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October 13, 1972 - Image 3

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Michigan Daily, 1972-10-13

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Friday, October 13, 1972


Page Three

Friday, October 13, 1972 THE MICHIGAN DAILY Page Three

"The powerful deflating
force of Chaplin's
comedy at its peak!"
"Gloriously Funny!
Another work of
art from the master."
-William Wolf, Cue
WrittenDirected and Produced
by Charles Chaplin
Released through Columbia Pictures
now thru tuesday
WEEKDAYS-7:00, 9:10
SAT., SUN.-12:45, 2:45,
4:50, 7:00, 9:10
SOON-"The Ruling Class"
Join The Daily Staff
Subscribe to



Fat City
Fat City and Midnight Cowboy
have a lot in common. Thematic-
ally, that is. Both films are about
empty, lonely lives. Both films
tell the stories of unimportant
people and their gritty, thankless
existences. Both films attempt
to examine the grubby underside
of life that we middleclass mov-
iegoers rarely see.
Where the two films part com-
pany, however, is in the all-im-
portant matter of tone. Director
John Schlesinger took Cowboy
and buffed it up to a nice, shiny,
glamorous sort of raunchiness,
and wrung out of it all the pathos
and pseudo-tragedy he could
find. John Huston, on the other
hand, directs Fat City in a man-
ner much more appropriate to
his subject. Assisted bya fine
screenplay (courtesy Leonard
Gardner, author of the novel by
the same name), Huston has fa-
sioned a small, uneventful film
about small, uneventful lives.
City is properly drab, faded,
yet continuously interesting.
One fault: Stacy Keach is mis-
cast as a fifth rate boxer. But
Jeff Bridges, as a very ordi-
nary small-time pugilist, is fine,
and Susan Tyrrell's barfly, look-
ing like a soused young Bette
Davis, is fascinating and funny,
if not the utmost in movie rea-
Fiddler on the Roof
Dear Filmic Oracle:

I've seen Fiddler on the Roof
twice on the stage, have heard
the score countless times, and
I'm not even Jewish. Am I safe
in assuming that paying to see
the film version would be a
waste of money?
-At the Doorstep
Dear Doorstep:
Go ahead up on the roof -
Fiddler as a motion picture is.
an experience quite different
from the play. Director Norman
Jewison has evidenced an acute
awareness of the emphasis and
detail uniquely available to his
medium of film. He has high-
lighted facial expressions and
gestures and integrated the
physical surroundings into the
emotional milieu. Deft editing
has synchronized the music to
appropriate imagery.
The feeling of involvement, so
rewarding to the pay-going audi-
ence, remains. And the theme-
life in a world of tradition that
somehow has to accept change-
is relevant not only to Jews, but
to all of us in an era of value-
Bufferlies Are Free
Being the son of Green Acres
star Eddie Albert probably
brought Edward Albert a lot of
harassment and the lead role in
the screen adaption of yet an-
other successful Broadway play.
It's the tender, warm, and
friendly story of a handsome
blind boy trying to cope with an
overprotective mother, Goldie
Hawn, and the city of San Fran-
8:00 2 Sonny and Cher Comedy Hour
4 Sanford and son
7 Brady Bunch
9 News
56 Washington week in Review
50 Dragnet
62 Wrestling
8:30 4 Little People
7 Partridge Family
9 Woods and Wheels
50 Merv Griffin
56 Off the Record
9:00 2 Movie
"They Call Me Mr. Tibbs"
(1970). An atrocious sequel to
an atrocious original, "In the
Heat of the Night" (possibly
the worst film ever to win the
Academy's "Best Picture"
Award). Sidney Poitier, Mar-
tin Landau.
4 Ghost Story
7 Room 222
9 Tommy Hunter
56 Net Journal
9:30 7 Odd Couple
10:00 4 Banyon
7 Love, American Style
9 News, weather, Sports
50 Perry Mason
56 High School Football
'10:20 9 Nightbeat
11:00 2 4 7 News, Weather, Sports
9 Cheaters
50 Rollin'
11:30 2 Movie
"The Mummy" (1932). The
Daddy of them all. With Boris
Karloff and David Manners.
Daily Recommended.
4 Johnny Carson
7 Dick Cavett
9 Movie
A Study in Terror" (1965)
British. Jack the Ripper vs.
Sherlock Holmes. John Ne-
ville, Donald Houston.
50 Movie-Biography (BW)
"The Story of G.I. Joe" (1945).
William Wellman ("Wings.
"Public Enemy") directed this
fine War film based on Ernie
Pyle's journals. Robert Mit-
chum was nominated for an
Academy Award. Daily Recom-
1:00 4 News
7 Movie
"The Scorpio Letters" (1966).
Secret Agents and blackmail.
Alex Cord and Shirley Eaton
1:30 2 Movie
"Dead Man's Eye's" (1944). Did
blind artist Lon Chaney really
murder his benefactor-for his
3:00 2 7 News

