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February 23, 1973 - Image 3

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Michigan Daily, 1973-02-23

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Page Three

Friday, February 23, 1973

THE MICHIGAN DAILY

Friday, February 23, 1973 THE MICHIGAN DAILY Page Three

1

The Exterminating
Angel
Cinema Guild
Fri.
A group of well-dressed society
people go to a party, and find
that they cannot leave. T h e y
cannot step over the threshhold,
though there is nothing in outer
reality, or in their conscious
minds, to stop them.
This is the premise of Bun-
el's Exterminating Angel. The
guests, forced to re-enact the
events in their lives that have
led to this suspension of time in
the salon, speak their disjointed
private thoughts. The individual-
ist, conformist, shame-centered
ideology of the bourgeois is giv-
en a rough going-over by Bunuel,
who demonstrates the disintegra-
tion of rationality into fetishist
fixations and violence.
The superficiality of the char-
acters' sanity is portrayed in a
surreal blend of Lord of the Flies.
and Huis Clos; they "discover'"
their primitive selves, but at the
same time a private hell accom-
panies the discovery.
-BRUCE SHLAIN
* * *
Hamlet
Cinema Guild
Sat. & Sun.
Any production of Hamlet is
certainly a monumental under-
taking, though not always a
monumental success. Being a
long play and one which many
people have read and/or seen
several times, it demands a great
deal of energy and imagina-
tion from. actors and directors
alike. By all accounts the Sov-
iet rendition of Hamlet made in
1964 is a powerful and very ex-

citing film which fails only in
that it is too conventional for
certain critical tastes. Its direc-
tor, Grigori Kozintsev, was once
a prominent force in early ex-
perimental film movements and
one critic who saw his Hamlet
called it a "successful" film but
one which is overall "depress-
ing." Its many fine touches, he
said, were "like the last flare-
ups of a dying fire."
But this evidently does not de-
tract from the force and visual
quality of the film. Kozintsev cut
down much of Bosis Pasternak's
Russian translation to make the
story of the young prince into
one of action and grand scale
melodrama.
The setting is sinister, uneasy,
turbulent. The characters, even
the ones with lesser roles, a r e
solid -and real; they are not re-
duced to abstractions. Hamlet
himself is portrayed as a man
of action rather than a brood-
ing thinker which, for s o m e
people, has made an even deep-
er mystery out of his inability to
avenge his father's dedth. A fine
score was composed for the film
by Dmitri Shostakovitch; his
ghost theme has made the ap-
pearance of the cloaked a n d
armored King Hamlet one of the
most frightening scenes in any
Shakespearian film. It seems as
though Hamlet will be the sleep-
er of the weekend. Film not seen
by press time.
-DAVID GRUBER
*~~ * *

.V."N::: t1:".:::::.".'.".".::

cinema
weekend

. . ....... ....
.. ...,.. . ......... .......... . ....... . . . .
*.~*.*..*.*.**... **.*.*.**. ........... . . . ... . . .. . .

tred in greener feminine pas-
tread in greener feminine pas-
"The Seven Year Itch" in this
Billy Wilder film, is the focus
of much universal fantasizing
and farce.
A happy hubby, Tom Ewell, is
left to fend for himself in New
York City, while his wife of sev-
en years and son are cooling it
in Maine. Manhattan's summer
climate is predominantly sticky
and humid, and not making the
tempid matters any better is
Ewell's sizzling upstairs neigh-
bor Marilyn Monroe.
Ewell's fertile imagination pro-
duces varied romantic adven-
tures with MM, while Wilder's
theatrical sense of direction
draws together an amusing story.
Wilder's camera takes long lin-
gering looks at the action in the
cramped quarters of an apart-
ment, similar to "The Apart-
ment', without resorting to flat
stage right/stage left movement.
It is very painful to watch t h e
married man fantasize; that is
all he can do because marriage
is too sacred an institution to sur-
render to base instincts. At the
same time the frustration of
Ewell's libido becomes tedious
and dull toward the end of "The
Seven Year Itch." There is, alas,
no fulfillment, as Ewell does not
get the girl or even conquer the
evil - he just remains married.
-JEFF EPSTEIN

