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January 30, 1973 - Image 3

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Michigan Daily, 1973-01-30

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Tuesday, January 30, 1973 THE MICHIGAN DAILY Page Three

7 &9:05 $1

Sorrowan PiEt ecreates
a war-orn Frnce o fl

The collapse of France in 1940
had a shattering impact on all
opposed to Hitler and an exhiler-
atn e ffec o n itler and his sup-
doubtfu'l. The contract between
the long, grinding campaigns of
the first world war, with their
French defensive victories at the
1916,andagin 'at the Marne in
1918 on the one hand, and the
German lightning strokes of May
and June 1940 on the other, was
too great for ready comprehen-
But with Great Britain refus-
ing to give in, the second world
war dragged on, its focus shift-
ing from France and returnin-g
only for a few months in 1944.
For the French people, however,
woerld ere fastened "on the sky
over England, the sanids of North
Africa, the battlefields of Rus-
sia, an1d the islands of the Pa-
cific, were years when the Ger-
mans were right there, every-
pars ofthe country until Novem
ber 1942, and of all of it there-

"Ner-classic in its structure and
universal in its humanity!,,
-Judith Crist, New York Magozmne
"''(highes rtin) !"-NY. News
SA stoty of Idve. Fdrred by David Lean
by the make.rs of "DR. ZHIVAGO"
ENDS TUESDAY-7:OO and 9:05

The Sorrow and the Pity is a
movie that tries to recapture
what those years were like, start-
ing with the "Phony War"~ in the
winter' 1939-40 and concluding
with internal developments af-
ter the liberation of 1944. Though
the focus is on one city, the sub-
ject is the whole country; and
though the camera looks at peo-
pie and places in the late 1960's,
interwoven newsreel footage re-
calls an earlier perspective with
ea vividness enhanced by the con-
trast between blunt news- and
subtly invoked retrospect.
The documentary as a movie
form is here lifted to a higher
plane on which the concept of
contemporaneity is given an add-
ed dimension. There are filmed
interviews in France, in G e r-
many, and in England. Living
survivors of the war are shown
discussing the past, their me-
mories, their perspectives, their.
experiences. Each major stage
of war and occupation is hand-
led in this fashion, with c a n-
temporary and very frank con-.
versations. Then, instead of the
flashback technique of the ordin-
ary movie, there are sections of
newsreels and other films, con-
temporary with the events rath-
er than the making of the movie.
The viewers are carried .along by
the interweaving of these t wv o
approaches, and they too can see
the events through the eyes of
the camera as well as the me-
mory of participants.
Some basic questions are rais-
ed. Who resisted the Nazis? Why
did they do so, and how? Who
did not, and why not? The range
of motives, both real and imag-
ined, is put before the viewer.
What was the nature and what
G~here Ann Arbor
touches the
Atlantic Ocean!
This 55 year old
Railroad Station
Seafood Restaurant.
brings a bit of Maine
right to Ann Arbor
Dinner Nightly
Reservations Reomne

were the motives of collabora-
tion? And how did the occupier
see it all? There is an extra-
ordinary deftness of touch, often
evident only by implication. The
former colonel in the Resistance
now drives a Mercedes. It sud-
denly occurs to the former Ger-
man soldier that if his side had
won the war, he might now be on
occupation duty in America. An-
thony Eden, looking as British
as can be, speaks - and ob-
viously thinks - in French as he
converses with those making the
There is a sense of balance as
the realities of the past are used
to illustrate - or contradict -
the memories voiced in the pre-
sent: the names of the dead on
the monument are clearly from
the second world war, though the
principal of the school attributes
them to -the first. This process,
so helpful to the viewer and
done with such exquisite skill, is
violated only twice, and in both
instances distorts the past and
the picture. The chief of the Ger-
man military administration in
France is referred to a number
of times; there is no mention of
his participation in, the plot
against Hitler and his inclusion
among those tried anid executed
by the Nazis. Those trials and ex-
ecutions were filmed for Hitler's
entertainment; why was some of
that footage not inserted?
The movie repeatedly presents
the French .Communist leader
Jacques Duclos, but unlike what
is done with the former Vichy
minister, nothing is ever shown
about his prior activities. Duclos
had joined his party comrades in
welcoming the collapse of France
- and Hitler's triumph of 1940
-- as a victory; he opposed the
French resistance to the German
invasion, urged agreement with
Hitler, and was prevented from1
actively collaborating with the
Nazis by the reluctance of the
latter. Only the most careful lis-
217S 2P&- 2AM

