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March 14, 1975 - Image 5

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The Michigan Daily, 1975-03-14

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Friday, Morch 14, 1975

THE MICHIGAN DAILY

Page Five

I

Frid~y, M0rcJ, 14, 1975 THE MICHIGAN DAILY Page Five

Pick of the week:
Film Festival
Cinema Guild, Arch. Aud.
Fri., Sat., 7, 9, 11
Winners, Cinema 11, Aud. A
Sun., 7 9, 11
The Ann Arbor Film Festival

cinemG

weekend

may well be the top cinema joins them voluntarily as an es- '40s radicalism but exploitation
event presented each year in capee from his own tedious life of the American public's roman-
Michigan. Very seldom do aud- style, and the three of them go tic underbelly. Nevertheless,
iences outside of New York and winging off, bumming and hus- the cynical as well as the sen-
California have the opportunity tling their way across The timental have been known to
to view such a varied and ex- Great American Landscape. enjoy this chronicle of impossi-
citing spectrum of approaches There's really not much to ble love.
to filmmaking. , distinguish Rafferty from other Part of the reason is the
Several hundred movies - films of this ilk, except that the suitability of the performers to:
ranging in length from one trio's individual episodes get their roles: Streisand fits per-
minute to one hour or more - progressively nastier until what fectly the temperament, if not
arrive at Cinema Guild e a c h. began as a warm - the - heart the history, of Katie Morosky,
spring from all over the Unit- comedy becomes a rather grim aggressive campus Communist
ed States to be previewed and affair. and driving wife of Hubbell
organized into the program seen I As the older kidnapper, Sally i Gardiner (Robert Redford),
over five days by both the Ar Kellerman- once again proves supposedly a brilliant writer,
chitecture Auditorium audience herself an actress of limited but unable to commit himself
and national judging panel. talent who can manage only to to anything.
Consequently, the thirty hours grin dreamily and mumble The plot, however, outlines
of screenings provide a reason- flatly. Alan Arkin comes off what the characters are sup-
Ably accurate view of current much better; his bored, drunken posed to be and is so sug-
trends in American contempor- loser is vintage Arkin - quiet ' gestive of forces that change
ary film production. desperation made hilarious, people's lives and our inade-
And by the way, just be- And Mackenzie P h i 1 1 i p s quacy to combat them that you
cause these films are 16mm is equally deft as the runaway may find yourself caring in
doesn't meal that festival en -her naturalness of American! spite of yourself. On the other
tries are necessarily "ama- Graffiti is now bolstered by a hand, you may take The Way
teur": recent past winners in- growing professional adroitness We Were in the spirit in which
elude such major efforts as that just could make her the it was given.
Frank Film and Antonia. star of the '80s. -Jane Weaver
-David Blomquist 1 -Kim Potter
s * * * * *

Death is taken from a Thomas proof, becomes an erroneous
Mann novelette about a failing one, and therefore Visconti
writer. However, Visconti spends an undue amount of
changes the protagonist role to time dwelling on such decadent
a composer, modeled after Gus- acts as child molesting, incest,
tav Mahler, whose works are transvestism, and, God forbid,
included in the soundtrack. homosexuality.
Some reviewers have com- It is unfortunate that the di-
plained that in emphasizing the rector became so self-indulgent
homosexual aspects of the j in such a pretentious undertak-
story, Visconti misses its phil- ing, as the film is one of im-
osophical aspects. These are maculate construction. The
preserved to some extent, lavishly barren decor that sur-
though, in the composer's flash- rounds Visconti's Germany is
backs of arguments with a col- h a u n t i n g I y communi-I
league that discuss whether cre- cative, while his lush colors
ativity comes from emotions or that swell the images are pow-
spirit. The composer decides erful in themselves.
that his orderliness keeps his But, as with the very intent
work from being great, so he of the film, it is all overdrawn,
decides to rid himself of his and the deep green hues that
orderliness, only to find that his! bathe the face of Ingrid Thulin,
life, and not just his work, is Iin a desperate attempt at the
endangered. ultimate in decadent convey-
Dirk Bogarde (who previous- ance, somehow become simply
lv starred in Visconti's The too much for too little.
Damned) is fine as the com- -Jim Valk
poser, as is Bjorn Andresen as , A
the adolescent.-

tive directly from the Camus about the screen you really do
work. As enhancement to the not need any more.
novel, though, The Stranger is -Melissa Harris
stunning. * *
--Jane Weaver Everything You
Sipppr Always Wanted

