Friday, April 5, 1973 THE MICHIGAN DAILY Page Five Fridoy, April 5, 1973 THE MICHIGAN DAILY Page Five Pick of the week: Dr. Zhivago Bursley Hall Enterprises Bursley West Cafeteria Fri., Sat., 8 This lengthy (three hours, 17 minutes) but engrossing saga of the Russian Revolution, told in terms of an intense love affair between a traditionalist doctor, Yuri Zhivago, and Lara, the estranged wife of a Communist revolutionary, has its problems, but still ranks as one of the best films Metro-Goldwyn-Mayer ever produced. David Lean directed this epic with his customary wide scope, easily capturing the image of the era - yet somehow losing the spirit of Boris Pasternak's novel in the transfer to film. Most un- nerving is his attempt to tell the story in flashbacks, a nice idea which simply doesn't work out. Freddie Young's photography is, however, stunningly beauti- ful - as always. Leads Omar Sharif and Julie Christie are, for the most part, quite watchable --a word that, in fact, aptly de- scribes the film as a whole. -David Blomquist Fantastic Planet Fifth Forum Fantastic Planet is a beautiful movie - but that doesn't mean that you should go see it, be- cause it's a long way from a masterpiece. The story can only be describ- ed as thin. A race of gigantic blue creatures called Draags rule on Fantastic Planet', while the hunans, called Oms, are sav- ages. Suddenly the Oms revolt, And a bloody battle begins. Not exactly a candidate for the best story of the year. But, after all, animated features don't rise and fall on story line. They ulti- mately fail orsucceed on the strength of the drawings, and Fantastic Planet works well in this regard. -Stephen Selbst Dumbo Friends of Newsreel, MLB Walt Disney made Duribo (1941) right after Fantasia and just before Bambi. Along with Snow White, Dgnbo is one of the nicest feature-length Disney animation films. Durmlo is an elephant who runs away because his ears are too big. (This may sound ridi- culoqS, but imagine how whacked out the writers must have been to come up with a color motion picture about this kind of thing.) The film is a lot of fun, and at times is pretty funny as well. If you have kids - or even plan to have any -- don't miss it. Re- freshing changes are always a barrel of laughs. -Michael Wilson Cries and Whispers Campus This fascinating but haunting film from Ingmar Bergman de- tails a young woman's slow and agonizingly painful death from cancer while surrounded by her two sisters and a motherly peas- ant girl. The contrasts Bergman draws, the mood he creates, and per- phony moments between Anna and her son, one may do better to see this movie than to read the book. -Louis Meldman Conrack Michigan The main attraction of Conrack seems to be Jon Voight, and don't think he -doesn't know it. Several times during the film he openly admits how delerious- ly handsome Jon Voight is. Com- bine gross vanity like this and a wretched, sympathetically soapy script by Irving Ravetch and Passion of Anna Cinema II, Aud. A Sat., 7, 9 The Passion of Anna (1970) is. a beautifully photographed story of four people living on a small Swedish island. Directed by Ingmar Bergman with a unique four - sequence exchange be- tween the principal actors and Bergman concerning the na- ture of their individual charac- ters, Anna is emotionally over- powering in the gripping story it tells of sadness, love and mad- ness. Max Von Sydow and Liv Days and Nights in the Forest Cinema Guild, Arch. Aud. Fri., 7, 9:05 Days and Nights in the Forest is a delightful filln about four young friends from Calcutta on vacation in the Palaman woods. All is quiet until one gets a little too friendly with a native girl, and then all hell breaks loose. Both photography and subtitles are excellent in this movie that c}1+:I nema weekend:x:h't ~Y:"V "'~K:4"Ah:" :J t". Y :r r"Jt """""" .." , ..Y.., . ". :Y ..f:Lf.ItLff ."J.:: : :"""""" ":: that will grow on you as the film gets progressively worse and worse. Sandbox is one hell of an inconsistent movie; it's as if cer- tain scenes were purposely bad so the good ones would seem bet- ter. Streisand is a housewife who has incredible delusions of ab- surd political/social implication, ranging from a meeting with Cas- tro to a visit in Africa (on loca- tion) to a