cisco - all on one big stage.
For some reason, whenever
Albert Jr. opens his mouth or
walks across the room, he looks
like a zombie, but don't let that
get in your way; I for one saw
the picture because of Goldie's
body and the way she says,
"Goodnight, Dick," but neither
is in much evidence here. All is
forgiven in the Albert family,
though, and I'm told Son of
Green Acres will be playing at
a theater or drive-in near you
soon. Times Square! Fresh Air!
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 go about
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
clever, but once again the prob-
lem of execution presents itself.
Take the "What is Sodomy" epi-
sode. 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.
Even so, Sex is a very funny
movie. It features: a monstrous
tit that roams the countryside
nursing people to death; a great
satire of Antonioni ("Why do
some women have troubles
reaching orgasm?") replete with
Woody in shades and continental
clothes, sultry Louise Lasser ,n
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-
Frenzy has been brought back
for those who were away from
earth for the summer. It is that
movie which resurrected Alfred
Hitchcock to the position of
master of suspense, much as
The Godfather retrieved Marlon
Brando from mythology and re-
stored him to acting. And, like
The Godfather, it was buried
under a mass of publicity and
criticism which concentrated
too much on the reborn star
rather than on the virtues of the
film itself.
Yes, Frenzy is suspenseful and
yes, Hitchcock is back on fa-
miliar ground with his wrong
man theme. The opening shot
takes us on a majestic descent
into London, presenting us with
the order that Hitchcock will
soon disrupt by floating a
strangled woman's nude body
down the Thames. This creates
an abyss for the spectator and
the protagonist, Richard Blaney,
who is wrongly charged with the

crime. Together they make their
own descent as Blaney gradu-
ally loses all his worldly attach-
ments and finally finds himself
imprisoned. Meanwhile the psy-
chopathic killer is on the streets
dealing with the public.
The I pcressFile
Michael Caine, smaller than
life and twice as casual, makes
his first appearance as low-key
sleuth Harry Palmer in this
classy espionage thriller. Palm-
er's assignment is to plug the
"brain-drain", the systematic
brainwashing of the world's top
minds by a well-organized group
of baddies. (Shades of George
Romney!) In order to pursue his
job, Palmer takes a temporary
leave of the things he loves:
cooking, booking, and looking at
curvaceous female agent Jean
(Sue Lloyd). Apparently none of
these loves outweighs the others,
which is enough to make any
self-respecting superspy turn in
his monogrammed bathrobe.
Produced by Harry Saltzman,
one of the men who brought us
Bond, this has been termed a
"Thinking man's Goldfinger,"
which supposedly leaves Palmer
as the thinking woman's Bond.
His soft-sell approach certainly
doesn't tame any Pussy Galores,
but he does have a Colombo-
like charm of his own.
The film is worth seeing not
only for the subtle vibes put out
by Caine but for some clever
camera work which includes
tricky things like eyes and faces
seen through door slits and the
view from inside of a parking
meter. The breathless technique
bridges a few potentially yawn-
ing gaps in the script and
swoops you along into the excite-
ment of Techniscope London,
simultaneously mellow and men-
acing. As a Bond-type movie,
this film rates about double-o-
zero, but on its own more so-
phisticated terms, it's upper
class all the way.
The Great Dictator
Fifth Forum
Charlie Chaplin made one of
the few war films of the '44s that
r e f u s e d to propagandize the
American cause for freedom.
The Great Dictator is marked
instead by his own belief in a
freedom of individual expression
which has no national preju-
dices. His impassioned speech to
this effect, delivered directly to
the audience, presents the es-
sentials of Chaplin's political
thinking (or apolitical thinking)
which was to be so twisted
when McCarthyism leapt upon
The film as a Chaplin comedy
and as his first feature - length
talkie is only a moderate suc-
cess. Too often his gage are sub-
ordinated to dialogue and the
dialogue flys into melodrama.
Still, the idea behind the film is
brilliant: Chaplin as dictator
Adenoid Hynkel (Hitler) and his
look-a-like, a Jewish barber who
inadvertantly assumes the dic-
tator's role. T.e characteriza-
tion of Hynkel is excellent, and
the mind of a man taken with
egotism and power has never
been so movingly portrayed as
in his ballet with a globe.

