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March 18, 1973 - Image 3

Resource type:
Michigan Daily, 1973-03-18

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Sunday.- March 18, 1973


Page Three

Sunday;Morch 18, 197 THE MICHGAN AIL

Tickets for the three winners
shows go on sale at 5:30 p.m. at
And. A and Arch Aud; shows at 7,
9 and 11. Warning: tickets go fast.
The Ann Arbor Film Festival,
which concludes tonight with a
program of festival winners, is
best described as an event that
far too many people missed this
past week. Subjects and tech-
niques that stretch the imagina-
tion were explored, fighting their
way through the mire of poor
and ordinary films, to win de-
served recognition.
However, even the disasters
are successes, as those excel-
lent films stand out that much
more. Rarely did I reach the
brink of boredom, despite the
enormous number of films com-
pacted into too few days.
The revelation most of the au-
dience came away with, is
that 90 minutes of film need not
have a plot, star or message to
be film or highly entertaining.
Many argue the nature of film
is everything not found in Hol-
lywood. Renowned "under-
ground" filmmakers such as
Stan Vanderbeek and Stan
Brackage, although hampered
by McCluhanese, find explana-
tions of their art frustrating. Es-
sentially, they say "reality is
~jsaRI WZn
- - I I
Tues. & Thurs. 7:30 & 9:30 p.m.
March 20 & 22 $1.25
Modern Languages Bldg., Aud. 3
Charlie Chaplin
TUES. The Pirates
starts "Little Rascals"
at 8:30
The Music Box
Laurel & Hardy



inspira tion

impossible" on film, so why
try to recreate reality with ad-
aptations of literary works? Film
as an art "has no message, ex-
cept maybe the supreme mes-
sage of inspiration." Hence, a
film need only to generate an
esthetically pleasant or intrig-
uing picture to be worthwhile,
and many in the Festival at-
tempted just that.
Two excellent films that "say"
exactly nothing are Gilgamish
and September 11th, 1972, yet
both are exciting exposes of the
nature of reality on film. Gil-
gamish, an extraordinarily beau-
tiful animated film, exhibited
one tangible object melting and
transforming into another. Sept.
11th used a large mirror to ex-
plore the camera's ability to
view objects selectively. (In this
film the scenes were purely ob-,
jective (a wall, a room) how-
ever, the documentary films
demonstrated the same phenom-
enom when they subjectively re-
ported an event through the
camera's viewfinder. The Thir-
ties and The Jail were both ex-
cellently edited films that show-
ed the audience only what the
filmmaker wanted to shoot.) Ob-
jects in the mirror look the

same as the original, and all ap-
peared intangible through a soft
The most important criteria in
judging the films at the Festival
is asking yourself, "Would I
want to sit through that again?"
If the answer is "yes" or even
"maybe" then it is a winner.
Too often commercial films are
valueless, yet only because it
has a story line or semblance of
excitement are you able to sit
through the entire show. With
the Festival films the worth-
whileness of a film is isolated
and magnified because usually
there is no literary aspect (or
even sound aspect) to encum-
ber your judgment.
Despite the innovativeness of
the films, there still is a limit
to the length of time one can
remain interested in a film lack-
ing direction. Apotheosis used
computers and cathode ray tubes
to project intricate visual pat-
terns, but after five minutes of
the film, I realized it was four
minutes too long. Two minutes of
Symetricks produced g 1 a z e d
eyeballs and a migrain head-
ache. Shoot the Whale wasn't a
computer film but it might as
well had been for all the mean-
- - - - --_--- --- --

ing I received. I had no idea,
whatsoever, what was going on
after ten minutes-the film list-
ed 90 minutes-but, there were
a few laughs supplied so it
wasn't a total loss. Pescados Vi-
vos was equally unstructured
yet had the direction lacking in
Shoot The Whale, as it lam-
pooned typically American in-
stitutions and idiosyncracies.
Interestingly enough, the most
appealing films at the Festival
seem to blend the ideals of both
the new wave and old guard
filmmakers. When Frank Capra
spoke in Ann Arbor, he frequent-
ly mentioned as his rule of
thumb, humanism. "People
come to the theatres to see
stories about everyday people."
Even though the Festival films
lack the Capra / commercial
plots, camera work, etc., they
still were vehicles for tales of
ordinary people.
The Maple Sugar Farmer, 6344,
Betty Tells Her Story and may-
be Good Grief! all tell of frailties
of simple folk, all in very differ-
ent technique. The Maple Sugar
Farmer and 6344 expose the
technological monster of our
century and the joy of individual-
ism. Betty's story is nothing

