Friday, January 31, 1975

THE MICHIGAN DAILY

Pogo Five

Pick of the Week:
Amarcord
Campus
All of us have our secret de-
sires and hidden wishes - little
latent ambitions that we dream
about from time to time and

(


that we covertly hope will ager of the '50s and early '60s.
someday, "when our ship He explores the era of sock
comes in", be realized at last. hops, making out, drag racing,
Our conscious self dismisses the Ozzie and Harriet show,
these inner cravings as mere- and endless cruising with a
ly idle products of unguarded background score of cintage
moments. But what we forget, rock 'n' roll.
of course, is that the dividing Graffiti examines the affairs
line between fantasy and real- of a handful of people on the
ity is extremely tenuous - that, last. night of summer. Both
as Freud first pointed out, our Curt and Steve plan to depart
private thoughts surreptiously for college, but they are hesi-
modify our exterior character. tant about leaving friends be-
Federico Fellini's Amar- hind. Steve's steady girl Laurie
cord ("I Remember"), which is convinced that their love is
finally arrives in Ann Arbor to- more important than his edu-
day, is a witty yet really quite cation.
serious examination of this Nervous Terry, meanwhile,
strange human dichotomy. In inherits Steve's Chevy and pro-
fact, Fellini and co-screenwrit- ceeds to pick up Debbie, and
er Tonino Guerra carry the they try awkwardly to imuress
Freudian premise one step fur- each other. Big John Milner,
ther: they seem to imply that the high school drop-out, cruises
sane existence almost requires town in his unbeatable car,
us to establish our own minia- seeking worthy opponents to
ture fantasy world into which race.
we can periodically enter and By morning the characters
escape the boring continuum of come to a self-realization that
everyday life, has a profound effect on their
Amarcord is set in the years of lives. In the final moments, the
Fellini's adolescence - the film jumps abruptly to the pre-
years when the Mussolini gov- sent for a harsh and unexpected
ernment was at its ideological- epilogue.
ly insane peak. From simple -Joe McMullen
snapshot-like glimpses of small- + * *
town life, Fellini examines how cabaret
irrational dreams and pensive
hopes fueled the lifestyle of an New World, MLB
entire populace. Fri., Sat., 7, 9:30
After a series of rather dis- The setting of Bob Fosse's
appointing films, it's refresh- Cabaret is a morally decadent,
ing to see Fellini - a legend socially disordered pre-Nazi
in serious cinema - back in Berlin. A general theme of sick
top form. Indeed, Amarcord sexual ambiguity runs through-
should easily win this year's out the film. Fosse works ef-
best foreign film Academy fectively with juxtaposition and
Award. It is one of those true paradox, and the primary irony
film rarities -- a uniquely of the movie is that German
thought - provoking motion pic- culture, known for its obsession
ture experience. with order and regimentation,

The lewd decadence of the club with floggings and the like.
symptomizes the general disil- But it gradually deteriorates
lusionment and decay of Ger- into a sort of superficial and
many at this time. One of many not terribly funny fantasy which
truly striking scenes is the sing- makes the revolution of the
ing of "Tomorrow Belongs to last scene look a little fantastic
Me," led by a beautiful blonde itself.
Hitler youth, which becomes a In the end, If . . . totters on
profoundly disturbing image of the brink of being serious, but
innocence perverted. never seems to quite make a
-Nathalie M. Walker decision. And as a result, one
is made to feel pretty ambi-
valent by the film, and some-
"" uthow, cheated.
New World, MLB -David Weinberg
Sat., 7, 10
Malcolm McDowell heads the
superb cast in Lindsay Ander- La Dolce FP it
son's O Lucky Man, a film that Cinema Guild, Arch. And.
satirizes rampant technology Sun., 8
and capitalistic madness. With all its thrust and con-
In both A Clockwork Orange tempt, La Dolce Vita returns
and Anderson's own If . . ., Mc- for another encore showing.
Dowell displayed his strength Fellini's cinematic expose of
and versatility as an actod. In the miery humanistic value

