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EASTERN MICHIGAN UNIVERSITY
OFFICE OF STUDENT LIFE
PRESENTS
WAR
Pick of the week: It is interesting to see the rises as one of the most im- The problem with this film
lengths to which they will go portant landmarks in motion lies mainly in its content. The
The Last Detail to insult and appall their audi- picture history. Kubrick's un- i interaction between family,
Cinema I, Aud. A ence. commonly powerful film is a members and the crises that
Fri., Sat., 7, 9 But in the end one leaves the dazzling tour de force through arise just don't pack enough
Director Hal Ashby has had theatre happy in the knowledge the cosmos of both space and punch to engross the viewer.
his ups and downs, but turned that it was all in the name of mind, ultimately hurling itself Consequently, despite compe-
in a fine film with last year's good, clean fun. into total celibacy of time and tent direction and occasionally
Last Detail. Highlighted by ex -David Warren dimension. excellent acting, this movie fails
cellent performances from The film is as epic in pro- to be memorable.
Jack Nicholson, Randy Quaid, A King in New York portion as it is in philosophy. -George Lobsenz
and several dozen cases of Kubrick takes us from the very
beer, Last Detail is a unique S New World, MLB dawn of man to his very limits jI Harrowhouse
portrait of the violent, animal Sat., , somewhere in the distant fu- -
side of the human species. Charlie Chaplin may have ture, entering into a metaphys- Wayside
The meat of the picture, lost his head with A King in ical world unbounded by hu- 11 Harrowhouse is yet another
really, is the terrific atting. New York, but the resulting sa- man consciousness. A strange attempt to capitalize on the
Quaid plays a young, quiet, and tire of American life is as funny monolith, uncovered on the success of the lighthearted
very shy Navy man convicted as it is uneven. moon and sending a distinct "caper" film, a movie genre
of stealing $20 from the base f There's no question that it's signal toward Jupiter, sets off that, like the "disaster" flick,
poor box. Nicholson-a brash, uneven: the plot is as chaotic the chase through space in seems to grow ever stronger in
foul-mouthed trouble - maker -, as a Marx Brothers movie, and search of the "higher intelli- numbers and in popularity with
heads up the two-man detail as- the satire shoots off in oppos- gence" responsible for the cos- each succeeding venture.
signed to escort Quaid up the ing politicalsdirections at once. mic burglar alarm. this one, Charles Grodin
East Coast to begin his con- ust elasedin the Unie Kubrick bides his time, en- (of Heartbreak Kid fame) stars
finernent. States last year, this 1957 movie compassing the viewer with ainatlofhswn rtng
Together, Nicholson and Ash- was supposed to be Chaplin's pvast array of special effects, buta tale of his owdirc orial
by create a deceiving charac- rection toe Mc arit Amtn- But his foreboding concept of reins to the talented Aram
ter for most of the picture, since child prodigy, who lends pathoforcetunknown is an omnresen Avakian, who specializes in this
we almost seem to sense a pro- hil ol always be field. Unfortunately, Grodin is
verbial "heart of gold" under ody m, is a rob e par- ed. Even i the relatively 'n- the weakest point of an other-
Nicholson's letter-word skin. On- But if you can get past the ated sequence with the HAL wise entertaining and ingenious
ly when Quaid attempts to es- Btkcnsses of the 9000acomputr, creates film,
cape inweaknesses of thesto political sa- a tension by leaving the viewer
cape in the midst of a Boston tire and the shoddiness of the a teof suspende ieur Running from Topkapi to The
park picnic does the rough, bru- editing, there's a lot to laugh only to have that inquisitin Hot Rock and just last year, in
tal side of the man quite suit- at. Chaplin has cast himself as drastically revived in the finalOsa-wingfshotTe
ably called "Bad A-" emerge a charming but roguish deposed mind-blowing section of the Sting, the curious formula of
-and how.European king who falls into a vomedy and suspense that char-
In short, Last Detail is a variety of misadventures in to Kfimacterizes "caper" films had
thought - provoking character New York, mostly to do with brick took a giant step in steadily rishi
piece. It has its low spots, but theadveisg g . T d making this film in 1968, virtu- s g on the profit
on the whole it is well worth into doing a series of asinine TV ally annihilating the classic cid- e. egd public, 11 Harrow-
sen.ematic forms. With a film rely-,dcr n uli,1 arw
seeg. --David Blomquist commercials, the king makes ing almost totally on visual im- dhouse turns the cycle down.