tener in the movie will note that
D~uclos gives a date for each
act of resistance of which he
approves, the earliest being from
August, 1941. Decades later, the
faithful Stalinist wants it under-
stood that resistance to the Ger-
man invader and occupier was
improper before June 22, 1941.
Since the movie dwells at lengh i
on class differentiations, the shift
of the Communist Party from a>-
quiescence to resistance after a
year of German occupation is es-
sential to the story.
The movie is long, though it
hardly seems so; and different
viewers will remember different
scenes, each extraordinarymo iit
theatre owner discussing the
anti-Semitic films he showed.
There is Pierre Mendes-France
talking about his escape from
prison. There is the former Ger-
man officer wvho cannot or will
not understang why some object
to the wearing of medals awvard-
ed in the Nazi period. There is
the British agent talking about
his experiences in occupied
France. There is Laval's son-
in-law trying to explain the man
who became a symbol of colla-
boration. There are the brothers
.who were in the resistance and
must now live in the same corn-
munitv with the ex-collaborator
who denounced them to the Ger-
mans. There. is the store-owner
who bought an ad to tell his cus-
tomers that he is not Jewish.
There is the aged marshall wan-
dering about unoccupied France
collecting flowers from little
The scene that will remain
longest with me is near the end.
We are in the castle in s o u t h-
west Germany that was the re-
sidence of the Sigmaringen
branch of the Hohenzollern fain-
ilv. The candidacy of a member
of this family for the Spanish
throne provided the occasion for
the Franco-Prussian war out of
which had emerged the Third Re-
public on the one hand and the
unified German Reich on t h e
In the last portion of World
War II, the Nazis moved Petain,
Laval, and a curious assortment
of French collaborators there as
a "government-in-exile" of their
own, and the guide who is shown
taking a group of tourists through
the castle alludes to its tempor-
ary and peculiar occupants. Here
too we watch the concluding in-
terview of a French Rightist who
had believed in Petain, his per-
sonal development traced in the
changing identifications provided
by the movie. By this time, he
is referred to as a member of
-the SS division "Charlemagne"
and be comments on the strarge
6:00 2 4 7 News
9 CourtshIp of Eddie's Father
50 Flintstones
56 How Do Your Children Grow?
6:30 2 CBS News .
4 NBC News
7 ABC News
9 I Dream of Jeannie
50 Gilligan's Island
56 Your Right To Say It
7:00 2 Truth or Consequences
50 I Love Lucy
56 French Chef
7:30 2 What's My Line?
4You Asked For It
7 Parent Game
9 NyHL All-Star Game
56 Evening at Pops
8:00 2 Maude

4 Movie
7 Temperatures Rising
- - sr- -

career of that unit. Politically, he --
has learned a few things, espec-
sally that the concepts of corn-
munitv and commitment can be
dangerously alluring for the- un-
critical young - a sure p-omter-
at a common feature of the old
right of the 1920's and 1930's and
the new left of the 1960's and
1970's. He also makes the mos:
damning comments about Petain
and Laval. They refuse to sec
him and his fellow soldiers. It
turns out that for these leaders
it had all been a game in which
there were counters to move, not
human beings who lived, suffer-
ed, and died. The Jewish child- -
ren whose murder was discussed
ebarlier inhthefrmovie thad never
they were not about to confront
real live objects of ,their policies
in the last weeks of the war.
The French title of the movie
refers to "shame" rather than
''sorrow", and in this scene, it
really sticks.
Gerhard L. Weinberg is chair-
man of the University history
dIepartment and one of the most
noted national authorities on Doily Photo by KAREN KASMAUSKI
World War II. Michael Lorimei
Guitarist Mchael LorimerT

i s t;- Rackliam Auditorium,
Sat., Jan. 27, 8:39 n.m. Guitar'
S'eries of University Musical
Works of Sor, Villa-Lobos, Pa-
ganini. Segovia, Bach, T a r-
rega Albeniz.
Some, musicians have natural
charisma, both in their person-
alities and in their performanc-
es: everything about them is
compelling. At the other end of
the musical spectrum are those
artists whose stage presence is
grotesque and whose playing is
atrocious. And somewhere in the
nebulous middle range one finds
people like Michael Lorimer,
whose concert Saturday in Rack-
ham was by and large very
Lorimer is obviously a dedicat-
edand sine re guitart He bdoes
and when using others' arrange-
ments of keyboard or instrumen-
tal works, he refers back to the
original version to confirm the
authenticity of the transcription.
This can cause surprises. After
one of the encores, Albeniz' s
much-played "Esturias," a gui-
tarist friend mentioned t h a t
50 Dragnet
8:30 2 Hawaii Five-O
7 Movie
"A Cold Night's Death"
56 il " M o ers'Journal
9:00 56 Common Ground .
9:30 2 Movie
10:00 4 NBC Reports
9 i and Whistle"'
50 Perry Mason
56 Detroit Black Journal -
10:30 9 Protectors
11056 360 Degrees
.9 CBC News
50 One Step Beyond
11:20 9 News
11:30 2 Movie
"The House That Screamed"
74 Hneymoona Suite
50 Movie
2:09"Otward Bound" (1930)
"The strange Love of Martha
Ivers" (1946)
1:00 4 7 News
1:20 News
"The Dancing Masters" (43)
3:00 2 News
11:00 Afternoon Rocskw
4:00 Contemporary Folk Music
7:00 This Week In Sports
8:00 Soul-Jazz-Blues
11:00 Progressive Rock
3:00 Sign-off

