Friday, September 29, 1972

THE MICHIGAN DAILY

Page Three

Friday, September 29, 1972 THE MICHIGAN DAILY Page Three


0

tonight
8:00 2 Sonny & Cher
4 Sanford and Son
* 7 Brady Bunch
9 News-West
50 Dragnet
56 Thirty Minutes With...
62 Big Time Wrestling
6 Sonny & Cher
8:30 4 The Little People
7 The Partridge Family
9 Woods and Wheels
50 Merv Griffin Show
56 Jacob Bronowski
9:00 2 CBS Movie
"Tick, Tick, Tick," '70, Jim
Brown, George Kennedy,
Fredric March. Trouble arises
as a black man becomes sher-
iff in a small Southern town.
4 Ghost Story
7 Room 22
* 9 Tommy Hunter
56 Special of the Week
6 CBS Movie
9:30 7 The Odd Couple
10:00 4 Banyon
7 Love, American Style
9 News-National/Local
50 Perry Mason (B)
11:00 2 News-LeGoff-Caputo Team .
4 News-Local
7 News--Bonds-McCarthy Team.
9 The Cheaters (B)
' 50 Rollin'
6 News
11:30 2 Movie
"Naked Jungle," '54 Charlton
Heston, Eleanor Parker, Army
ants cause problems for a
plantation owner and his
wife.
4 Tonight-Johnny Carson
William F. Buckley, Joan Riv-
ers
7 Dick Cavett
9 Movie ;
"The War of the World," '53,
Gene Barry, Ann Robinson,
Les Tremayne. Earth is in-
vaded by Mars .. beware!
50 CBS Late Movie

The Candidate
State
Watch Robert Redford as he is
transformed before your very
eyes from a handsome, idealis-
tic, fiery attorney into a mealy-
mouthed politician! See Slimey
Political Kingmakers led by
Peter Boyle as they conspire and
manipulate 24 hours a day! Hiss
and boo as the piggy, conserva-
tive, nasty incumbent Senator
Crocker Jarmon kisses babies
and twists the Truth!
No O'Henry-type plot twists
here. The message is simple:
People inspolitics compromise
their ideals. Big surprise, eh?
At best The Candidate is a slick
piece of political melodrama with
smooth dialogue, some interest-
ing sequences and a good sup-
porting cast. At worst, the film
is a thinly disguised H a m m s
Beer commercial with one of the
lamest punchlines in m o v 1 e
history.
Don't expect heavy drama.
This film is for those who like
Redford and Boyle, who desire
some painless entertainment and
don't mind the Hamms Brew-
ery's conspicuous commercial
presence.
-ERIC LIPSON
"Too Many Thieves," '66,
Peter Falk, Britt Ekland.
Prize Macedonian treasure is
stolen.
6 CBS Late Movie
1:00 7 Movie
"Thunder in the East," (B)
'53, Deborah Kerr, Alan Ladd,
Charles Boyer, Corrine Calvet.
1:30 2 Movie
"To Be or Not To Be," (B)
'42, Jack Benny. An Ernst Lu-
bitsch comedy classic about
a Polish acting troupe dur-
ing World War II.

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three other Europeans, enough
money to catch a plane to civil-
ization if they transport two
trig kloads of nitroglycerine to
the site of the flaming well.
Fromthen on, emotional con-
flict becomes a real life-and-
deith struggle, as the four men
begin their long, perilous journey
over rough terrain, with cargo
that might blow them to oblivion
at the slightest jolt. The suspense
builds to incredible heights, as
the audience clutches their
seats, waiting for the theatre to
explode.
-SHELDON LEEMON