-lrqus a fool and a celebrity of him- pact, Kubrick suffered boutswad
self at once. with the sharply divided critics. -Chris Kochmanski
Derby Slapstick is a big part of this But the film stands on its own
Cinema Guild, Aud. A spoof, but it's given that grace- merits, as perhaps the most You Can't Take
Sun., 7, 9 ful Chaplin touch. Although A signifying complex film to everI,
Derby director William Ri- King in New York is hardly dare trespass the realm of ba-t
chert will be in Ann Arbor Chaplin's best, it's still worth sic existence. Cinema G;iild. Arch. Aud.
Freed by film's greater mo-
bility, Robert Riskin brilliantly
adapted this play for the
screen, adding perhaps even;
more flesh and blood to the
characters than they had on
T
.)
,,
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;
,a
stage. This
film should
totally entertaining
not be missed.
-David Crumm
Erotic Film Festival
New World, MLB
Sat., 7,, 9
There is not a lot to be saidj
about the Second New York
Erotic Film Festival. You get:
r pretty much what you expect ;
from this type of fare. Throw-1
ing away any pretentiousness1
that the festival may indirectly a
try to induce, one can have a
perfectly charming night at the '
smutty movies.
There is not a lot here to getE
excited about (critically, that
is). Where NelsontLyon's The
Telephone Book stood out in
memory as the relative high-
light of the first Erotic Festival,I
there are no such memorable
antics the second time around.
It was financially successful
in New York, probably due to
the publicity received when the I
police kept busting the theatre
manager,a position which was
refilled every hour on the hour.
Probably out of sheer monotony,;
the NYPD let the show go on, '
a move for which we owe them
no real thanks.
These films obviously have
their market, and no doubt will
draw a sizable crowd, but don't
go with the notionrthat you're
in for an 'artistic treat.
-Jim Valk
Couzens Film Co-op
Couzens Cafeteria
Fri., Sat., 7:30, 10
The Music Man is not one
of the finer productions of the
1960s. The corniness pitfall is
evident, yet this musical fails
to redeem itself with the sen-
sory splendor attainable by this
form of entertainment.
Music Man was first a play,
and too little was adapted for
the screen. The scenery of Riv-
er City, Iowa has a quality of
fantasy about it which clashes
with the inherently more rea-
listic medium of film.
There are definitely some en-
joyable musical numbers, but
be prepared to choke a little on
Marian the Librarian's "Good-
night, My Someone" - a prime
example of the seriousness
I which doesn't work here. Un-
less this film delighted you as
a child, it probably won't de-
light you now.
--Linda Fidel
M!ixed Company
The Movies, Briarwood
From the people who brought
you With Six You Get Eggroll
and Yours, Mine, and Ours
comes this inane comedy di-
rected by Melville Shavelson.
An almost carbon-copy of the
aforementioned films, Mixed
Company adds to the concept
of large-family-gets-larger by
adding a "white - liberals - try-
to - solve - the - race - question"
theme.
Joseph Bologna plays a har-
ried basketball coach and Bar-
bara Harris his semi-neurotic
liberal wife who adopt a ghet-
to - tough black kid into their
middle - class suburban family.
The results are frantic and of
course, predictable.
The Phoenix Suns of the NBA
appear, which shouldn't be sur-
prising, judging from their po-
sition in last year's standings.
