Thursdav. March 29, 1973 THE MICHIGAN DAI'LY - --------- -- ----- ----- -- - ---------- I TON IGHT ONLY LITI'LE 36MAN WAS EITHER THE MOST NEGILECTED HERO IN HISTORY OR A LIAR OF INSANE PROPORTION! 1 teI S 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 Classroom Meetings 7:00 2 Truth or Consequences 4 News 7 To Tell The Truth 9 Beverly Hillbillies 50 I Love Lucy 56 Course of our Times 7:30 2 What's My Line? 4 Circus! 7 Michigan Outdoors 9 Movie "Tarzan's Revenge" (1938) 50 Hogani's Heroes 56 Behind the Lines 8:00 2 The Waltons 4 Flip Wilson 7 Mod Squad 56 Advocates 50 Dragnet 8:30 50 Merv Griffin 9:00 2 Movie 10:30 9 Countrytime 11:00 2 4 7 News 9 CBC News 50 One Step Beyond 11:20 9 News 11:30 2 Movie "The Bad Seed" (1956) 4 Johnny Carson 7 A Little Bit Like Murder 50 Movie "That Certain Woman." (1937) 12:00( 9 Movie "Mirage." (1965)' 1:00 4 7 News 2:00 2 Movie "The Green Glove" (1952) 3:30 2 TV High School 4:00 2 TV News wcbn 89.5 fm 9 :00 Moning After Show 12:00 Progressive Rock 4:00 Folk 7:00 Talk Back 7:10 Leslie Stevens, "Communication and Media: Toward a One World Mind." 8:00 Jazz 11:00 Progressive Rock 3:00 Signoff cable tv channel 3 3:30 Pixanne 4:00 Today'sWoman (local percus- sionist Lorenzo Brown) 4:30 Something Else 5:00 Stratosphere Playhouse 5 :30 Local News/Town Crier 6:00 Love and the Law (Estate Planning) 6:30 NCAA Super Sports 7:00 Community Dialogue (Frank Mogdis, Jim Stephen- son and Benita Kaimowitz, candidates for mayor) 8:00 Yesterday's School Board By DAVID GRUBER Ingmar Bergman is a master at creating atmosphere, at calling up just the right colors or shades of black and white to lend a unique feeling to his settings. He knows that even the basic physi- cal appearance of a film plays a vital role in conveying emotions and meanings to an audience. This knowledgetis at work in Cries and Whispers and is respon- sible for much of its appeal. To be sure, Cries and Whispers is an impressive movie for other reasons as well. It is convincingly acted and gracefully edited, and it has power. But here begin its problems. It draws us in by the power of its craftsmanship more than any emotional or intellectual profundity which Bergman is cap- able of reaching. Indeed, the psychological depths explored in this film were already reached and in some cases exceeded in The Silence and Persona, two films with themes Bergman once said he would try to develop fur- ther in this new film. What we have as a result is aseries of vignettes-some old ones slightly altered and some new ones beau- tifully executed-which pass by in an almost dreamlike way, not 'Cries and Whispers': adeeper shade of red . .. . . ... .. .. . . . .. ... . .. .. ... ... .. ... ... .. ... . .. .. . .. ... .. . .. ... .. . .. ... . .. .. ... . L :: :: : : V ; .. .; ... . . ...... .."." t : :.L . . .. . .. .. LL. .. ... .. . .. L" ::: : " .L "." t ": 1 1 L":t : J ::::':::.:::::t::ti::::. :t::. ::::: ::r.:'. :":.":tt:."::"": :....... F'"r ~r.:~~t":L:":.:L."...r::.......t::t:: ... 1:::{t::::":r:"::.......J:"::::ti:: YIh... J DUSTN HOFFMAN LITTI.E BIG N" Panavisione@Technicolora 7:15 & 9:30 P.M. Modern Languages Bldg., Aud. 3 (E. Washington at Thayer, Ann Arbor) $1.25 New World Film Co-op 4 9 56 9:30 9 10:00 4 9 50 56 "tick . . . tick . . tick" (1970) Ironside ABC Theatre News An American Family Happy Though Married Dean Martin Adieu Alouette Perry Mason Masterpiece Theatre fully connected to anything real. "Ever since my childhood," Bergman wrote recently, "I have pictured the inside of the soul as a moist membrane in shades of red." And so we have it: a Berg- man vision. Set in a manor house around the turn of the century, Cries and Whispers is saturated in red: red walls, red curtains, red carpets, red chairs, fade-outs into a completely red screen. The four women of the film-three sisters and a servant gathered together because one of the sis- ters is dying-are at times ab- sorbed into or emerge out of their red backgrounds. It is a new feeling for a Bergman film, one that is somber, plush, and deeply evocative. Within this environment, the women exist as If in a portrait gallery. Their faces and bodies are stood up or stretched out against the red backdrops, and the camera follows them relent- lessly so we might pick up every agony, every exasperation. It is Bergman's manner of giving his films their weight-the closeups, the stares, the deeply troubled expressions, and of course, the enigmatic language, which, in Cries, often gets