Tout Va Bit
Auditorium A
Straight from the N
Film Festival comes G
rin's latest exercise i
tionary cinema. Jan
plays She, an Americar
ist in France, marrie
(Yves Montand). Thet
the revolutionary fact
when they visit a sau
tory and become invo]
worker's revolt. Spec:
attraction is the pers
pear of Godard and Go
Power Center, Saturd
at 8.

ew York
n revolu-
e Fonda
n journal-
d to He
two learn
s of life
sage fac-
ved in a
[al added
sonal ap-
rin at the
ay night

begins with another view of the
wife's jump to freedom.
While it doesn't quite have the
intellectual or emotional impact
as his earlier films (like The
Diary of a Country Priest), Une
Femme Douce is still one of
Bresson's better films.
Touch of Evil
Cinema II
Fri. & Sun.
Steady rhumba music, and a
dynamite - rigged car turns onto
the main street of a squalid
Mexican border town. A clock is
heard ticking. Suddenly the car
explodes in a burst of flame.
So begins Orson Welles' 1958
Touch of Evil, a murky, seedy
story of murder, starring the di-
rector himself as a corpulent
and sinister lawman. Welles
frames a Mexican youth for
murder and clashes with Charl-
ton Heston, a "good" Mexican
cop. Touch features Russell Met-
ty's exciting cinematography;
diverse minor characters played
by a cast from Welles' Mercury
Theater troupe; and a totally
stunning finale.
Dial M For Murder
Cinema II
Before retiring to Monaco in

1955, Grace Kelly made three
final movies with director Alfred
Hitchcock - this one, Rear
Window, and To Catch a Thief.
By far the quietest of the three,
Dial M nevertheless is a classy
production of the famous Broad-
way play. Ray Milland, who has
been going farther and farther
downhill since Love Story,(espe-
cially this year with the horrible
reptile-orgy (Frogs), gives a per-
fectly mean performance as the
rich andttalented husbandrcon-
spiring to kill poor Grace;
amidst much confusion he al-
most succeeds by having her
carted off to jail on a trumped-
up murder charge. The film is a
little long, primarily because
most of the action takes place in
a single room without much ex-
terior shooting. Originally shot
in 3-D, Dial M was released
"normal" because the fad was
over before the film was finish-
Not to Mention...
An hour and a half of the Best
of the Annual N. Y. Erotic Film
Festival, at the Nat. Sci. Audi-
torium Friday and Saturday.
And East Quad is showing Ro-

The Idiot

6:00 2 4 7 News, Weather, Sports
9 Eddie's Father
50 Flintstones
56 Bridge with Jean Cox
6:30 2 CBS News
4 NBC News
7 ABC News
9 Jeannie
50 Gilligan's Island (Bw)
56 Book Beat
7:00 2 Truth or Consequences
4 News, Weather, Sports
7 To Tell the Truth
9 Beverly Hllbillies
50 I Love Lucy--Comedy (BW)
56 World Press Review
7:30 2 What's My Line?
4 Hollywood Squares
7 Wait Till Your Father
Gets Home
9 Lassie
56 Wall Street Week
50 Hogan's Heroes