showdown with a wo- man she thinks is having an af- fair with her husband. --Michael Wilson Yellow Submarine Fifth Forum Fri., Sat., midnight Erich Segal was one of four hacks who put together this ani- mated showpiece for the circa 1968 Beatles. The slender plot line takes us to a war in the kingdom of Pep- perland. The Blue Meanies, Pep- perland's foes, are found to be allergic to music - so guess who is called in to save the day ... -David Blomquist The Sting State No doubt about it: the team of Paul Newman, Robert Redford, and George Roy Hill simply can- not make a bad movie. If you liked Butch Cassidy and the Sundance Kid, you'll squeal with delight at Sting. Sting is a story of a big con artist (Newman) who comes out of retirement to take on an ap- prentice (Redford) and make one final "big con" - one final "sting". The result is perfect. -Louis Meldman The Exorcist The Movies, Briarwood Director William Friedkin (French Connection) has said that this movie was intended to scare people. It is the story of how a little girl (Linda Blair) becomes possessed by the Devil. The little girl masturbates with a crucifix, turns her head all the way around, and swears a la Jack Nicholson. -Louis Meldman Ser pico The Movies, friarwood Serpico is a fine example of how a film can wrestle with a controversial subject and come out on top. Al Pacino exquisitely portrays Serpico, a Greenwich Village in- tellectual who decides to join the New York City police force. Dis- gusted by rampant corruption among patrolmen, he complains to his superiors, but each time receives the same blunt answer -an order to keep his damn mouth shut. Easily Sidney Lumet's best movie, Serpico also happens to be Dino De Laurentis's first film since moving his operations from Rome to New York. -David Blomquist haps even his plot itself are high- ly reminiscent of the relentless, stunning blows of Checkhovian drama. -David Blomquist Putney Swope UAC Mediatrics, Nat. Sci. Aud. Fri., Sat., 7, 9:30 Robert Downey's P u t n e y Swope (1969) is about a black Buster Keaton who single-hand- edly converts a failing Madison Avenue ad agency into a multi- million-dollar organization. The film is positively brilliant, even though it was made on a shoe- string budget in a quick ten weeks with location s c e n e s filmed at New York's glorious Chase Manhattan Bank. Despite technical flaws in the soundtrack and some rather careless editing, Swope will slap you in the face with its abrupt and sometimes pointlessly ab- surd militant philosophy. Arnold Johnson deftly plays the title character. The movie is black-and-white withhthecom- mercials in beautiful color. If you want 'a good kick in the rear, go to see Putny Swope. -Michael Wilson Anna Karenina Cinema Guild, Arch. Aud. Sat.; 7, 9:05 Greta Garbo plays the title role in this 1935 film adaptation of Leo Tolstoy's novel. Anna's husband, portrayed here by Basil Rathbone, allows her to cavort with a virile but immature army officer (Freder- ic March). Anna becomes a vic- tim of love, and is rejected by first her husband and finally her lover. This rendering is the best ever done on film, and, despite a few Harriet Frank, and you have what amounts to the newest los- er by director - producer Martin Ritt. Based thinly on a true story, Conrack is about a North Caro- lina humanitarian who taught for a year on a backwards is- land off the South Carolina coast to a somewhat retarded group of black elementary schoolchildren. The truly sad thing about Con- rack is the screenplay writing. Ravetch and Frank were brilliant when they were good - in the sixties that team was responsi- ble for pictures like Hud and Hombre. But nowadays all you need is a box-office super-star like Voight and some sappy dia- logue to pass for motion picture entertainment. -Michael Wilson Horse Feathers Couzens Film Co-op Couzens Cafeteria Fri., Sat., 8, 10 Groucho, Harpo, Chico, and Zeppo take on the educational world in this hilarious film from the early years of the Marx Bro- thers. Groucho portrays a waylaid academician who, increduously, is appointed as a college presi- dent since he seems to be the only man who can bring the school a winning football sea- son (Groucho as Bo Schembech- ler?). The football game that makes up the last