out of hand. But this close look reveals that inside the mansion-soul the wom- en are not allowed full personal- ities; they are frozen into one- dimensional emotional attitudes, resembling the statuettes at the film's beginning. As Pauline Kael noted in her review, they repre- sent "facets of woman" rather than individuals in their own right. Because of the decided lack of character exploration, the tensions created by their in- ability to communicate with each other are played in very narrow terms, and while they at first have a definite impact there is nothing within the characters to broaden their dimensions and the impact is lost. This sisterly conflict harkens back to The Silence, where In- grid Thulin again played a re- pressed but at least more com- passionate woman. As Karin in the current film, she is a woman with cyanide in her veins, a figure of absolute negativity, al- most always dressed in black. She is contrasted with Maria (Liv Ullman), the selfish, childish adultress, by Agnes, the com- passionate one in white who paints white roses, and by the servant Anna (Kari Sylwan), the earth mother, who, despite her physical size, is essentially as airy and as much of an.apparition as any of the others. One cannot say that Bergman did not handle their roles well, or that he failed to put over his intentions of pre- senting a single personality bro- ken into four components. One can argue, however, that this should not have been allowed to interfere with a story about what could have been four very human characters. While there is the double-entendre of having the disparate parts of a personality fight to come together as four human beings try to get along, the two ideas are incompatible in the long run. I could not feel much sympathy for anyone but Agnes, whose -death is the most excrutiating I have ever seen on the screen. The other char- acters were much more rigid. When Bergman did try to hu- manize things, the result was rather "hokey." There is no more SAIL THROUGH AFRICA with KATHARINE HEPBURN and HUMPHREY BOGART in Te Arican Queen A great one directed by k. JOHN HUSTON. Screenplay by-JAMES AGEE TONIG HT and TOMORROW MARCH 29 & 30f This Weekend: BEFORE THE REVOLUTION 7 & 9 Architecture Auditorium $1.00 t .. I Local Poets- The Michigan Daily Arts Page is now accepting poetry for publication. Submit work to Arts Editor Co The Daily. I beautiful or haunting scene than that of Agnes' death in which the sisters straighten her body, cover her and cross her arms over her chest. -And there is no more hope- ful scene than when the three survivors, in mourning clothes, kneel before her bed with their heads bowed as a pastor, quite moved himself, reads a prayer. Do they just for a moment feel a sense of common loss? Do they share a compassion for Agnes now that her agonies are over? It would have been nice had this scene lingered for a little while. But no, the pastor, a doubting Tomas like the pastor in Winter Light, starts questioning God's existence, starts talking about cruel and empty skys, and prays for meaning in life. Who asked for this? Right now I couldn't care less about God, skys or meaning because Agnes has just gone through hell and it seems that her experience might move the other women toward some reconciliation. Why couldn't the pastor have kept his faith? He is a positive letdown, to the audi- ence and especially to Agnes, who needed and looked for faith in her sisters and could seldom find it. More disappointing is the fact that when Agnes comes back to life, unable to "sleep" because her sisters are warring with each other, the scene is unconvicing and contrived. As much as it was meant to startle or disturb, it is nothing but an ineffective old- time movie cliche. Anna is the only member of this ensemble who is shown to be in any way devout. She prays for her own dead daughter and at- tends Agnes almost out of in- stinct. For Agnes specifically she is a surrogate mother (her be- havior is more appropriate to the infantile Maria) a replacement for the now deceased real mother (there are a lot of dead spirits at work in this mansion) whom Agnes found to be a mystifying fiure. It may well be the mother's soul we are peering into all along; it is her mansion, her daughters, her servant. She, at least, is al- lowed two sides to her character; Agnes recounts that at times she was warm, serene, and sym- pathetic, at other times temper- mental or distant. We first see her as a vision in