Guys and Dolls
Cinema II
Sat. & Sun.
In the winter of 1955, when you
may have been sucking nipple
or swapping likenesses of Yogi
Berra, the film version of Guys
and Dolls was knocking 'em dead
all over our sleeping nation. "Un-
der the direction of Joseph L.
Mankiewicz who received a leg-
up from choregrapher Michael
Kidd", film critic Bosley Crow-
ther echoes from yesteryear,
"and with a fine cast of actors
and chorines hollering and stomp-
ing like crazy to boot it home,
this musical classic, based upon
a Damon Runyon tale and with
wonderful songs by Frank Loes-
ser gets a great ride all t h e
way." In deflationary 1973 terms
"fine cast" is a gross under-
statement. I think it safe to say
that you aren't likely to see as
much talent (Marlon Brando,
Jean Simmons, Frank Sinatra,
Vivian Blaine, Stubby Kaye, Re-
gis Toomy, Sheldon Leonard) on
the same screen ever again.
The great tunes, (including
"Your Eyes Are the Eyes of a
Woman in Love", "Luck Be a
Lady", "Adelaide', "I'll Know",
"Guys and Dolls," lively dance
routines, and syrupy plot line
provide two and one half hour's
of the most delightful variety of
escapism.

A few minor complaints. Frank
Sinatra isn't very convincing, and
Marlon Brando mumbles as if he
were recovering from a stroke.
The truth of the matter is that if
Godfather Marlon Brando had
not been responsible for the
placement of a certain horse's
head in a certain producer's bed,
we would never have been cursed
with Sinatra's comatose perform-
ance. Such irony, however is be-
yond the scope of this review.
This aside, if by some quirk
of circumstances you have never
seen Guys and Dolls, or if per-
haps you feel ready for an n th
go-around, a treat awaits.
-MARTY MARMOR
The Licherish Quartet
and
Therese and Isabelle
Modern Language Building
Fri. & Sat.
New Morning is bringing us a
double dose of Radley Metzger
this weekend. Metzger is gen-
erally known as a prime produc-
er of smooth, classy soft-core
porn, but several critics have re-
cently claimed that there's more
to the man's filmsathan just pink,
heaving breasts and -shiny but-
tocks. Therese and Isabelle is the
older of the two films. It's con-
cerned with a Lesbian love af-
fair in a French boarding school,
and features Easy Persson and
Anna Gael in the title roles. The
Lickerish Quartet is of more
recent vintage, and has a repu-
tation as a kinkier, more bizar-
re and outlandishly entertaining
film. If Deep Throat leaves you
hankering for something m o r e
subtle (and less dull), this may
be it. (Not reviewed at press
time).
-STAFF
Shaft
UAC Mediatrics
Friday and Saturday
John Shaft is a black private

t

Seven Year Itch
Cinema II
Fri.

The carnal urge of all men to

PROF. ORLANDO PATTERSON
Sociology Dept., Harvard University
"A Framework for the Study
of Black Cultures in the Americas"
MONDAY, February 26-4 p.m.
E. Conference Rm., Rackham
SPONSORS: Sociology Dept., Center for Afroameriacon
& African Studies
" **2... SHEER AND UNEXPECTED TER-
ROR! A TOUGH, BITTER LITTLE SLEEPER OF A
MOVIE ABOUT FOUR TIMES AS GOOD AS YOU'D
EXPECT! UNBEARABLE TENSION!"-Chicago Sun
Times
MAR, SEVENTEEN,
IS DYING. EVEN FOR HER
THE WORST IS YET .4
TO COMET
...IT'S
ACROSS
THE
STREET
rn FROM
00 FRI.: 7:20, 9:00 JOE".
SAT., SUN.: 5:45, 7:20, 9:00
Mick Jagger in "PERFORMANCE" - 11:00 p.m.
See Separate Advertisement
LIVE MAGIC SHOW - Sat. and Sun. Only
with "THE 3 STOOGES," cartoons, and "FLASH GORDON"
1:00 & 3:15 p.m. All seats 75c
UAC-DAYSTAR PRESENTS
2 JAZZ GREATS
IN ONE CONCERT
h e rbi e
hancock
and special guest star
freddie
hubbard
SAT., FEB. 24
8 P.M.-HILL AUD.
$4.50-4.00-3.50-2.50
reserved seats on sale
MICH. UNION
11-5:30 Mon.-Sat
and Salvation Records
ALSO DON'T MISS
1__.. LiaU2. (_.. aa2__ I' a a