reel is absolutely classic comedy that makes wait- ing through the rest of the film quite worthwhile. -David Blomquist Ullman star, with Erland Jo- sephson as the architect. Bergman can sometimes get caught up in his own intellectual insanity, but Anna is different. It is somehow strangely human, with a feel for strong and per- ceptive characterizations. --Michael Wilson fits right in with the arrival of spring. -Clif Drumm Up the Sandbox Friends of Newsreel, MLB Fri., Sat., 7, 8:40, 10:20 The nicest thing about Up the Sandbox (1973) is Barbra Stries- and - she acts and reacts with the timing and talent of a real professional in a performance MICHAEL COCOYA N N IS 1964 ZORBA THE GREEK Anthony Quinn, in one of his best roles, presents a picture of man as he might be ) if the world were not so much with us. It is a bold portrayal of a rugged and weather-worn old Greek of uncertain age and origin, indefinite station and ca- reer, but of unmistakable self-possession and human authority. Anthony Quinn, Alan Bates, Irene Pappas. SAT.: BERGMAN'S "PASSION OF ANNA" TONIGHT at AUD. A CINEMA I11TOndGHT3at ANGELL HALL 7 and 9:30 Adm. $1 tickets on safe at 6 p.m. FAA' INGMAR BERGMAN'S CRIESAND4 WHISPERS 17 !' 44.syACADEMY AWARD WINNER! -BEST CINEMATOGRAPHY! TODAY: Open 6:45, Shows at 7 & 9 psCn SAT. & SUN.: Open 12:45, Shaws at 1, 3, 5, 7, & 9 All It Takes' Is A Little Confidence! Mime, bells, and incense mix in Asian dance show at Rackham By DIANE LEVICK Bells, incense, and live Indian music combined Wednesday night to flavor the University Musical Society's presentation of Kathak, classic North Indian dance, at Rackham. Fascinating elements a 1 i e n to Armerican dance forms pro- vided the enthusiastic audience with an educational experience, for lKthak is intricately tied to Indian religion and myth. The program began, for instance, with the "Vandana," a prayer in dance form. Kathk makes extensive use of various forms of mime to re- count episodes from the ancient Indian epics, one being the Mahabharata. The dance move- ment centered, on the arms, hands, and feet. Stylized hand position called mudras were used extensively, though the symbolic meaning of many mudras has been lost through time. The litheness of arms and hands was matched by the three dancers' control of foot stamp- ing movements. Wearing numer- ous bells on their ankles, the per- formers created an interesting array of sounds and rhythms. Dancer Maharaj demonstrated bols, spoken syllables describ- ing drum sounds, by stamping out rhythmic patterns that the drums played. The rhythmic cy- cles, tala, in Indian music are frequently quite complicated. Birju Maharaj also showed Kathak dancers' traditional com- mand of facial muscles as he danced the "Makhan Chori," a piece which depends heavily up-, on facial expression. He por- trayed both the god Krishna as a mischevious child and the com- passionate milkmaid whose but- ter he has spoiled. With his female assistants, Kumudini Lakhia and Saswati Sen, Birju presented more sens- ual material. As the dancers combined steps in unison with movements that complemented each other, the audience was made aware of the grace requir- ed of both sexes in Kathak. The dancers wore costumes in the traditional, tasteful style. The women wore colorful saris alter- nating with full trousers covered with gold-trimmed long blouses. Birju sported the full trousers ' and long coat, both in white. Three musicians, one of them also the vocalist, accompanied the dancers with sitar, tabla (drum), and pump organ. The little organ which missionaries brought into India was talen ov- er by the native population and used to play in traditional In- dian styles. The organ, though, lent a curiously Western air to Wednesday's performance. Summer Vacancy MAY-AUGUST FOREST TERRACE 1001 S. FOREST Large 2 bedroom furnished opts. Air Conditioning Parking See Monager in apt. 211 or call 769-6374 or 761 -2559 med ia t r icspresents r C#P S "PUTNEY SWOPE" The Truth and Soul Movie 'Putney Swope' is a stinging, zinging, swing- ing sock-it-to-them doozey. It is going to take off and be one of the most talked about flicks in recent times. By all means I suggest, hell,' I damn well insist y o u see 'Putney Swope' and be prepared for the nuttiest, wild- est, grooviest shock treatment. Will leave you helpless with laughter."Westinghouse Radio Don't Miss This Absolutely Hilarious Movie Fri. & Sat. Nat. Sci. Aud. 7:00 & 9:30 $1.00 WINNER of 7 ACADEMY AWARDS ' i; ka. !';,, Y '.i } ;f /,.. + INCLUDING BEST MOVIE OF THE YEAR! II "THE STING" Open 12:45 Daily Shows at 1:30, 4, 6:30 & 9 pm. BEST BEST BEST BEST BEST BEST DIRECTOR! MUSIC! SCREENPLAY! EDITING! ART DIRECTION! COSTUME DESIGN! 