Ann Arbor Film Co-op

to Know .. .

vILt, Ad. 3 Ann Arbor Film Co-op
Fri., 7, 8:45, 10:30 MLB, Aud. 4
Sleeper was the comedy hit of Fri., 6:45, 8:30, 10:15
1973. Of course, it was just Imagine a 40 foot b r e a s t<
about the only comedy produced running amok in the country-
that year; regardless, it stands side. Or a Jewish doctor who1
on its own merits as one of the lusts after a sweet and innocent
funniest pieces of work to eman- sheep. These absurdities belong
ate from the mind of Woody Al- to one of Woody Allen's craziest'
len. films, Everything You Always!
Wanted to Know About Sex ...,
Even better than Bananas, Everything consists of seven1
Sleeper is Allen's first attempt sketches based on questions'
at a coherent, logical plot. Set from Dr. David Reuben's best-:
in the future, it concerns t h e selling book of the same name.
adventures of a mild manner-Ty
er man(Alle), whThesbook !hardly seems appro-
er man (Allen), who has been priate material for the film:
frozen since 1973 (hence t h e medium. Allen, however, min-t
name Sleeper). ages to create a clever satirea
The supporting cast leaves a on the deluge of sex literature
little to be desired, but when! that has flooded the market.
you have Woody Allen cavorting The best sketch is "What'

Happens During Ejaculation?"
Allen spoofs Dr. Reuben's alle-
gories to Cape Kennedy by
showing the brain as "Central
Control" in a "spaceship" me-
chanism.
-Cathi uyak
* *
Duck Soup
Mediatrics, Nat. Sci, Aud.
Fri., 7:30 9:45
For all of its zaniness, Duck
Soup contains some ofmthe most
poignant social commentary
ever delivered by the M a r x
Brothers. No one is spared from
insulting one-liners, noxious
puns, and brutal slapstick.
Groucho is Rufus T. Firefly,
dictator of Freedonia, who,
along with Chicolini, Browni,
and Bob Rolland (Chico, Harpo,
and Zeppo), dismantle a creak-
ing government machine w i t h
various gags and stunts,
War erupts between Freedonia
and Sylvania, culminating with
victorious Freedonians, lead by
the Marx Brothers, hurling ve-
getables at the Sylvanian m-
bassador.
The comedic gymnastics of
the Marx Brothers are brilliant-
ly executed in Duck Soun. How-
ever, the comedy is scathing at
times, and its serious edee is
not nearly so well conceale:l as
in previous assaults.
-Jeff Ferro

-Joan Ruhela
S *

The Mranger
New World, MLB

Rafferty and Twins
The Movies, Briarwood
Rafferty and the Gold Dust
Twins is the latest entry in the
lengthening line of "road"
films. A downtrodden ex-marine
is kidnapped by two women -
a 15-year old runaway and her
30 -,year - old friend.
The victim (Alan Arkin) soon;

The Way We Were
Bursey Hall Enterprises
Bursley West Cafeteria
Sat., 9
Admittedly, Barbra StreisandI
and Robert Redford don't act;
they display more than they
portray. Likewise, the motiva-:
tion behind The Way We Were
is not a depiction of '30s andi

Death in Venice
New World, Nat. Sci. Aud.
Sun., 7, 9:30
Luchino Visconti's 1971 film,
Death in Venice, is the story
of a fastidious middle-aged man
who becomes infatuated with a
hustling adolescent boy. The
story also symbolizes the deca-
dence of World War I Europe,
in which it is set.