wveek~end

i

O Lucky Man, he utilizes this
strength to create the classic in-
nocent.
As Mick Travis, McDowell
plays a young optimist willing
to submit to almost anything to
obtain success. Travis begins
as a trainee-salesman at Im-
perial Coffee Co. and heads into
various fiascos in which he is
double-crossed by all.
Accompanying the escapades
is a fine musical score, written
by Alan Price which upgrades
and adds wit to this social sa-
tire. Anderson and McDowell
once again successfully merge
talent, creating a provocative
work, both disturbing and
amusing.
-Gayle Krinsky
If .
New World, Nat. Sci.
Sun., 7, 9
Malcolm McDowell has his
coming of age, and a revolu-
tion ensues. If . . . with its
eerie chapel music, little boys'
harmonies, and somewhat
strange theme of revolution is
not the most convincing of
films.
Set in a British boys school,
the film paints an abject but
often funny picture of oppres-
sion used on the boys. It is
from this oppression that a re-
volutionary triad is formed with
Malcolm as the leader.
The film faintly reminds one
of a few things from Joyce's
, Portrait of an Artist, equipped

stands as one of the director's
most thorough and complex
works.
It is difficult to recall a film
that has previously hurled so
many disturbingly memorable
images from its core: the
crucifix dangling from the heli-
copter, the "cleansing" in the
fountain, the monstrous fish, the
"miracle" sequence, et al. And
as a whole, Fellini integrates
his film as a testimony to a
decaying, immoral society.
When the film opened in 1960,
it caused a thunderous scandal.
Audiences across Europe were
outraged at Fellini's mirror of
the modern world. But the film
exists on a much broader level,
not restricting itself merely to
contemporary society.
The original title as perceived;
by Fellini, Babylon, 2000 Years
after Jesus Christ, was to
"bring out the element that is
permanent, outside time and
space." Fellini's vision, al-
though dated in physical ap-
pearance, remains as acute as
it was fifteen years ago.
-Jim Valk
10 nev Business
Law School Films
100 Hutchins Hall
Fri., 7, 8:45
Monkey Business is a land-
mark in the career of the Marx
Brothers. It represents their
a decision to abandon the stage
and work primarily in films.
Their two previous films (Co-

conuts and Animal Crackers)
were both adapted from plays.
This film is the first in which
they utilized an original screen-
play.
The screenplay by S. J. Jerel-
man and William B. Johnstone)
is one of their best and supplies
them with more than a few
memorable scenes. Among
these are Groucho's seduction
of the gangster's wife, the pass-
port sequence, and the clima-
tic brawl in the barn.
However, Monkey Business
is not without it's weak points.
The quality of the soundtrack
is awful. The love interest is
so insipid and boring that it is
literally painful to sit through.
What makes this film worth-
while is the presence of the
brothers Marx who more than
compensate for all these flaws.
-John Frank
Rules of the Game
Cinema Guild, Arch. Aud.
Fri., 7, 9:05
Jean Renoir's The Rules of
Jean Renoir's The Rules of
the Game is probably named to
as many "All-time Best Films"
lists as Citizen Kane, and it
rightly deserves that distinc-
tion. The often banned, butcher-
ed, and restored classic is a
pungent condemnation of the
lifestyle of the idle rich in pre-
World War II France.
A meeting of the Upper
Class's most select member at
a large French estate evolves
into a massive demonstration
of hypocrisy, and eventually
leads to tragedy. Renoir, him-
self playing a primary role in
the film, employs personal dra-
ma to allegorically dramatize
the disintegration of pre-war
"high society."
Though neither technically
significant nor conventionally
suspenseful, Rules, like Re-
noir's anti-war Grand Illusion,
leaves an unquestionably bitter
taste in the viewer's mouth.

The 1939 release is a highly!
personal statement from one
of cinema's most important
artists.c
-Chris Kochmanski c
Le Fen Follet {
Cinema II, And. AC
Fri., 7, 9
At the present the career of
director Louis Malle is at a
peak. His most recent release,
Lacombe Lucien, has created a
sensation at the New York Film:
Festival and is a strong con-
tender for the Academy Award
as best foreign language film.
Twelve years ago when Mr.
Malle's fortunes (both artistic
and commercial) were at some-
what of a low point, he made
a film called Le Feu Folletl
(The Fire Within).
The movie, adapted from ac
novel by Rrieu La Rochelle,
deals mainly with one man's;
contemplation of suicide. The'
mood of the film is decidedly
gloomy and, many feel, indi-
cative of Malle's feelings at
the time.h F
-,John Frank
lridg e on the
River JKiai
Couzens Film Co-op
Couzens Cafeteria
Fri., Sat., 7:30, 10:30
Of the profusion of war mo-
vies released over the years,;
few have attained the brilliance
of Bridge on the River Kwai.
Set in the Burmese jungle
during World War II, this film ,
explores the psychology of the,
militarist, his attitudes towardsi
war, and his dedication to duty.
Two intersecting dramas take1
place: the first involves the
conflict of wills between the
commander of a Japanese pris-
oner of war camp and a British
colonel; the second drama con-
cerns a bold attempt by the
British to destroy the railway
bridge which the colonel has

