Friday, February 28, 1975 THE MICHIGAN DAILY Poge Five 4 --r---" rM-.,.. Pick of the week: 0 I Antonia Educational Media Center Schnorling Aud., SEB Fri., noon Most of the film 7jroducid around the world in tne first few years after Thomas Ldison hibit the magnificent (if short) destine week in Spain. Diring us about male-female relition- novel version of Strangers on developed the commercil mo- career of Antonia Brico and il- their ramshackle week in sun- ships. At times it falls back on Train. tion picture camera was dcu- lustrate just how tragic a lass ny Spain, they decide to con- gimmicks and obvious manipula p mentary footage - short clips her forced withdrawal from the tinue their affair, much to the tions which seems all too trans- Dishonored that briefly showed glimpses of concert stage has been. detriment of the striking Ms. parent.. turn-of-the-century life. Jackson. -Dan Borus Cinema II, Auditorum A,' Within a few years. howaever, The outstanding element of; * Frt., 7, 9 Antonia is the superb pacing: Eventually, as one could pre- the temptation of the thecater I ; Three distinctive qualitiF market shifted the accent of everything moves along at a dict, Segal must choose he- y highlight any Josef von Ster filmmakers away from d not-too sluggish yet hardly rush- tween his wife and kids or As.**soPlaying. * berg film - an elaborate mi mentaries and into fcional ed tempo ("moderato", if you Jackson and Ms. Jackson fin- Purple Noon en-scene that results i orna ventures. And with hethe exepwill). It is a lesson for begin- ishes a strong second. spectacles; a lush texture pr tintoavery few pictures p- ning filmmakers to note well. Cinema II, Auditorium A, duced by innovative and precis tin favr e itrs-There is a touch of class in Sat., 7, 9 lighting and a subtle sophis perhaps most notably R.o b e t -David Blomquist A Touch of Class and it's toundS 7t.e Flaherty's Nanook of the North * * * in the dialogue, which is strong, Rene Clement (Forbidden cation of tone which is lace - the trend has continued well A T Ic of witty, wise-cracking, flippant Games, Rider on the Rain) di- with sexual innuendo and a fe into the present. ass and a number of other enjoy- rected this 1960 thriller about of decadence. So prevalent a One of those rare ex,.p'ions Ann Arbor Film Co-op able adjectives. an American playboy murdered these qualities that they are s is Antonia, a most perceptive MLB LEC No. 3 on his yacht by his young :rav- nonomous with von Sternberg use of the cinema medium to Fri., 7, 9 1 But it's characterizations, its eling companion (Alain Deton). name. Brooklyn born, vi convey a haunting portrait of Melvin Frank's A Touch of premises, its eternal triangular- Following the crime, the .om- Sternberg first earned his fan a talented woman or hestra Class is what passes for witty ism are pedestrian, floated out panion gradually assures t h e in his made-in-Germany B 1 i conductor forced to suffer the romantic sexual comedy these for the occasion. A half do-en playboy's identity and weal h. Angel (1931), a story of Weim degrading slurs of ra musical days. A married American man Lubitsch movies have ta:ki.d To this mixture, Clement ends decay. world oriented exclusively to- working in London (George Se- the theme with a different arid with a classic surprise. The In that film he worked for t' ward men. gal) and a divorced English wo- more enlightened sensi)tlty theme of identity trade-off has first time with an actress who Directed with restraint and man '(Glenda Jackson, who, by than Frank brings to Class. I Hitcockian overtones, which is name became synonomous wi visible respect by Judy Ceiins, the by, won an Oscar for this Class is too self conscious about not all that surprising consider- his great films, Marlene D Antonia uses a remarkable ser- little performance) meet by1its position, it tries much too ing the film was scripted by trich. Dietrich and von Ster ies of montage to at once Ex- chance and decide upon a clan- i hard for what it wants to snow Patricia Higsmith, author cif the berg collaborated on sev 1 if;1re of rtrhirh iehnn krend ie a i Critics have found Sergeant ,General Della Rovere 1York schizophrenic. The first Cinema Guild portion of the movie concerns Architecture Auditorium the internal struggle of Alvin ri , 9:30 York, a Tennessee farm boyF played to Academy Award win- Rossellini launched his come- s Wing style by Gary Cooper. York back in this 