603 E. LIBERTY 0 665-6290 i momm"MMONOMMMIN SATYAJIT RAY'S DAYS AND NIGHTS IN THE FOREST "It adds years to your life," the young man from Calcutta in Satyajit Ray's "Days and Nights in the Forest" say of the country quiet, and it's easy to believe. Ray's images are so emotionally saturated that they become sus- pended in time and, in some cased, fixed for- ever. Satyajit Ray's'films can give rise to a more complex feeling of happiness in me than the work of any other director. I think it must be because our involvement with his characters is so direct that we are caught up in a blend of the fully accessible and the in- explicable, the redolent, the mysterious. We accept the resolution he effects not merely as resolutions of the stories but as truths of hu- man experience. Yet it isn't only a matter of thinking, yes this is the way it is. What we assent to is only a component of the pattern of associations in his films; to tell the stories does not begin to suggest what the films call to mind or why they're so moving. There is always a residue of feeling that isn't resolved. Two young men sprawled on a porch after a hot journey, a drunken group doing the Twist in the dark on a country road, Sharmila Ta- er, deeper associations impending; we recog- nize the presence of the mythic in the ordi- nary. And it's the mythic we're left with after the ordinary has been temporarily resolved. When "Days and Nights in the Forest", which was made in 1969, was shown at the New York Film Festival in 1970, it received a standing ovation, and it seemed so obvious that a film of this quality-and one more im- mediate in its appeal than many of Ray's works-would be snapped up by a distributor that I waited to review it upon its theatre opening. But distributors are often lazy men who don't bother much with festivals, least of all with films that are shown at the dinner hour (it went on at six-thirty); they wait for the Times. The review was condescendingly kindly and brief-a mere five and a half inch- es, and not by the first-string critic-and "Days and Nights in the Forest", which is a major film by a major artist, is finally open- ing, two and a half years later, for a week's run at a small theatre. On the surface, it is a lyrical romantic comedy about four educated young men from Calcutta driving together for, s fw ovtriain the. countrv. their interre-. most dissatisfied with his life and himself- he feels degraded. He and SanJoy, who is more polite and reticent, used to slave on a literary magazine they edited, but they have settled down. Ashim is much like what Apu might have turned into if he had been corrupted, and he is played by Soumitra Chatterjee, who was Apu in "The World of Apu." On this holiday in the forest, Ashim and Aparna, play- ed by the incomparably graceful Sharmila Ta- gore, (who ten years before, when she was 14 played Aparna, Apu's exquisite bride). In his fine book on the Apu Triology, Robin wood wrote that the physical and spiritual beauty of Soumitra Chatterjee and Sharmila Tagore seems "the ideal incarnation of Ray's belief in human potentialities." And I think they represent that to Ray, and inspire him to some of his finest work, (he used them also in "Devi"), because they are modern figures with overtones of ancient deities. Unlike the other characters in "Day and Nights in the Forest", they bridge the past and the future and-to some degree-India and the West. As Ray uses them, they embody more than we OPEN 12:45, SHOWS at 1, 3, 5, 7, 9 p.m. Another Fine Film in the "SOUNDER" Tradition Jon Voight as "CONRACK" ' Various people have been screwing up my name. It's a swell name. It belonged to a bartender, a minister, a classics scholar, and a burlesque queen. It's Conroy, not Conrack, but - - it you want to call me that, go ahead. I'm beginning to like the sound of it."