more than her loss of a dress,
but is so revealing of human na-
ture that it is somewhat painful
to watch her speak. Good Grief!
is a cartoon that explores the
hidden fears and monsters that
night brings for little kids. All
were engrossing and all were
among the best at the Festival.
Unfortunately, poor pre-Festi-
val publicity left a vast majority
of the campus in ignorance of
the Festival. This is an event for
which the Architecture Auditor-
ium should be overflowing, with
more in the audience than the
true-blue faithful. The Festival
revels in so many images that
adequate coverage of them all is
"And, most interesting, the Fes-
tival seems to be an accurate in-
dication of the feelings and top-
ics of interest today. It is that ol'
microcosm theory and worthy of

Daily Photo by TOM GOTTLIEB

Tony Barrand (left) and John Roberts
Bawdy songs at the Ark



Class demonstrates
creation of a dance

"Movement and rhythm-you
put them together' to make a
dance." (Gay Delanghe, instruc-
tor for Dance Composition I)
Students have many opportu-
nities to see professional dance
troupes perform, but it's a rare
experience to watch a dance be-
ing constructed. It happened on
Thursday afternoon in the dance
studio of Barbour Gymnasium,
when students studying begin-
ning dance composition demon-
strated how they have learned to
combine different movements
and rhythms to form dances.
The students began by show-
ing their audience that all move-
ment which we call dance ac-
tually comes from our everyday
As three dancers demonstrated
different styles of walking,
running and skipping, it was
hard to imagine how a dance
could evolve from such simple
Then as other dancer joined
in doing the some movements at
different times and tempos, a
pattern developed, which was to
become the basic theme of the
Another element of construc-

ting dances that we observed
was the use and the absence of
sound to complement movement.
One dancer communicated her
anger by stomping around the
studio and letting out an .occa-
sional scream. The sounds she
was making amplified the feel-
ings portrayed by her angry
Singing loudly, another student
slid around the floor, grinning
and letting everyone know how
good she felt. Others choose
laughter, whistling, crying, sigh-
ing and pounding on the floor to
heighten the sensation of the
mood they were portraying.
After watching them, it's easy
to understand why some dances
make you feel so good, and
others sort of sad for no oppor-
ent reason.
Gradually small groups of stu-
dents began combining their own
interpretations of different move-
ments. The assignment was to
use one example from each of
three groups: walking and run-
ning, skipping, galloping and
sliding; or leaping, hopping and
After a while the step varia-
tions created from these simple
movements started to expand

and flow to fill the room with a
seemingly unrelated jumble of
movements. With added vari-
ances in the rhythm, timing and
certain sounds to exemplify the
theme of the movements, we
were watching a dance.
From the beginning, when the
first dancer walked across the
floor, the dance grew step by
step into a seemingly intricate
and incomprehensive perform-
ance. But if you watched close-
ly, the very same type of walk
used at the beginning, permeat-
ed the finished dance.
The excitement that the stu-
dents generated by creating
their dance was shared by an
audience that now hopefully has
a better understanding of what
makes a dance ,and how the per-
formers communicate the mood
of their piece.
6:00 2 60 Minutes
4 News
7 Movie
"Rhino!" (1964)
9 I Dream of Jeannie
50 Star Trek
56 Movie
"ojimbo" (1961)
6:30 5 NBC News
9 Beverly Hillbillies
7 :00 2 TV 2 Reports
4 George Pierrot
9 Tom Jones
50 Lawrence Welk
7:30 4 World of Disney
7 Police Surgeon
8:00 2 M*A*S*1 I
7 The American Idea
9 Beachcombers
9 Mancini Generation
56 An American Family
8:30 2 Mannix
4 The Red Pony
9 Bandwagon
50 Johnny Mann's Stand Up
and Cheer
9:00 7 Movie
"No Way To Treat a Lady"
9 Purple Playhouse-
"The Lyons Mail"