Agnes' mem- ory, walking over the green lawns of the grounds surround- ing the house, in the bright sum- mery atmosphere in which Agnes experienced her happiest moment of life, a moment shared with her sisters. The outdoors seems to support times of fellowship and unity among the women. It expresses a Bergman ideal, one which is rare- ly attained in any of his films as far back as they go. When presentedhere though it is, once again, too direct a contrast; and again, the tensions built up in the film lose their hold. Bergman's films are usually made of tensions, suggestions, possibilities of hope and despair, all of which attract and repel each other with no definite resolu- tion at the end. Cries and Whis- Page Three pers is lacking many of the re- percussions that these things have given Bergman's past films. The setting moves a step forward while other parts of the film are stuck in ideas which have now grown stale. And, in a few in- stances the production is just plain careless. But it is not a pretentious movie, as some have claimed, first because it is acted with such conviction, and second, be- cause I think Bergman is showing something of himself that he tries at other times to conceal. While his view of women in this movie may be somewhat limiting, it might still be the view he begins with when creating char- acters with more flesh and blood, such as Eva in Shame, Marta in. Winter Light, Desiree or Petra in Smiles of a Summer Night, Alma in Persona. These are some of Bergman's best characters, because we can feel closer to them, and respond to them more fully. More than just art' at galleries By SARA RIMER Does the idea of an "art gal- lery" conjure up an image of a plushly carpeted, intimidating en- vironment where everyone treads on tiptoe and speaks in hushed tones? It is just such an image that two local art galleries hope to dispel by creating a total en- vironment for the arts. Attempting to make the Pyra- mid Gallery more than just a visual art place, director/owner Marty Nyrl kanen collaborated with poet and University English professor Robert Hayden in choosing poets from the Univer- sity faculty to participate in a series of six poetry readings that began on March 15. Poets in- cluded in the series are John Kolars, Josephine Gauagher, Wal- ter Clark, Don Hall, Robert Hay- den, and Larry Goldstein. The casual, relaxed, atmosphere has produced a favorable reaction from audiences, and Nyrkkanen hopes to eventually also sponsor music and dance programs. All of the readings are free and begin at 7:30. Tonight's poet is Walter Clark. Union Gallery director Sherryl Shaw is interested in "bringing people together in a stimulating, contemporary atmosphere that will encourage participation in the arts." As part of this attempt to create a center for the arts, a benefit performance of Edward Albee's The American Dream will open in the gallery tonight at 8 and run through Saturday. Marilyn Heberling is directing the students who are mainly un- dergraduates in the Speech De- partment. Since the gallery is in need of funds, any contributions will be appreciated. In the past, the gallery has featured musical concerts and now hopes to continue presenting plays and perhaps' even a mime troupe. Shaw feels strongly that the gallery should serve as a profes- sional outlet for young artists. She wants to "make the Univer- sity community aware of the tre- mendous amount of talent in Ann Arbor." I L .. . J.' 1 .:.t.1..'V. ' I ' ~ u wll.. !".i.t a'a}'r Architect' takes mad, amoral, anarchistic look at everything By ALVIN CHARLES KATZ Devotees of absurdist theatre will enjoy the current Univer- sity Players Showcase produc- tion, The Architect and the Em- perior of Assyria, which runs through Saturday at the Arena Theatre in the Frieze Bldg. The play is a mad, anarchistic, am- oral, antisexual look at almost everything, an often refreshing and always unusual theatre ex- perience. Written by- the Spanish au- thor Fernando Arrabal, The Ar- chitect and the Emperor of As- syria is classical in form, while absurdist in outlook. The plot, if you choose to call it that, finds a lone individual called the Architect living on a remote is- I land which the survivor of an airplane accident, who calls him- self the Emperor of Assyria, finds his way to. The ensuing two and three-quarters hours are spent portraying the variety of relationships and interactions between this unlikely pair. Arrabal has clearly designed the two characters as