inspired his men to build.
Alec Guinness portrays the
staunch and courageous, though
dangerously stupid Colonel Ni-
cholson. Sessue Hayakawa.
plays his opponent, the brutal,
stubborn, and equally stupid
Colonel Saito. A suspenseful
story focuses on the fate of the"
railway bridge.
-Joe McMulleni
Sherlock Jr.
Cinema II, Aud. A
Sun., E, 9
Like asparagus, Howard Co-
sell, and pinball, Buster Kea-'
ton is a cultivated taste. Many
a movie - goer finds Keaton's.
stone - faced humor somewhat
less than hysterical. But like a
delicately flavored sauce, one
can only appreciate Keaton's:
subtle art by repeated trials.
Sherlock Jr. is a fine film for
both the uninitiated and the
connoisseur.
Keaton excels in the role of
the bumbling detective, who is
in reality a movie projector op-
erator. Most of the plot takes
place in a dream sequence
when Keaton falls asleep at the
projector.
In this dream, he becomes an
integral part of the movie he is}
supposed to be tending to, mak-
ing for a nifty movie-within-a
movie effect.
This picture is from the
golden age or of silent films
and you'd be surprised how,
much can be communicated
without words. Maybe even
more amazing is how much:
can be communicated through:
the customary Keaton cool. j
-George Lobsenz

Capra flicks
Cinema Guild, Arch. Aud.
Sat., 7, 9:05
The "anonymous American"
is the undisputed hero of two
of director Frank Capra's best
films: Meet John Doe and Mr.
Deeds Goes To Town. Gary
Cooper stars in both as the
Everyman who is tricked and
abused by our corrupt modern
society but who triumphs in the
end.
In Mr. Deeds (1936), Cooper
portrays an honest though naive
citizen of Mandrake Falls, Ver-
mont, who writes greeting-card
verses and plays tuba in the
town band. Longfellow Deeds
must abandon this rustic exist-
ence when he inherits $20 mil-
lion from a rich uncle and
moves to the big city. And mat-
ters continually worsen until
he must be rescued from an
insane asylum by girl reporter
Jean Arthur.
The plot of Meet John Doe
(1941) is equally corny, but the
effect is much more sophisti-
cated. Here Cooper portrays an
ex-Major League pitcher who
has degenerated into a tramp.
John Willoughby is picked up
by newspaper baron Edward
Arnold, given the pseudonym of
John Doe, and is (for a good
pay-off) transformed into the
political messiah of Middle
America.
But John finally realizes that
he is a tool being used by the
publisher to gain political pow-
er, and he and his former ghost
writer (Barbara Stanwyck) ex-
pose the set-up with outraged
dignity.
As in Capra's other films (It
Happened One Night, Mr. Smith
Goes to Washington), a rather
transparent plot fails to de-
tract from the moral and so-
cial values being preached. And
in these two particular films,
Capra affirms his faith in the
strength and resilience of "the
little man."
-Sarah Polarek

-David Blomquist

also produced a particularly;
fetid sexual night world.
Liza Minelli dazz7les as Sally

American Graffiti Bowles - the young American
Mediatrics, Nat. Sci. Aud. abroad, playing at "divine de-
Fri., Sat., 7:30, 9:30 cadence." Michael York, ap-
Bursley Hall Enterprises pearing as Brian, Sally's friend/
Bursley W. Cafeteria lover, stiffens his role at times,
Sat., 9 but generally is effective.
With "Rock Around t h e Joel Grey turns in a superb
Clock" blaring on their car performance as the devilish
radios, the teenage denizens of master of ceremonies at the
a small California town rendez- Kit Kat Klub, the cellar caba-
vous at Mel's Drive-In one sum- ret where Sally sings. Every
mer night in 1962. actor is meticulously chosen
With American Graffiti, direc- down to the last weary trans-
tor George Lucas evokes an vestite.
image of the American teen- Cabaret is a powerful movie.