t
j
}

The Damnedsun., 7:15, 9:45
Blistering sunlight, the flat
Newaol, MLB45 Algerian landscape and the si-
Sat., 7, 9:45 lence of ritualized life create a
Luchino Visconti, the grand visual sense of the isolation so
Italian master whose work insistent in Albert Camus' nov-
ranges from the magnificent el The Stranger. Director Lu-
Rocco and His Brother to the chino Visconti more than repro-
putrid Ludwig, has crossed the d the novel - he captures
geographical boundary in what its very atmosphere on film.
proves a futile venture. The Marcello Mastrioanni superb-
Damned, an account of the NaziIvoains thesooMead
regime and its transition to the man who feels no involve-'
"contemporary Germany, is ment in his mother's death, his
built on a faulty premise that love affair with Maria (Anna
ultimately falls thin through the Karina), the murder he com-
three-hour continuum. wits, or even his own exec;-
Visconti mistakenly attempts tion. Ilis life is a matter of
to advance the premise that chance.
political depravity is somehow Unfortunatel, the film's
initiated by perverted sexual faithfulness to its source also
mores. The assumption, which prevents it from being a com-
draws on no valid sustenance of n1 t, rn .-.+;... k-it i:hur

PAU LE DUC 1972
REED: INSURGENT MEXICO
Quasi-fictionalized account of American correspondent John Reed's
exposure in and of the Mexican Revolution, detailed in his "Ten Days
That Shook the World." We enter stage by stage into the true realities
of the Mexican Revolution, its lulls and confusions, fallible leaders!
unexpected death, sudden friendships, and meandering halfaction.
Along with THE GREEN WALL, one of the most remarkable films yet
made in Latin America. Spanish; subtitled.
r
SAT.: Armando Robes Goday: THE GREEN WALL
SUN.: ANN ARBOR 16 MM FILM FESTIVAL
CINEMAA I TONIGHT ANGELL HALL
~CN ii~ uAT 7 &9 Adm. $1.00 ;

FILM FESTIVAL:
Man vs. society themes
guide second night films

together by first person narra-

I

By KIM POTTER viewer watches in absorbed hor- an album of sexual portraits,
and CHRIS KOCHMANSKI ror as the young woman pathet- some short, some long, some
False values and isolation of ically attempts to turn tricks, funny, some dull, but all of
the individual were dominant is verbally brutalized by a! them unquestionably perverse.
themes as the Ann Arbor Film young public defender ("You McDowell's work, like National
Festival moved into its second don't want to cure yourself- Lampoon humor, requires an
night Wednesday. you'd better get out of town"), open mind.
Probably the two most suc- is shuffled through a state hos- Sometimes I Run, though ex-
cessful entries stood at rather pital by an equally callous ad- quisitely photographed in black
opposite ends of the creative ministrator, and later talks and white with a ghostly neon
pole - one a straightforward with her equally lost, ex-con blue tint, was an overly long,
documentary, the other a very boyfriend. cliched portrait of the typicall
expressionistic view of the The camera perpetually fo- j shallow menial laborer with the
world. cuses on her face and eyes - usual voice-over philosophy.
The former, Girls at Twelve haunted, burned-out, helpless. ; James Dunlap's cinematog-
by Joyce Chopra, owes much Near the end she talks about! raphy captures the neon glow of
to the style of Frederick Wise- some sequined vests she used the after-hours metropolis per-
man (The Titicut Follies, High to make - perhaps the one at- fectly, but when the novelty
School); narration was held to tempt at personal creation and wanes, the street flushing star's
a bare minimum as the camera personal pride in her life-then mindless jabbering takes over
did the work of exploring the admits sorrowfully that she and proves incessantly irritat- M :::: : a
lives of a group of seventh- ceased making them two or ing.
grade girls caught in the neth- three years ago. After a long
er - world between childhood pause, she adds "and that's am'"°
and- adolescence. that." Face freeze, end of:E HBTO an SAEo
As is often true with Wise- film. Terrifying and brilliant. EXHIBITION and SALE Of
mars, the camera's view is not Wednesday's 11:00 set was a
a flattering one - as it roams frustratidafsair.Yetsen etrrt
through classrooms, footballspect, a mere eight minutes - An outstanding selection of antioue oriental woodblock
games, birthday. and slumberVWill Vinton and Bob Gardiner's prints plus original etchings, woodcuts, lithographs by
parties, it shows a slow grind- Closed Mondays, made the last contemporary oriental printmakers.
irg doywnohethepndivdua two hours of the evening most U N ION GALLERY 1 st floor Michigan Union
spirit by teachers, parents wothhled
peers. Conformity is sacred, worthwhile MAR. 13-i-8 p.m. MA R. 14-10-5 p.m. 1
and Girls at Twelve captures Vinton and Gardiner use anr-MA
it absorbingly and frightening- matedtclaytfigures, but unlike s .ARRANGED BY
Imost the other animated en- V Morson Lts., Boltimore, Maryland 21208
l sy., tries, their film stresses incred- (PURCHASES MAY BE CHARGED)
Just as good was Syntax, a treterfl srse nrd
powerful individualized effort ibly lifelike bodily movements,(->ct, <->r->o < c> <> c
by Martha Haslanger. A cam- and expression changes i
era pans slowly around the liv- catured figures rather than
Int . O f a house. As vari- mere technical proficiency.