Hickey and Boggs
Fifth Forum
This movie really works if
you ignore the plot, which is
pretty easy to do since you
won't understand it anyway. In-
stead concentrate on the two
stars: Bill Cosby and Robert
Culp. Together you will partici-
pate in an I Spy orgy, replete
with tommy guns, .44 magnums
and unabashed camaraderie be-
tween Hickey (Cosby) and Boggs
(Culp) - two private investiga-
tors with a flair for sobering
each other up. I loved every min-
ute of it. United Artists has fin-
ally come up with the white
man's Shaft, and it's worth all
that bloodshed and confusion just
to watch Culp chain smoke and
Cosby look fed up. What a riot.
-PETE ROSS
Slaughterhouse Five
Campus
When Billy Pilgrim was young
and innocent and wide-eyed he
witnessed the bombing of Dres-
den. Later, when middle-aged
and wearing glasses he surviv-
ed a number of other crises, but
none which affected him so
deeply as his experience in Ger-
many; indeed, they only brought
Dresden back to mind more
clearly. Finally, as an elderly
man Billy began to take the
whole of it in stride, and conse-
quently his dreams becamecmore
pleasant. The horror of destruc-
tion was replaced by the com-
placency of a cozy home on the
planet Tralfamadore, totally con-
trolled by an invisible being with
a soft friendly voice. An extreme,
maybe, but so was, the war.
George Roy Hill's film version
of Slaughterhouse Five gives us
Pilgrim's - or Kurt Vonnegut
Jr.'s - life as a series of ran-
dom events out of their proper
time sequences, which is the way
Pilgrim himself sees it by the
end of the film. Each event ul-
timately has no more or less
meaning or importance than oth-
er events, but they are all to
be lived with. Hill's use of re-
peated flashbacks, and f 1 a s h-
f o r wv a r d s shuffles Pilgrim
through time and space gently,
sometimes joltingly, though after
a while the process becomes te-
dious. Stephan Gellar has writ-
ten a witty, moving screenplay,
and Michael Sacks gives a good
performance as Billy. Despite
some extraneous and poorly done
slapstick and excessively stagy
sets in the dream sequences, the
picture should keep your eyes
wide open.
-DAVID GRUBER

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Where Does It Hurt?
Michigan
Now picture this. There's this
big hospital, see, called Vista
Vue Hospital. The patients in this
hospital lie around all day smok-
ing cigars. They aren't ill,
they're just taking a vacation
and letting theirhospitalization
insurance pay for it. The medical
personnel are bona fide grad-
uates of the Grace MacDonald
School of Veterinary Science and
Aluminum Storm Door Repair.
The director of this hospital,
played by Peter Sellers, spends
his time schtupping the nurses,
padding hospital bills, persuad-
ing doctors to perform needless
surgery for more money, and
trying to elude the state medi-
cal authorities. Sounds like a
great idea for a Hollywood mov-
ie, eh? Not particularly. This
medicine - for-the-sake-of-money
schtick could be an allegory
pointing up current trends in the
movies - for - the - sake-of-money
capital of the world. Yes friends,
art and creativity go out the win-
dow and on the lawn, while Hol-
lywood chases the big buck just
like Peter Sellers does. Some
good laffs in this movie from Pat
Morita, who plays a dwarf lab
technician. Otherwise, it's sick,
sick, sick. See this movie, or bet-
ter yet, don't.
-HERBERT MALINOFF
Everything You Always
Wanted to Know About
Sex-But Were
Afraid to Ask
Fox Village
Legend has it that Woody Al-
len first conceived of filming
Sex while watching Dr. Reuben
on a late talk show. A great
idea, but how do you goabout
realizing it? Allen simply de-
cided to compile six skits as
answers to various Reubenesque
questions: "What is sodomy?"
"Do aphrodisiacs work?" "What
are sex perverts?" etc., etc., etc.
The various conceptions of the
skits are often tremendously clev-
er, but once again the problem
of execution presents itself. Take
the "What is Sodomy" episode.
The idea of Gene Wilder falling
in love with a sheep strikes me
as a very funny one. But the
actual episode isn't much more
than one of those imitation-Love
Story Seven - Up commercials
stretched out for fifteen minutes.
Then too, Allen seems 1 e s s
comically sure of himself when
he's being self-consciously dirty.
Unfunny puns and double enten-
dres abound, most of the skits
just trail off towards the end,
and some of the humor is almost
kinky.
Even so, Sex is a very funny
movie. It features: a monstrous
I£
DIAL 668-6416
"For this trip, one must fasten
his seat belt and hold on tight!"
-Saturday Review
WINNER 1972 CANNES
FILM FESTIVAL
JURY PRIZE AWARD