detective who hires out at approx-
imately fifty dollars an hour to
find and return Bumpy Jones'
daughter, who, you see, has been
kidnapped and is being held cap-
tive somewhere deep in the
bowels of Manhattan. Bumpy is
a kingpin in the Harlem syndi-
cate and he wants his daughter
back, no questions asked as to
methods employed. Thus a
thread of plot is provided, and
Shaft goes off jaywalking across
New York City to the pulsating
music of Isaac Hayes.
Shaft has all the accoutre-
ments of the classic underdog
movie detective-,a shabby office
with a large window looking out
on nothing, a quiet East Village
duplex, and a cold, calculating
manner guaranteed to earn him
a certain amount of grudging
respect. Then there is the string
of mindless, mediocre women
(whom he treats badly) and his
classy leather wardrobe (which
he wears nicely and treats bet-
ter than the women). But the
best thing of all is his amazing
recuperative ability -three ma-
chine gun slugs inthe chest and
an hour later he's up and around
,and apparently feeling no pain.
All of this while averting a nasty
gang-and-race war b e t w e e n
Bumpy's syndicate and some
white (Mafia) hoods with the
help of a small group of black
revolutionaries.
Directed by Gordon Parks and
starring Richard Roundtree in
the title role, Shaft (1971) is ob-
viously an exploitation film, but
it is not as offensive as most and
it does contain some good, sim-
ple entertaining moments.
-WILLIAM MITCHELL
Lolly Madonna
XXX
State
I suppose it is a sane and
sound reaction to become fairly
suspicious when a major film
company decides to hecticly pro-
mote a new film and to give the
work its virtual world premiere
here in little old Ann Arbor.
Strange fruit that wilts in more
mundane soil, the company's
logic all too often seems to go,
may blossom in the unpredict-
able earth of a big college town.
Well, Lolly Madonna XXX is
a very strange fruit indeed, and
one I think we could all do with-
out. I'm not quite sure what the
movie is up to, and I'm even
less sure that the people involved
with the film could tell us. Lolly
is a story of clan feuds in Ten-
nessee hill country, and at times
it seems pretentious as all hell.
In several scenes and bits of dia-
logue-a boy's amazement at
seeing his older brother cry,
Laban Feather's (Rod Steiger)
and P a p Gutshall's (Robert
Ryan) various proclamations of
the Cumberland Mountains Moral
Code, Zack Feather's (Jeff
Bridges) El Sensitivsmo hillbilly
awareness of the possibilities of
love and pacifism - the movie
seems to be attempting nothing
less than to create a microcosm
of America, her values and her
problems.
Yet more often, Lolly tries to
be a whammo suspense movie
by building tension that is let off
in a climactic battle between the
Feather and Gutshall famiiles.
The movie fails abysmally at
this, and I would suspect this is
primarily due to the extreme
lack of tight plot cohesion here.
It all begins when Roonie Gill
(played by Season Hubley, a
comely y o u n g model whose
pained facial expressions seem
constantly to betray a case of
cramps) is mistaken by the
Feather clan for Lolly Madonna,
the mythical fiancee of one of the

Thieves' Carnivtal':*
Light, well-paced escapism

By ALVIN CHARLES KATZ
Thieves' Carnival, a play in four
acts by Jean Anouilh, directed by
Alan Eisenstock, presented by Ann
Arbor Civic Theatre, February 21-24,
Mendelssohn, 8:00.
Who were all those people in
turn of the century dress running
around Mendelssohn Theatre fif-
teen minutes before show time,
chatting with the audience and
improvising games and dance
routines on the stage? Merely
the cast of Thieves' Carnival,
the latest offering of Ann Arbor
Civic Theatre, getting the audi-
ence in the proper mood for the
amiable nonsense which was to
follow.
Written by French author Jean
Anouilh at the age of 22 as an
attempt to compose a piece for
'I
this K*WMD
$2.00 8:30
FRI-SAT
JOE
HICKERSON

West Quad's production of "You're a Good Man Charlie Brown,"

t h e "boulevard theatre,"
Thieves' Carnival lacks, literary
distinction, but nonetheless is a
witty and often charming play.
Set in some vague time, probably
around the 1920's, the play is a
fantasy about three incredibly in-
competent thieves working in
Vichy, who set their sights on
two wealthy and eligible young
ladies. As a result of the desire
of the girls' bored noblewoman
aunt for intrigue, the thieves
manage to become houseguests
in their victims residence, mas-
querading as Spanish nobility.
From there, the plot gets even
more ludicrous, with a variety of
love affairs and mistaken identi-
ties rounding out the action. The
play features a great many pre-
dictable scenes spoofing the rich
and making the thieves look
foolish which rarely elicit any
real laughter, but are more than
sufficient to provide a number of
chuckles in the course of the
show.