1959 film abouta esnn( tleb ayCopr o swindler chosen by the Nazis to But it is not Rossellini's direc- tion that has captured the rav- es as much as it is Vittoria de Sica's acting. A renowned di- rector in his own right, de S;ca reaches what Pauline Kael caUs "his acting peak" as the swind- ler-turned-revolutionary. * * * Met Me in St. Louis Cinema 11 Auditorium A Sun., 7, 9 Vincent Minelli crafted this sweet little musical about the conflicts of worldliness and in- nocence. Set -in St. Louis in 1904, Meet Me in St. Louis deals with the planned .move of a family just before the World's Fair opens up. Predictably the children, led by Judy Garland, who gets m the marvelous "Trolley" aum- ber with Margaret O'Brien, are I unhappy. But since this is a musical all ends happily and Garland con- cludes St. Louis is a wonderful place to live. "Imagine," s h e says, "all this in St. Louis.". You'll have to try awfully hard. n- d ate ro- se ti- ed el re g's ron me ue ar he se ith ie- rn- ren is forced to decide whether he will fight in, the "war to end all wars" or stand by his pre- viously announciated pacifist principles. The second half of the movie finds York on the Western front impersonate a Resistance lead- er they have inadventantly shot. He is sent to prison to ferret out information from political prisoners, but soon adopts his persona as his personality. Real- izing they have created what working his way towards being they originally destroyed, t h e the most decorated Ameri.'an Nazis execute him. Filmed in hero in WWI. York's internal six weeks, this low-budget film change happens suddenly and gained much international ac- is responsible for the mixed re- claim, including the G r a n d action to the film. Prize at Cannes. M FI _ _ Rossen'sLilith' and The Hustler' My own, admittedly minority, opinion is that The Hustler I Vincent must mediate between that self indulgen (famous in 1961, now less so) and Lilith (1964) are two original, pressures of the allegedly real and less interesting w unusual and brilliant films by an original, unusual and, yes, bril- does come to terms with life. Vincent doesn't, at leas liant filmmaker, Robert Rossen. One might even say in self- film, and his failure is made all the more poignantI flattery that the films (and Rossen) have not yet found their that. Lilith is Rossen's last testament, a dying man time; though the culture-lagging Hollywood of the late 60s had on his culture and his life. moved in Rossen's direction with its gloomy, honest and occa- Despite the odd "feel" of the film - its long sionally excellent little films, it still never seemed to catch up ambiguities, its dramatic use of space, its visual b to him before tucking tail in the 70s and running back to Air- The Hustler seemed to pass critical inspection becau port, The Sting, and Chinatown. This isn't a knock against the was urban and that somehow made it blue-collar. Li new Hollywood, whatever that is. It's merely a recognition' that other hand, was jumped on for its European flavor Rossen, who began conventionally enough as a social realistj arty, a snobbish indictment that is hardly ever lev screenwriter in the 30s (Roaring 20s, The Sea Wolf) and then those foreign films which are arty. The charge can director in the 40s (notably All the King's Men), came to rea- only by watching the film and seeing whether or n lize the limitations of his own conventions. And in crossing the its magic on you as it has on me. It is an extreme bounds of social realism, Rossen adopted a new style which is cated and upsetting picture; it does not wield its se so peculiarly his, so delicate a mechanism, that I'm hard put to and it is full of little things we can't intellectuall find any descriptive label save "Rossenesque." Lilith whispering to some small boys an invitatio The Hustler and Lilith, Rossen's last two films, define Ros- hear; her strange untranslatable language; Vincen senesque. Both films drive over the same outline: a young man who is mentioned only once and Lilith's brother whon compelled by his society to be successful (and this is Rossen's see but who apparently contributed to her illness. social criticism) attaches himself body and soul to one endeavor is made explicit; very little is told to us, and the fi and tries desperately, for these films are packed with despera- very worst when it's at its most conventional: an ex tion, to find meaning. As in most of his work