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Moliere's timeless

'Tartuffe

Ne!ll

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7
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sait relevant fentertaining
By SARAH POLAREK and a local swain Valere is the right touch of exaggerated the plot is not a little contrived
Alexander Pipe is one of the threatened by Tartuffe's in- recklessness; and Susan Crip- and poetically just, but the op-
few English poets who wrote veigling influence. Tartuffe is a pen, Burnette Staebler, Thomas ening night audience seemed
in rhyming couplets - verse villain of the genre though not Manzi, Michael Raymond and more than willing to forgive
one is usually all too willing to calibre of lago, and he was Bill Kinnucan all played their the deus ex machina this time.
designate as sing-song and un- hissed and booed by the audi- parts with admirable ability and Director John Reed com-
natural. But Richard Wilbur's ence accordingly. enthusiasm. Laurence Coven ments in the program that "al-
translation of Jean Moliere's AACT director John Reed deserves special mention for his though the play you will be
17th century comedy Tartuffe, ; chose a cast which brimmed portrayal of the ridiculously seeing is over 300 years old,
being presented by the Ann Ar- over with vitality; Mary L. Pet- pompous bailiff Monsieur Loy- we think that you will find it
bor Civic Theatre (AACT) at tit was especially excellent as al. as timely as it was in Moliere's
Mendelssohn this weekend, is the saucy servant girl Dorine, The costumes designed by day, and as entertaining; and
at once witty, unforced and while Karen Woodruff's snivel- Bettie Seeman were not overly we hope that you'll discover
particularly suited to Moliere's ing and timid Mariane equalled extravagant, and admirably that a play labeled classic
own kind of humor. her charming performance as so, for extravagance is a quality needn't be boring, confusing
Wilbur, a poet in his own Roxane in the University pro- which so often detracts from and obscure." The Civic Thea-
right, translated the Moliere, duction of Cyrano de Bergeac the sensible humanity of Mo- tre's production of Tartuffe
travesty on religious hypocrisy presented last term. liere's plays. Seeman's cos- makes it a sure bet.

UNIVERSITY OF MICHIGAN THEATRE PROGRAM
BREAD aid ROSES
a new play by Donald Hall
DR T HE
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in contemporary and wholly
accessible verse. Wilbur's trans-
lation. was published in 1963,
and made its most celebrated
appearance at the Stratford
Festival during the summer of
1968.I
Tartuffe is the story of a dis-.
gusting religious hypocrite who
latches onto an aristocratic pa-
tron (Orgon) and attempts to
deprecate his way to success.
Oregon alone of his household
is duped, and rashly makes
Tartuffe his sole heir before he:
can be convinced of his duplic-
ity.
Moreover, a romantic interest
between the daughter Mariane
ef,
$2.50 :
FRI.-SAT.

Caricature is, of course, an
obvious device used by Moliere
to extract his humor, and
Chuck Keeps as the insidiously;
phony Tartuffe played his part!
to the hilt. Charles Sutherland
was good as the gullible Orgon,1
while Constance Cleone shined
as his sophisticated and digni-
fied wife Elmire. Sam Vivianol
played the boy Damis with just*

tumes were picture - perfect, -
and when the whole cast was as-
sembled on stage for the final
scene, the vision of a colorful
Louis XIV period p-iece. f

One disappointment results
from Moliere's own indulgence
in hypocrisy in the flattering
speech regarding the inestim-
able wisdom of King Louis.
Moreover, Moliere's tying-up of

V


Professional Theatre Program
TOM MALLOW
"Bob
@arroll
Fiddler
on theRoof

Based on ShOlOM AeChL"mS SLOWSt
By Specil Permission of AnOld Pedl

TOPIC RECORD'S
Lou & Sally
KILLEN

W Robbins flfrwtio,
p Rep'roddc.d By
RICHARD ALTMAN

Mr. Robbns Ckor..,r.,hy
DIANA BA

. JOSE~PH IhN A:
MI(, [RRY ROCK 9wM.,A

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