Director Alan Eisenstock's pro-
duction has style, approaching
the play with just the right
amount of camp and rarely re-
sorting to slapstick or overt mug-
ging to establish the play's hu-
mor. The show incorporates some
cleverly choreographed a n d
clumsily executed dance num-
bers which constitute some of
the evening's funniest moments,
highlighted nicely by musical di-
rector Eric Stern's original per-
iod music, which he performs
ably on the piano. Diane Daver-
man's creative and appropriate-,
ly comical costumes further en-
hance the production.
The performances were all
correctly artificial, with the en-
tire case delivering good portray-
als. Charles Stallman, Peter
Brown, and James Cromar were
very good as the three thieves,
as were Ed Stein and Aleksander
Wierzbicki as a father and son
team of fortune hunters. I par-
ticularly enjoyed Beverley Poo-
ley as a stereotypical English
gentlemen. A professor in the
Law School and a veteran of sev-
eral Civic Theatre productions,
he very nearly stole the show at
the end of the play with the eve-
ning's best comic performance.
The production moved along at
a nice pace with the exception of
one or two scenes dealing with
the romantic plot, where the play
momentarily began to take itself
too seriously and bogged down.
In addition, Anouilh chose to in-
sert a comedia dell'arte musical
faun who appears almost con-
stantly and soon became a pre-
tentious bore - so much so, in
fact, that a line dismissing him
evoked the strongest audience
approval in the show.
There is a message somewhere
in this silly little play, which
Anouilh seems to stick in at the
end lest the work be a total liter-
ary loss. Near the end of the
play, one of the characters be-
comes suddenly philosophical
and says, "It is only for those
who have played it with all their
youth that the comedy has been
successful . . . and they didn't
even perceive that it was a com-
edy." This frail message about
the failure of youth toperceive
the bitter comedy of life is eas-
ily and best ignored, in which
case Thieves' Carnival becomes
an readily enjoyable bit of fool-
ish fluff.

featuring Housing director Leon
rival Gutshall family. The Feath-
ers kidnap Roonie and this, one
would think, should be the cat-
alytic event that leads inexor-
ably to the film's big conclusion.
But no, most of the movie is
simply a dull alternation between
Zack and Roonie-Lolly's love
scenes and family conflict scenes.
Furthermore, Roonie's connec-
tion with the film's final explo-
sion of violence is a tenuous one
to say the least.
After careful consideration I
have managed to find Roonie's
link with the climactic. battle,
which is this: the primary act
which precipitates the family war
is the Weather boy's raping of
Sister E. (sic) Gutshall (Joan
Goodfellow). How does this come
about? It seems Roonie has left
her underthings where those
Feather boys can get their hands
on them. Hawk Feather (Ed
Lauter), dressed in Lolly's dain-
ties, then, treats brother Thrush
(Scott Wilson) and us to a bit of
flaming drag. This excites the
two guys tremendously. And then
when Sister E. arrives . . . Well
boys will be boys.
Lolly M's connection, then, with
the clan warfare, is that of hav-
ing left her bra and gridle where
the fellas could fool with them-
a connection to be sure, but then
again, Ma Feather (Katherine
Squire) could have been just as
careless wth her clothes. Con-
sider the possibilities.
And as for the final battle, di-
rector Richard Sarafian is much
more adept at dishing out blood
and guts than he is at creating
genuine suspense. The movie left
me with the bad feeling of hav-
ing seen the equivalent of a fea-
ture - length, slow - building stag
film for sadists.
Two things impressed me about
Lolly - Madonna: t h e stunning
Cumberland mountain scenery,
and Jeff Bridges' amazing facil-
ity for overcoming bad material.
Bridges seems to be rapidly es-
tablishing himself as a first-rate
character actor, a resource we
are desperately in need of.
-RICHARD GLATZER
The Last House
on the Left
Fifth Forum
Three psychotic killers escaped

West as Snoopy.
from the State penitentiary. Two
nubile teenage girls out on a
lark in the City. They meet. A
knife here, a knife there, and
soon blood is gushing every-
where. An avenging father, a
cock-sucking mother (watch the
teeth, honey), two incompetent
cops, a child molester, a dyke,
and a junkie. What more could
you ask for? Oh ye of little
taste?
Personally, I think Dustin Hoff-
man did it better in his little
stone cottage in Cornwall.
-WILLIAM MITCHELL
And Yet Another
Week Of...
The Emigrants - Campus - a
carefully made, moving, epic de-
piction of Swedes leaving their
country in search of the brighter
horizons of America.
Sounder - Michigan-Smooth,
sweet, nice, with a fine lady
named Cicely Tyson. Bring the
kids.
Deliverance - Fox Village -
It's nomination for Best Picture
shows just how far Hollywood
has declined. A fair adventure ,
film, nothing more, nothing less.