56 Masterpiece Theatre
"Point Counter Point"
50 Golddiggers
9 30 2 Barnaby Jones
50Detroit show
56 Firing Line
50 Oscar Contenders
10:30 2 Evil Touch
4 Profiles in Black
9 CBC News
11:15 7 News
11:20 .9 Religious Scope
11:30 2 Movie
Afredithcocks The 39
4 B~ alley
10: Moiekn
'The Ghost and Mr. Chicken"
50 For My People
11:0043 1News
10 2Movle
"Dough Boys" (1930)
2:00 7 News
21:50 2 Newse
6:00 2 4 7 News
9 Courtship of Eddie's Father
50 Flntstones
56 Operation Second Chancen
6:30 2 CBS Newso
4 NBC News
7 ABC News
9 I Drem of Jeannie
52: 0 G4 gN 's I
2560360 egree

Associate Arts Editor
In this time of openness on the
subject of sex, who doesn't still
enjoy an imaginative bawdy song
whose point is merely implicit?
John Roberts and Tony Bar-
-rand provided a receptive Ark
audience with an impressive ar-
ray of such songs Friday night.
Their material ranged from sen-
sitive, sensual courtship songs to
bawdy sea chanties, intertwined
with their absurd and what could
smilingly be called "earthy" hu-
mor. (Tony timed his belches ra-
ther skillfully.)
Having performed at the Ark
several times before, John and
Tony didn't disappoint their fol-
lowers; their harmonies were
just as exciting as ever, their
steady, forceful, and somewhat
nasal voices joined by spontane-
ous harmonies from the audi-
Both originally from England,
John and Tony are steeped in the
music hall tradition from whence
comes much of their material,
though they are always on the
look-out for new songs. They've
7:00 2 Truth or Consequences
4 News
7 To Tell the Truth
9 Beverly Hillbillies
50 I Love Lucy
56 Archdiocesan Report
7:30 2 What's My Line?
4 Mouse Factory
7 Let's Make A Deal
9 WackysWorld of Jonathan
50 Hogan's Heroes
56 Great Decisions '73
8:002 Billy Graham Crusade
4 13 Rowan and Martin's
7 Rookies
9 Bobby Goldsboro
56 Net Opera Theatre
50 Dragnet
8:30 9 David Frost Revue
50 Merv Griffin
9:00 2 Tony Bennett in Waikiki
4 Triple Play '73
7 Movie
"The Silencers" (1966)
9 News
56 Alexis Weissenberg: The Piano
9:30 9 This Is The Law
56 Book Beat
10:00 2 CBS Special
9 Nature of Things
50 Perry Mason
56 Speaking Freely
10:30 9 Man Alive
11:00 2 4 7 News
9 CBC News
50 One Step Beyond
11:20 9 News
11:30 2 Movie
"80 Steps to Jonah" (1969)
4 Johnny Carson
7 Dick Cavett
50 Movie
"I Loved a Woman." (1933)
11:40 9 Curling Report
12:00 9 Movie
"Journey to Shiloh." (1968)
1:00 4 7 News
1:40 2 Movie
"Sword of Sherwood Forest."
(English; 1960)
3:10 2 TV High School
3:40 2 News
89.5 fm

YVestige of artistic prudery'

put together a large part of their
repertoire in the five years they-
've spent in the U.S. studying
psychology at Cornell and -tow
teaching at Marlboro College in
Their songs-mostly traditional
with a few contemporary selec-
tions by Malvina Reynolds and
Gordon Bok-tell about whores,
sailors, and virtuous maidens who
are wronged. "High Barbary,"
one of the many ballads done a
capella, told of the vanquishing
of a pirate ship and drew the au-
dience in on its harmonized re-
frain. "The Foggy Dew," with
both John and Tony accompany-
ing on concertina, beautifully re-
counted a terminated love affair.
John, who also plays adequate
guitar-usually pattern-picking -
and banjo, performed "Young
Ramble-away" in a soft, reflec-
tive style that showed his versa-

tility. Tony sang a tale of another
young man named "-Nine Times
a Night," which contained a sur-
prise twist ending. "The Bonnie
Black Hare (Hair)," allegedly
about hunting what?),, was per-
haps the only bawdy song that
bordered on the embarrassing.
Its metaphor was just too obvi-
ous. ,But the audience laughed;
the rapport was still there.
With an album and an appear-
ance at the 1972 Philadelphia
Folk Festival under their belt,
John and Tony are successfully
preserving Americans' interest
in a vestige of artistic prudery:
the bawdy song.
But more than that, with their
informal manner, they inspire
their listeners to sing along with-
out self-consciousness. T h e y
make sloshing through Ann Ar-
bor's miserable weather really
worth it.