tit that roams the countryside
nursing people to death; a great
satire of Antonioni ("Why do
some women have troubles reach-
ing orgasm?") replete w i t h
Woody in shades and continental
clothes, sultry Louise Lasser in
a blonde wig, and Italian dialo-
gue; Lou Jacobi as a transves-
tite: What's My Perversion, with
Jack Berry as M. C. and Robert
Q. Lewis and Pamela Mason
among the panel members: a
final episode in which Allen
plays a sperm about to be ejacu-
lated; and many, many other
fantastic delights that no Woody
Allen fan will want to live with-
out.
-RICHARD GLATZER
The Lady With the Dog
Cinema Guild
Friday
Anton Chekhov's The Lady
With A Dog, is a classic drama
about the frustrations of Czarist
Russia's uneasy middle class.
Chekhov's tale concerns a mid-
dle-aged Moscow banker who
seems to be happily married,
and is the father of three chil-
dren. In reality he is totally
bored with his friends and social
business world. The story traces
his meeting at a Yalta vacation,
with the pretty and young mar-
ried "lady" of the title. They
have an affair and soon discover
they are falling in love. Unhap-
pily, they face the prospect of
an inevitable fitful relationship.
The Soviet-made 1960 film is
a study of character; in time and
place. Director and adaptor Jo-
sef Heifitz captures the sensi-
tive, bittersweet romance and
drama of Chekhov's story.
-MATTHEW GERSON
L'Eclisse
Cinema Guild
Sat., Sun.
Often charged with slowly mov-
ing his characters through a
plotless morass, Antonioni has
nonetheless asserted, "It is the
story which fascinates me most
..To be a lover of form for me
means being a lover of sub-
stance." For a story revolves
around feelings as well as events.
'Through sensitive camera work
and careful arrangement of
scenes. Antonioni seeks to trans-
mit emotion through imagery, to
ground feelings firmly in the
physical surroundings and to
c r e a t et"an indecomposable
whole" that communicates a
story beyond conventional plot-
lines.
L'Eclisse (1962) is the last of
a trilogy Antonioni began with
L'Avventura (The Adventure,
1960) and La Notte (The Night,
1961). It involves an unsure
young woman - fearful of com-
plications, distrustful of men -
and her relationship with a brok-
er she meets on the floor of the
Roman stock exchange.
The *film has been described
variously as a "prolonged, de-
tailed illustration of the moody
surrender of the woman to a rare
and elusive love"; a "long,
drawn-out, murky, preposterous-
ly sentimental love story" de-
spite its ending; and a profound
comment on alienation .in the
modern world. The stock ex-