-Michael Broidy
Interes/ed in reviewing mov-
ies? Then why not join the staff
of Cinema Weekend! We meet
every Monday evening at 7 p.m.
a/ The Daily (420 Maynard
St.) /o discuss the upcoming
iweek's films, and we'd be hap-
py to hate yon join us.
-David Blomquist
with Special Guests R.E.O. SPEEDWAGON
FRIDAY, OCTOBER 25
8 p.m. Bowen Fieldhouse
$6 (reserved), $5, $4
TICKETS ovoiloble at McKenny Union, Ann Arbor Music
Mart, Huckleberr's Party Store, Recordland (Briarwood),
and T L. Hudson's.
JOIN THE DAILY STAFF
i
/
Sunday evening to speak be- seeing.
-Judy Lopatin
tween Cinema Guild showings ' *
of his 1971 film. Based in New
York, Richert is an active pro- at Grace
ducer - director heavily in de- State
.The amazing Moms Mtiabley
mand by film distributors. His stars in this innocuous comedy
latest production effort, Law as a feisty old character who
and Disorder (starring Carroll engages in a one-woman battle
O'Connor), opened in New ' to overturn political corruption
York last week. in Baltimore. This otherwise in-
Derby is unique among films ane film is saved by the eccen-
-both a documentary vision of tric character of this ageless
the chaotic world of the roller comedienne. Marble -mouthed
derby and a real-life drama of Moms is hardly what one would
a young family man who obses- | call graceful, but nevertheless,
sively aspires to the game. j she is definitely the main at-
Derby is also unique in that I traction of Amazing Grace.
Derby i The plot of Amazing Grace
its director - producer William .
Richert and its cinematographer is approximately on the level
Robert Kaylor worked without of a grade schooler, but does
salaries, the latter receiving contain a few lines worthy of
credit for directing the film in a better film. For instance,
exchange for his favor. after being kissed by a young
Whatever the case, Derby politician, Moms warns, "You
combines tremendous documen- might start something you
tary footage of the roller derby aren't able to stop." Lines like
with actual documentary foot- ,this do much to overcome the
age of Mike Snell and his family bland script and unremarkable
as they gamble their few hold- direction.
ings on a chance for him to Film buffs might enjoy brief
star in the sport. The result cameo appearances by Stephin
is e brutally realistic and de- Fetchit and Butterfly McQueen,
pressing metaphor for the ' two stars of long-ago Holly-
Aric n dretapm. wood. One hopes that the powers
though virtually unknown to that be in Hollywood find a
the general moviegoing public, , better vehicle for the amazig
Derby was named to a number Moms Mabley, in the near fu-
of prestigious film critics' 10- ture. -Michael Broidy
best lists, not the least of which
included Andrew Sarris and
John Simon. Don't confuse it Executive Action
with the Raquel Welch stinker Mediatrics, Nat. Sci. Aud.
Kansas City Bomber. Derby is Fri., Sat., 7:30, 9:30
really an excellent film. Once again, Hollywood has
-Chris Kochmanski emptied the bottom of their
S.- U *im+~~ VG .0^l [ Ar,-
-Jim Valk
i
i
{
Shanghai Express
Cinema Guild, Arch. Aud.
Sat., 7, 9
Shanghai Express is one of
the six films Josef von Stern-
berg, director of the famous
j Blue Angel, made with Marlene
Dietrich, whom he discovered,
and attempted to use as a
femme fatale fixture.
A train rushing through war-
torn China to Shanghai is the
center of the pattern of images
which van Sternberg concerns
himself with even to the point
of overpowering Dietrich.
The story line is a bit hack-
neved and it takes away fromf
the characters' reality to place
them in this unlikely plot, but
in this case, plot ultimately ap-
pears a superimposed mecha-
nism. Fans of Dietrich's beauty,
will find her decoratively pos-
ing here, which in Shanghai Ex-
press she tends to do more than
act. There are better viewing
choices.
