:"?hY. k:i n':5 :;: °s ."Y .'"7: : Y. GAY LIBERATION FRONT Meeting, Thursday 8:30 P.M. ASSEMBLY HALL, SOUTH BASEMENT, UNION Girls and Guys-Straight arid Gay -ALL WELCOME- .v..{: f:: >c s'":c rs a < {: , : r,"'x '";: _ :: f 4 3 >; ':'14 fJ11' S i, ''i - f ___ 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, The Michigan Daily, edited and man- age6 bat students at the University of Michigan. News phone: 764-0552, Second Class postage paid at Ann Arbor, Mich- igan, 420 Maynard St., Ann Arbor, Michigan 48104. Published daily Tues- day through Sunday morning Univer- sity year. Subscription rates: $10 by carrier, $10 by mail. Summer Session published Tuesday through Saturday morning. Subscrip tion rates: $5. by carrier, $5 by mail. 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 $10.50 per month NO DEPOSIT FREE DELIVERY AND SERVICE CALL: NEJAC TV RENTALS 662-5671 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. ti - r .x...:.;:.:r.r:::..r:r::.;.::r.t"::..r::..>::. ::.............. ,f }f+r'dX .: "; - r""+} r-........: .:{?{:.:?:::::.,... ... : "$':?vff }/rr ;{t;Y: "{:3':.y:, ":" 3 '":r"r'} . 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Metro-Goldwyn-Mayer presents A Dan Curtis Production "HOUSE OF DARK SHADOWS starring JONATHAN FRID Also Starring GRAYSON HALL with Kathryn Leigh Scott Roger Davis - Nancy Barrett -'John Karlen - Louis Edmonds - Donald Briscoe and JOAN BENNETT as -'um h com . steS creenplay by Sam HallandGordon Russell M ~Produced and Directed by Dan Curtis.- Metrocolor M M VOU SAVE $5;00 SINGER 1-to-36* Credit Plan is to help you have this product now- within your budget. Portable Cassette Tape Recorder oper- ates on either battery power or' house current. Simple to operate with one-lever functioncontrol, pop-up cassette and remote control microphone. Easymatic recording control that makes perfect recordings from anywhere in the classroom. Let's you take notes without writer's-cramp. Wati new for tomorrow is at SI N GE R today!* SINGER,. For address of the store nearest you see white pages under SINGER COMPANY. *A Trademarkof THESINGER COMPANY DIAL 8-6416 Doors Open 6:45 P.M. Shows at 7, 9 P.M. 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