Lorimer had made some chaang-
es. But when we asked about
this, Lorimer replied that he had
gone back to the original piano
version and restored details that
Cegovia had omitted in his ar-
Lorimer is also one of the few
people who is researching Baro-
que guitar practice and is study-
ing the older, ten-stringed in-
strument. I mtention all this be-
cause this type of enthusiasm de-
serves notice, and yet the guitar-
ist's reach apparently exceeds
his grasp, judging from the play-
ing we heard Saturday.
There were, to be sure, s o m e
enchanting moments. Lorimer
chose a program of primarily
original guitar music instead of
the potpourri of transportations
one often f jds on recitals. And
ielvin into wat s rnot the
literature, he did n evertheless
come up with a few choice nug-
Albeniz's "Zambra-Granadina'"
is a splendid piece, full of gypsy
flavor, offering a chance for a
broad range of coloristic effects,
which Lorimer made the most
of. An "Allegro non troppo" by
Fernando Sor, which came early
in the program, suffered through
a memory lapse, but enmerged as
a thoughtful and interesting
work, if only by contrast with the
two innocuous and predictable
trifles that bracketed it in th~e
Sor .group.
Segovia's "Oration for the Soul
of Manuel Ponce" was a study in
mood, an eloquent prayer for a
fellow guitarist, who himself was
represented by a Paganini tran-
scription. Lorimer's program not-
es and off-the-cuff remarks (his

totally relaxed manner, an as-
set in establishing rapport, may
have provoked a lack of close
attention by the audience) were
helpful and informative: he not-
ed, for example, that all of the
music Paganini published dur-
ing his lifetime -- excepting the
24 Caprices for violin solo - had
a guitar part; this was a result
of an affair with a countess Who
made Paganini choose between
femme and fiddle. So he spurned
the, latter for three years, but
took up guitar in the meantime,
to which she evidently had no ob-
Lorimer played his own very
decent, idiomatic trancription of
Bach's Suite in D for cello. There
were moments in the Allemande
and Sarabande where he focused
on the, music's -delicate qualities,
but his playing generally se-
pecially at phrase endings where,
if anything, a diminuendo is indi-
cated instead of the sudden rises
that 'were often produced.
After intermission things im-
proved with a set of bonbons by
Tarrega, of which the "Caprichio
Arabe" was the most pleasing,
although not very Arabic-sound-
ing to my admittedly untutored
Lorimer, at 25, has a long way
to go before he can be called
a polished artist. His scales and
arpeggios- were uneven and often
notes were left out in haste.
There could have been a clearer
distinction amnong types of tone
production, and perhaps some
more careful tuning.
But he is trying very hard, he
is dedicated and unassuming, and
it will be interesting to see how
his career develops.


"If you see with innocent eyes, everything is divine"
(English Subtitles)

POETRY-Joseph Brodsky, poet-in-residence, UM, will read
from Elegy to John Donne and other Poems, Selected
Poems in the UGLI Multfpurpose Room at 4:10.
MUSIC--Contemporary Directions Concert: SM Recital al
8 tonight. The Company will present improvisations, In-
strument and electronic sound pieces and "avant-garde"
chamber music. The Music School presents a flute stu-
dent recital at SM Recital Hall at 4:30 and a trumpet
student recital at SM Recital Hall at 12:30 this after-
FILMS-Ann Arbor Film Co-op presents Ross' Play It Again,
showing Animal Crackers with the Marz Brothers at
Arch Aud. tonight at 7, 9:05. New World Film Co-op pre-
sents Fellini Satyricon at Aud. 3 MLB at 7:30, 9:30 to-


Macu noaino

screenpTay by

COLOR by Deluxe
PAN AVISION* United Artis

- 'Jungle Freoks'
NEW MORNING takes pride and
pleasure in presenting
of the film the NEW YORK TIMES described as.-
"Undoubtedly the finesr among t~he new Cinema Nova pro-
ductions, and one of the most ext reordinary films I have
ever seen .. ."-Vincent Canby, N.Y. TIMES
"Wildly funny, a cartoon f:Prytale studded with a series of
magnificently lewd gags. The spirnt of the Marx Brothers lives
again in the zany inventions of this film, which concerns the
adventures of a Negro baby who is transformed into a white
"Easily the most startling film shown at the Cannes Festival,
the first- Brazilian 'pop' -folk musical, stylized, surreal, a bit-
WNsR A n nnlr tra-icomedy with some of the most gro-

7:30 and 9:30 P.M.

inUII8~~~h 3

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