Cinema Guild
Director A k i r a Kurosawa
transposes Dostoevsky's classic
novel from old Russia to contem-
porary Japan. The movie's de-
mented hero spooks villagers
with his unflinching candor and
generally saintly behavior. In-
evitably he attracts a local fol-
lowing, alienates the local power
brokers and leads his flock of
disciples to destruction. The
moral: Don't make waves.
Actually this is a well done
work; somewhat long but worth
seeing. Kurosawa uses this op-
portunity for some excellent
cinematic imagery.
Les Dames Du Bois
De Boulogne
Cinema Guild
Bresson's films are not for the
weekend film goer. From Les
Anges Du Peche to Une Femme
Douce Bresson's films are ex-
tremely demanding of their au-
diences. His cinematic style is
defined by abstract characters
and symbols and the close atten-
tion paid to details of gesture
and environment. Taking ele-
ments from real life and put-
ting them together in a more
austere, personalized o r d e r,
Bresson comares his films to
painting and calls himself a
"metteur en ordre". In order to
enjoy any Bresson film, you
must be willing to work very
Somewhnt in the voaue of a
1930's Hollywood melodrama,
Les Dames Du Bois De Bou-
logne is not typical of Bresson.
It is more stagev and tedious
than his previous films It is
shot almost entirely indoors
where, as Bresson puts it, "only
the tving and untying of knots
insied the characters gives the
film its movements." For the
most part, the action in Les
Dames, concerning an aban-
doned mistress's revenge on her
ex-loner, can only be described
as "glacial". Les Dames Du
Bois De Boulogne is not one of
Bresson's better films, but is
still worth the time and money
of any dedicated film goer.
Une Femme Douce
Cinema Guild
The meaning of confinement
and liberty is a theme found
continuoisly in Bresson's work,
In Un Condamne a Mort S'Est
Echappe, the film's hero is con-
stantly struggling to escape from
his prison cell, death, and his
occupied homeland. The Trial of
Joan of Arc has a more exist-
ential theme. Joan is pictured as
a just woman whose liberty has
been stifled by the Church.
Une Femme Douce ("A gentle
Woman") also involves a strug-
gle for freedom. In the beginning
a woman jumps to her death
f r o m a bedroom window.
Through a series of flashbacks
told by her husband to a ser-
vant over his wife's dead body,
the audience gradually becomes
aware of her need for freedom,
her need to escape her husband,
her marriage, etc. The film is
circular in form; it ends as it


PHOTOGRAPHY-A photo essay on the 1972 National Demo-
cratic Convention by Mitch Booth and Terry McCarthy
opens tonight at the Studio Gallery (350 West Territorial
Rd.) at 7. Show will run until Nov. 1.
DANCING-International folk dance tonight in Barbour Gym
8-11 (teaching 8-9).
MUSIC-String Dept. Student Recital tonight in Music
School Recital Hall at 8. Detroit and Flack perform at
the People's Ballroom (502 E. Washington) Fri. & Sat. at
DRAMA-Happy Birthday, Wanda June, the sole play penned
by Kurt Vonnegut, Jr., opens today at the Bonstelle The-
atre on the Wayne State campus. It will be performed
Oct. 13, 14, 20-22; tickets available at W.S.U. Theatre
box office and J. L. Hudson ticket outlets. Also, George
Farquhar's Restoration comedy The Beaux Stratagem
continues its run at Lydia Mendelssohn.
ART-An exhibition of prints by Will Barnet opens today at
the Lantern Gallery. The show will run through Nov. 1.
WEEKEND BARS AND MUSIC-Bimbo's, Gaslighters (Fri.,
Sat., Sun.) covei; Bimbo's on the Hill, Long John Silver
(Fri., Sat.) no cover; Blind Pig, Boogie Brothers (Fri.,
Sat.) cover, classical music (Sun.) no cover; Del Rio,
Armando's Jazz Group (Sun.) no cover; Golden Falcon,
Stanley Mitchell and the People's Choice (Fri., Sat.)
cover; Lum's, RFD Boys, cover; Mackinac Jack's Radio
King and his Court of Rhythm (Fri., Sat.) cover; Mr.
Flood's Party, Terry Tate (Fri., Sat.) cover; Odyssey,
The Rockets (Fri., Sat.) cover, jam night (Sun.) no
cover; Rubaiyat, Iris Bell Adventure (Fri., Sat., Sun.) no

FRIDAY the 13th:
TOUCH of EVIL 1958
with Orson Welles and Marlene Dietrich
Welles plays a sleazy Mexican Border sheriff
7 and 9 o'clock $1.00 Aud 'A', Angell Hall






II ________


benefit for the
Media Access Center
sponsored by
Friends of Newsreel
prior to its U.S. premiere at the

Jane Fonda

Yves Montand

(Everything's O.K.)
plus: short film, "Letter to Jane"


2-4-6-8-10 p.m


Oct. 14

$2.50 benefit cont.

Aud. A
meet with the directors-8 p.m.




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