0

S

CU11UR CALENDAR
DRAMA-The Ann Arbor Civic Theatre's production of Jean
Anouilh's Thieves' Carnival will be presented tonight at
8 at Lydia Mendelssohn. And the Residential College
Players present Williams' Something Unspoken and Io-
nesco's The Lesson tonight at RC Aud. at 8.
DANCE-The UM Dancers will present be in concert tonight
at the Power Center at 8. And there will be a Turkish
Dance Workshop at the Barbour Gym tonight from 8-11.
MUSIC-Pianist Claudio Arrau will perform tonight at Hill
at 8:30.'
WEEKEND BARS AND MUSIC-Ark, Joe Hickerson (Fri.,
Sat.) admission; Blind Pig, Okra (Fri., Sat.) cover, Clas-
sical Music (Sun.) no cover; Golden Falcon, Oz Nova
(Fri., Sat.) cover; Mackinac Jack's, Detroit (Fri., Sat.,
Sun.) cover; Mr. Flood's Party, Cadillac Cowboys (Fri.,
Sat.) cover, Diesel Smoke and Dangerous Curves (Sun., 3
p.m.) cover; Bimbo's on the Hill, Cricket Smith (Fri.,
Sat.) cover; Del Rio, Jazz Music (Sun.) no cover; Rubal-
yat, Iris Bell Adventure (Fri., Sat., Sun.) no cover; Bim-
bo's, Gaslighters (Fri., Sat., Sun.) cover; Pretzel Bell,
RFD Boys (Fri., Sat.) cover; Odyssey, Brooklyn Blues-
busters (Fri., Sat.) cover, Okra (Sun.) cover.
M9 Mediatrics
LHF

tonight,
6:00 2 4 7 News
9 Courtship of Eddie's Father
50 Flintstones
56 Operation Second Chance
6:30 2 CBS News
4 NBC News
7 ABC News
9 I Dream of Jeannie
50 Gilligan's Island
56 Bridge with Jean Cox
7:00 2 Truth or Consequences
4 News
7 To Tell the Truth
9 Beverly Hillbillies
50 1 Love Lucy
56 World Press
7:30 2 What's My Line?
4 Hollywood squares
7 Wait Till Your Father
Gets Home
56 Wall Street Week
50 Hogan's Heroes
8:00 2 Mission: Impossible
4 sanford and Son
7 Brady Bunch
9 Woods and Wheels
56 Washington Week in Review
50 Dragnet
8:30 4 Little People
7 Partridge Family
9 Pig and Whistle
50 Merv Griffin
56 Off the Record
9:00 2 Movie
"Boccaccio '70" (Italian 1962)
4 Circle of Fear
7 Room 222
9 News
56 San Francisco Mix
9:30 7 Odd Couple
9 Sports Scene
56 Opera with Henry Butler
10:00 4 Bobby Darin
7 Love, American Style f
9 Dan Gibson'saNature Family
50 Perry Mason
56 High School Basketball
11:00 4 7 News
9 CBC News
50 One Step Beyond
11:20 9 News
11:302 News
4 Johnny Carson
7 Dick Cavett
50 Movie
"Captains of the Clouds"
(1942)
12:00 2 Movie
"The Family Jewels" (1965)
9 Movie
"Night Gallery" (1969)
1:00 4 Midnight Special
7 Movie
"Outside the Law" (1956)
2:00 2 Movie
"Operation Bottleneck" (1961)
2:30 4 News
3:00 7 News
3:30 2 TV High School
4:00 It's Your Bet
4:30 2 News
cable tv
channel 3

The entire Ann Arbor area is
great picture this is-you must

talking about what a
see it to appreciate it!

H E LD OVE R-3rd H IT W E E K
WINNER OF 4 ACADEMY
AWARD NOMINATIONS, including
* BEST PICTURE * BEST ACTRESS-LIV ULLMAN

F I

THURS-FRi at 6:40
& 9:05
SAT, SUN & WED at
PM, 3:30, 6 PM, & 8:45

r

"MASTERFUL !'
OF A SECURE-

"A FILM
WORTHY INTEGRITY
PLACE ON AN ARTIS

OF IMMENSE
Y, AS CERTAIN
TIC ACHIEVE-

3:30
4:00
4:30
5:00

Pixanne
Today's Woman
Something Else (rock)
Strataspliere Playhouse

I

'

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