ing ror v JUb. r vi
ous objects come into view, Likewise; Mondays distin-
words flash like subtitles on guishes itself from the lot by
various parts of the screen de- combining a cohesive narra-i
scribing the objects in an ad- tive with just enough mystery
vertisement-like lingo. to leave itself open to interpre-
Later, the picture dissolves tation. The film leaves a de-
to a young man sitting in an lightful yet disturbing after-!
outdoor restaurant, listening to taste - an indelible mark in
snatches of conversation near- the mind's eye - particularly
by. Again, words from these in the poignant final shot.
conversations appear on the If the number of Curt Mc-
screen at various moments and Dowell's entries into the fes-
places. The man can catch on- tival and the name he is making1
ly fragments, not the totality. for himself in the Ann Arbor:
Syntax ends with a long mono- filmgoing community is any in-!
logue, presumably by the man dication, one would say he is
at the restaurant, about his in- becoming somewhat of a cult,
ability to remember a situation hero around this town.
("Maybe if I'd write it His latest, Nudes: A Portfo-
down . ."). This speech is re- lio, is more or less just that:
peated over and over, the words
interlapping as the screen
grows blank. In a sterile, imper- The University of
sopal world, the film seems to Isnor Ian-

TONIGHT ONLY!--
WOODY ALLEN - DOUBLE BILL
"Everything You Always
wanted To Know About Sex"
MLB 4--6:45, 8:30, 10:15
SLEEPER
MLB 3 --7:00, 8:30, 10:15
FRIDAY, MARCH 14 $1.25 each
$2.00 DOUBLE BILL
Michigan Professional Theatre Program

guage is sufficient to break
through one's aloneness.
First Fig, by Larry Cuba and
Gary Imhoff, was the one ab-
stract offering of the group, and
it was a beauty. Cuba and Im-
hoff wove a series of delicate
geometric designs one into an-
other with an almost three di-
mensional effect and a use of
soft but glowing color that was
absolutely stunning. A languid,
impressionist jazz score com-
plimented the visuals nicely.
The 9:00 films began with
one of the few pure cartoon ef-
forts of the night, Richard M.
Protovin's Flamingo Boogy.
Projecting against a constant-
ly moving landscape, Protovin
employs a Escher-like tech-
nique as flocks of birds are '

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