--David Crumm
Family Life
Cinema II, Arch. Aud.
Sun., 7, 9
Family Life is a fairly recent
flick (1971) which has yet to
attract any substantial critical
attention. It is a Polish picture
that delves into the relatively
mundane domain of domestic
life. Director Zanussi attempts
to creat an intricate, dramatic
situation out of the compara-
tively ordinary setting of a
household. He falls just shy of
the mark.
The story involves a young
engineer who, upon hearing of
his father's sickness, returns
to his home. Home, it turns
out, is a pit of debauchery and
degeneracy presided over by
his drunken sot of a father and
his tawdry, sleazy aunt.
Wit, the youthful hero, is
slowly drawn back into the fam-
ily web by the clever manipu-
lations of his depraved kin who
employ reproaches, abject
pleas and all-out frontal attacks
in trying to prevent him from
untangling himself from his dis-
tasteful household.
I
Columbia Record's
Dina
Fri., 7, 9
Directed by Frank Capra,
You Can't Take It With You is
a wild comedy based on the
Pulitzer Prize winning play by
George S. Kaufman (writer of
Animal Crackers and Cocoa-
nuts) and Moss Hart.
A conflict arises between the
wealthy Kirby family and the
nonconformist Vanderhof fam-
ily, headed by Grandpa Vander-;
hof (Lionel Barrymore) who be-,
lieves that doing what you want
is more important than making
money, when young Tony Kirby
(James Stewart) becomes en-
volved with his pretty grand-!
daughter (Jean Arthur).
, Also included in the unusual
clan's mixture of relations and
friends is Grandpa's son-in-law
who makes fireworks in the!
basement, a Russian ex-wrest-
ler, and an ice man who just
"stayed on."
0
llljjp j1pillpigm.
Frankenstein
Fifth Forum
There is so much bad garbage
ging around these days passing
for cinema that it's good to see
some really good garbage like
Frankenstein. Not the classic
Boris Karloff version, mind you,
but a new one directed by Paul
Morrisey, and produced by his
mentor, Andy Warhol. This
flick is guaranteed to make you
sick in the first reel.
Filmed in 3-D, Frankenstein
is often very effective in con-
veying a sense of realism. How-
ever, because of the infantile
state of the three-dimensional
lot, movements of the camera
go out of focus very readily. And
if a viewer moves his head a
fraction of an inch, the figures
become blurred beyond recogni-
tion.
The acting in this film is. in a
word, terrible. The star, Joe
Dellasandro, has as much act-
ing ability and stage presence
as Rodney Allen Rippy.
Warhol and Morrisey are
known for their earlier films,
Trash and Heat, but this is
their first film to tell a story.
trash barrels. Executive Ac-
tion, a flimsy excuse for a sus-
pense movie, is an attempt to
suggest how a conspiracy tof
murder John Kennedy might
have occurred.
Burt Lancaster, Robert Ryan,
Will Geer, and John Anderson
are the fictional conspirators
who sketch out the plot to as-
sassinate Kennedy using three
killers placed in strategic loca-
tions along the motorcade route.
After killing Kennedy, they'
planned to pin the whole case
Ion Lee Harvey Oswald. Could
I this really be what happened in
1963?
The whole film is made up of:
scenes which are clumsily past-
ed together and filled with in-
accuracies as well as down-
right poor technique. For diver-
sion, while watching the film
try to find the anachronisms. It
sure beats trying to believe the
jplot.
--\Iark DeBofsky
2001
The Movies, Briarwood
As timely as it was six years'
ago when released, Stanley Ku-
brick's 2001: A Space Odyssey
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____ ... ___ ___ ___._____ __._ ._______ __ _ _____ _v __. __.___ , ;
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Everyday at 1-3-5:10-
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Open at 12:45
TONIGHT -A Special Sneak
Preview! of a maior new movie
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(That's Entertainment will not
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