opposites; the Architectis absolutely pa- gan, while the Emperior seems to represent all that is Euro- pean culture. The two explore many of the classic opposite rela- tionships - male and female, mother and child, master and slave, and others. Out of this emerges Arrabal's comment on God, sex, power, friendship, death, religion, and much more. The play ranges. from intense seriousness to gross hilarity, changing its tone with no notice at no particular time. Three themes run through the show, providing what little sense of unity exists. One is religion, which is practiced and insulted periodically. A second is the Emperor's maternal fixation, and a third is the use and mis- use of friendship. These themes weave in and out, like threads Sat., Sun., & Wed. at 1, 3, 5, 7, 9 Mon., Tues., Thur., Fri. at 7 p.m. & 9 p.m. Only INGMAR BERGMAN''S aRIESAND WvvHSPc-)EFSn~ in a loom, and in the end com- bine to form a garbled but defi- nite collection of sensibilities. The University Players' pro- duction is an attractive one, Steven Kleinman and Edward Weiss composed and perform a musical score, largely electron- ic, which underscores the 're- peating themes and greatly en- hances the mood of the play. Director Bruce Levitt has added a chorus of seven expressionless urchins dressed like Red Riding- hood, who accentuate the action on stage through the use of mo- tions provided them by Choreo- grapher Jennifer Martin. The set, designed by Gary Hotvedt, looks disturbingly like large Christmas presents wrapped in tin foil, but functions nicely and has been well integrated in to the blocking. As the Architect, Christopher Connell performed nicely, suc- cinctly conveying a sense of naivete mixed with innate intel- ligence. Herbert Ellis, in the role of the Emperor, gave an ex- cellent performance, display- ing astonishing vocal dexterity and control, as well as complete mastery of his voluminous role. The two actors played off each other extremely well, pacing their dialogue in a comfortable, rhythmic way. The production had some fine individual scenes; most notable was one which began with the Emperor describing a pinball game he played to determine the existence of God, nicely high- lighted by the chorus, and ended with Ellis, dressed in drag, giv- ing birth and playing the role of both mother and attendant. I also particularly enjoyed Con- nell's remarkable individual scene in which he plays two roles,rattemptingstotlure the Emperor out of his hut. While sometimes tedious and often intellectually confusing, The Architect and the Emper- or of Assyria is an intelligent production. It represents an un- usual and refreshing departure from the rational theatre, and that in itself makes it worth- while, even as a curiosity. I. UAC-DAYSTAR Presents: tim buckley and randy newman BEST Picture Director Screenplay o Actress (Liv Ullman) ---N.Y. Film Critics Awards HEART written by NEIL SIMON directed by ELAINE MAY -NEXT- Barbra Streisand in "UP THE SANDBOX" CULTURE-CALENDAR FILM-The AA Film Co-op presents Penn's Bonnie and Clyde in Aud. A, Angell at 7, 9; Asian Studies Film shows The Year of the Pig at 7, 9:30 in 1025 Angell; Cinema Guild presents Huston's African Queen in Arch Aud. at 7, 9:05; South Quad Films features Bonnie and Clyde at 7, 9 in Din. Rm. Two; New World Film Co-op presents Little Big Man in Aud. 3, MLB at 7:15, 9:30. MUSIC-The Music School presents an Opera workshop in Rackham Aud. at 8; Trotter House Jazz Series features Linda Carter, bass and quartet at 8 in 1443 Washtenaw. DRAMA-U Players present Arrabal's The Architect and the Emperor of Assyria at 8 in Rieze Arena; Union Gallery gives a benefit play, Albee's The American Dream in Union Gallery at 8; Ann Arbor Civic Theatre presents Prime of Miss Jean Brody at 8. POETRY-Gary Gildner reads at 4:10 in Aud. 4, MLB; Wal- ter Clark reads his poetry at 7:30 in the Pyramid Gal- lery. LECTURE-Labelle Prussin, prof., arch., gives an illustrated lecture, "Existence, Space and Time in Traditional Afri- can Architecture" at 4 in Aud. A, Angell. featured in this month's Playboy. See it while you can.:. o 0: "z/{tp I WARREN BEATTY-FAYE DUNAWAY-GENE HACKMAN and MICHAEL J. POLLARD in ARTHUR PENN'S BONNIE AND CLYDE WINNER OF 2 ACADEMY AWARDS: Best Supporting Actress (Estelle Parsons) ; BEST CINEMATOGRAPHY (Burnett Guffey) and ACADEMY AWARD NOMINEE FOR BEST PICTURE, BEST ACTOR, BEST ACTRESS, AND BEST SUPPORTING ACTOR. TONIGHT!-MARCH 29th-ONLY! M-7 &,9 p.m. I - &~,a* >7~~ . I ._ _ _