114 E. Washington

See 2 Fine Films For The Price of One


"A multi-leveled mile-
stone movie; gloriously
funny, brilliantly
pointed and superbly
executed entertain-
ment, right on target."
-Judith Crist,
New York Magazine
He's Xrated and animated!
!6_64ome IlN Mil

... this week in preview
A classical string trio performs at the Blind Pig at 9 p.m.
In the R. C. Auditorium at 8 p.m., the University's Collegium
Musicum presents an Entertainment of Music and Dance of
the English Renaissance; Ann Arbor Cantata Singers and
Chamber Orchestra feature Handel's oratorio "Israel in
Egypt" in the University Reformed Church, at 8 p.m.; the
Arts Musica Quartet gives a special concert of baroque music
at St. Clare's Episcopal Church at 3 and 8 p.m.; The winning
films of the Film Festival shown at Angell Hall and Arch.
Aud. at 7, 9, and 11 p.m.
Rive Gauche presents French language night at 9 p.m.
at Psych. 171 Film Series shows The Cabinet of Dr. Caligari;
Very Very Nice; and American Time Capsule in the UGLI
Multi-purpose Room at 4 p.m.
7ue 4a
HRP presents a benefit poetry reading at the Ark with
poets Donald Hall, Glenn Davis, Fred Wolven, Woody McClel-
lan, and John Bollweg; In Rackham at 8 p.m. the University's
Collegium Musicum presents an Entertainment of Music and
Dance from the English Renaissance.
The Angelicum Orchestra of Milan performs at 8 in
Power Center; From 1 to 7 p.m.; the Union Gallery presents
a special one-day presentation of original lithograph, intag-
lio, serigraph, and woodcut prints.
Josephine Gauagher (Schulze) reads her poetry at the
Pyramid Gallery at 7:30 p.m.; Robert Hayden recites his po-

Also private lessons on guitar, flute, recorder, banjo,
piano, and moog. CALL
Ann Arbor Music Mart
769-4980 9:30-9:00
336 South State Street



March Art Fair
Whei'e? Michigan Union Ballroom
W/eh? Sunday, March 25, 12-6 p.m.
W.t Artists displaying and selling their work
'. Open to everyone. No admission charge
The March Art Fair is the first event to be sponsored by the University of Michigan Artists and Crafts-
men Guild.
The Guild, subsidized in part by The University Activities Center, has formed in response to the interest
among artists and the Ann Arbor community in the Ann Arbor Free Art Fair. In addition to sponsoring the Free
inrili d . r t...f..IA .%A/ill cnnncnr t ,-.4th.. (,,a to hPkh iin the +k i KA;,-k; Hninn BnPrlrrnnm.Tk1P (Guild rilce

9 Classical
12 Broadway: Tribute to Steven etry in the UGLI at 4:10. Professor Joseph Sloane lectures on
Soundheim "Impressionists as Bourgeois" in Aud. A at 4:10 p.m.; The Ark
2 Jazz
7 Black Edition presents Cadillac Cowboys at 8:30.
8 Rhythm and Blues
11 Progressive Rock
cable tv The Lantern Gallery shows prints by Jack Sonenberg
ehannel 3 from 7 to 9 p.m.; The Ark presents Leon Redbone at 8:30.
3:30 Pixanne
4 Today's Woman
4:30 Something Else
5 StratospheresPlayhouse Aeolian Chamber Players perform at 8:30 in Rackham
5:30 Local News
6 Black Vibrations Aud.; Applause at Power Center in matinee and evening per-
6:30 NUAA Sports
7 Community Dialogue formance.





U.A.C. Is Looking for a CHAIRMAN for the

- -7




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