Rossen is con- schizophrenia and a group therapy session. Rossen isr cerned with the pressures to define ourselves and the courses when he stays at the edges of things: as Claude Olli we ultimately choose. For Fast Eddie (Paul Newman) the pool ten of The Hustler but equally true of Lilith, "One h cue is the - source of meaning, and it. is only after his callous stant impression that something else is happening obsession had precipitated the death of the one person who pro- caping, being only briefly suggested by acting an mises possible salvation that, somewhat melodramatically, he with two meanings." arrives at self awareness. For Vincent Bruce (Warren Beatty), One final note: No discussion of Lilith, however br the hero of Lilith, the situation is complicated by Lilith's own plete without mention of Jean Seberg. As Lilith, sh example: an inmate of the insane asylum which employs Vin- tional. cent, she has shrunk the world to fit herself. It serves her, but --N ce and the orld. Eddie st not in the by the fact 's reflection pauses, its leakness - se it milieu ilith, on the and called eled against be refuted ot it works rely compli- crets easily y dominate: n we can't nt's mother nm we never Very little lm is at its planation of much better er has writ- has the con- that is es- d dialogues rief, is com- he is sensa- eal Gabler turns of whii i IWsonored (1931) is the third. Structured around the Mata H-ari myth, Dishonored proves a showcase for the Dietrich mystique - the exotic, myster- ious, impervious to emotion wo- man. Her cool before the firing squad does nothing to shake that image. In addition to Dietrich, Dis- honored features a co-starring performance by Victor Mc- Laglen and lighting by the incomparable Lee Garmes. I Bones artist Danforth eivens Union crowd By GEORGE LOBSENZ Noon - time loungers were, treated to a truly unuSual musi- cal event at the Pendleton Cen- ter in the Union yesterday, as "master of the, bones" Percy Danforth held forth with an exhibition and explanation of ragtime's classic rhythm in- strument. Perhaps best known 'to Uni- versity concertgoers as the cen- tral rhythm performer at the recent Professional 'Theatre Program production of Bread' and Roses and William Al- bright's second annual Rag- time Orgy, the affable, mus- tachioed Danforth easily 're- created - if only briefly - the age of Scott Joplin and Zez Confrey. "Bones" are just that - two rib bone-shaped pieces of wood about three to four inches in length. They are held in be- tween the first three fingers of! the hand, somewhat like chop- sticks. By keeping one "bone" firm- ly against the heel of the hand and leaving the other one free to swing about, the two "bones" knock together, producing a clacking noise. And when done properly, bones can be used to create rhythmic patterns amaz- ing in both speed and variety. Although bones originated' during the 18th century, they were not frequently used until ragtime emerged in early 20thI century popular music. And it! was at this advent of ragtime that the elderly Danforth first took up this unique form of percussion, picking up much. of his technique on Washing- ton, .D.C. street corners during his youth. But yesterday's performance. showed just how much thea white-haired bones wizard had refined his uncommon hobby, into an art over the interven-1 ing years. Waving his hands about in palpitating patterns,l Danforth resembled a frantic1 conductor leading an invisible orchestra. Accompanied on piano by Jim. Ford, Danforth opened the aft- ernoon with Raggin' Scale, a lilting little piece designed to attract attention. Danforth then followed up with a mini-lecture which included such other rag- time numbers as Ragtime Rev- elation, Twelfth Street Rag, and: Sweetie - Pie. But the best part was saved: for last: Danforth came equip-' ped with a whole pile of bones and distributed them to the au- dience, leaving all concerned happily wriggling their wrists and tapping their toes as the Sergeant York Cinema Guild, Architecture Auditorium Fri., 7 Howard Hawks is a man's director. His films are gritty, rough and tumble, dealing with the problems of integrating mas- culine drives into a societal framework without a resultant sacrifice of integrity. T h e r e are no frills or fluff in Hawks' style. Honor, pride, and duty are p r o b 1 e m s which stimulate Hawks' mind and fuel his cin- ema. 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