Friday, October 13, 1972 THE MICHIGAN DAILY Page Three Friday, October 13, 1972 THE MICHIGAN DAILY Page Three CHRRLIE CHRPLIN "The powerful deflating force of Chaplin's comedy at its peak!" -Newsweek "Gloriously Funny! Another work of art from the master." -William Wolf, Cue PAULETTE GODDARD JACK ORKIE 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 Wed.-"AND NOW FOR SOMETHING COMPLETELY DIFFERENT" 761-9700 SOON-"The Ruling Class" Join The Daily Staff Subscribe to cinema weekend Fat City Wayside 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- lism. -RICHARD GLATZER Fiddler on the Roof State 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- questioning. -LARRY LEMPERT Bufferlies Are Free Michigan 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- mended. 1:00 4 News 7 Movie "The Scorpio Letters" (1966). Secret Agents and blackmail. Alex Cord and Shirley Eaton star. 1:30 2 Movie "Dead Man's Eye's" (1944). Did blind artist Lon Chaney really murder his benefactor-for his eyes??? 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! -PETE ROSS 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- out. -RICH ARD GLATZER Frenzy Campus 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. -DAVID GRUBER The I pcressFile Campus 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. -TERRY MARTIN 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 him. 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. -DAVID GRUBER Tout Va Bit Auditorium A Sat. 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 odard-Go- 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 -STAFF 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. -CHRISTOPHER PHILLIPS 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. -MATTHEW GERSON Dial M For Murder Cinema II Sun. 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- ed. -PETE ROSS 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- dan. -STAFF The Idiot ~ew. tonight 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 Fri. 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. -ERIC LIPSON Les Dames Du Bois De Boulogne Cinema Guild Saturday 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 hard. 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. -CHRISTOPHER PHILLIPS Une Femme Douce Cinema Guild Sunday 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 ARTS 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 8,$1. 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 cover. *** CINEMA I PRESENTS *** FRIDAY the 13th: TOUCH of EVIL 1958 with Orson Welles and Marlene Dietrich Welles plays a sleazy Mexican Border sheriff ATTENTION! NO CINEMA II SHOWING ON SATURDAY! 7 and 9 o'clock $1.00 Aud 'A', Angell Hall r I l1 READ -JACK ANDERSON- in i II ________ I benefit for the Media Access Center sponsored by Friends of Newsreel prior to its U.S. premiere at the SAN FRANCISCO FILM FESTIVAL Jane Fonda Yves Montand IN TOUT VA BIEN (Everything's O.K.) plus: short film, "Letter to Jane" I 2-4-6-8-10 p.m SATURDAY Oct. 14 $2.50 benefit cont. Aud. A meet with the directors-8 p.m. 0 ui 0