change scene, in particular, has
been praised as a skillful treat-
ment of pandemonium. (Italian
dialogue, English subtitles.)
-LARRY LEMPERT
The Big Sleep
Cinema II
Fri., & Sq -
The Big Sleep was made dur-
ing a period in American film
when screen characters had a
good grip on their world and
themselves. The stars of the
time - the male stars at least-
were those who could protect a
flawless personality. They knew
their position in life, they could
handle themselves in any situa-
tion without the slighest trace
of effort, they could resist any
attempt to lower their dignity or
pride - all this while they were
among other, men. Only women
could ruffle 'their composure.
Humphrey Bogart, though, of-
ten seemed able to resist even
a woman's attentions. In The
Maltese Falcon, the forerunner
of Hawks' The Big Sleep, he tells
Mary Astor she must pay for her
crimes while at the same time
claiming he loves her. His code
of honor as a detective and as a
man must be upheld. However,
in the latter film, when Bo-
gart's detective Philip Marlowe
meets Laureen Bacall's Vivian
Sternwood, Bogart proves vul-
nerable. The difficulty is that for
a long while during his battle
against evil, he can't tell which
side she's on. Of course, this
ambiguity enhances their rela-
tionship, the true nature of which
is always played just below the
surface.
Aside from this, Bogart is
again the confident, endlessly re-
sourceful investigator working
in the midst of blackmailers and
killers. The plot to this movie
is ,virtually impossible to fol-
low.d(Hawks himself has con-
fessed that he can't account for
one of the murders.) William
Faulkner was one of the script
writers: perhaps this was his
contribution. In the long run,
though, this doesn'threally mat-
ter. What does is the satisfac-
tion gained from watching Bo-
gart settle people's differences,
whether it is done with a glance
or a gun.
DAVID GRUBER
Wages of Fear
Cinema II
Sat. & Sun.
Cloizot's Wages of Fear be-
gins as a psychological drama,
set in a remote South American
village. Life for those not em-
ployed by the U. S. oil company
consists simply of a struggle to
Have a flair forc
artistic writing?
If you are interest
ed in reviewing
draadance, film
or writing feature
stories a b o u t the
arts: Contact Arts
Editor, c/o The
Michigan Daily.

survive-and to get out. The
chances of escape from this
squalid outpost seem slim for
tough-guy Yves Montand.
- Then a ray of hope appears;
an oil well catches fire and the
company offers Montand, and

CULTRE CALENDAR
Informal Music
ARK-Leon Redbone
BIMBO'S-Gaslighters
BIMBO'S ON THE HILL-Long John Silver
BLIND PIG-Boogie Brothers
GOLDEN FALCON-Evil Eye
LUM'S-RFD Boys
MACKINAC JACK'S-Radio King
MR. FLOOD'S PARTY-Tim Carr
ODYSSEY-Bad Luck and Trouble
PRETZEL BELL-Honky Tonk Angels
RUBAIYAT-Iris Bell Adventure
Art
THE UNION GALLERY, located on the 1st floor Michigan
Union, presents its opening show tonight from 7-10.
Music (The Paul Hofhaimer ensemble) and refreshments.
Dancing
INTERNATIONAL FOLK DANCE-Barbour Gym, 8-11 p.m.
(teaching 8-9)
Upcoming Concert Tip
THE SCHOOL OF MUSIC Composition Department will pre-
sent the first of this season's six Contemporary Direc-
tions concerts Saturday night in Rackham at 8 p.m. The
program is entitled "Aspects of Electronic Sounds" and
will utilize film, magnetic tape, synthesized live elec-
tronic sound and other devices.
The program, organized by the Electronic Music
Studio and directed by George Balch Wilson, will be
open to the public without charge.
The concert will feature the wofld premiere of
Phases for Two Pianos and Photo-cell Mixers by guest
composer Robert Morris.
Included on the program will be two works pro-
duced at the University's Studio, "SST" by David Bates
and Peter Klausmeyer's "Teddy Bear's Picnic."
Saturday's event will emphasize the work of Uni-
versity faculty composer George Burt who has been con-
cerned for the past several years with the live perform-
ance and manipulation of electronically generated
sound and how it can be related to film. Assisted by
guest pianist Fae McNally. Burt will employ an array
of electronic: instruments in presentations of his own
"Improvisations No. 2," Charlie Chaplin's "The Rink,"
and "The New York Hat" with Lionel Barrymore and
Mary Pickford.
Also to be presented is an original film titled "Space
Hold" directed by Amy Ellsworth with electronic sounds
composed by Thomas Clark, the result of a group effort
in advanced cinematography in the University's depart-
ment of speech communication and theatre.
Join The Daily
CIRCULATION DEPT.
Come in any afternoon
420 Maynard


Collective Eye Film Series
PRESENTS
Child care: People's Liberation
San Francisco Women's Film
"Growing-Up Female"
TON ITE-8 and 10 P.M.
MICHIGAN UNION Conference Room No. 332
CHILDCARE PROVIDED

SHOP TONIGHT UNTIL 9:00 P.M.

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