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December 08, 1972 - Image 3

Resource type:
Michigan Daily, 1972-12-08

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Friday; December 8, 1972


Page Three

DANCE-10 choreographed works will be resented by students
at the Schorling Aud. in the School of Ed. tonight at 8.
Admission complimentary.
DRAMA-The U Players' production of Jellicoe's "The Knack"
continues its run at Lydia Mendelssohn tonight at 8. The
Ann Arbor Junior Light Opera presents Hello Dolly to-
night at the Power Center at 7:30.
SCHOOL OF MUSIC-Benefit Concert tonight with the U
Symphony Orchestra and Choir performing Beethoven's
Ninth and Bach's Brandenburg Concerto tonight at Hill
Aud. at 8.
WEEKEND BARS AND MUSIC-Ark, Friends of Fiddler
Green '(Fri., Sat.) at 8:30, Admission, Jim Ringer and
Mary McCaslin (Sun.) 8:30, Admission; Rive Gauche,
Betsy Becekerman & .Friends (Sat.) 8:00, Admission;
People's Ballroom, Ruby Dee and Pyrumus (Fri.), 8:00
Admision; Union Gallery, Dave Moultrap and Lorre
Weidlich (Sun.), 8:00; Bimbo's On the Hill, Cricket Smith
(Fri., Sat.) cover; Pretzel Bell, RFD Boys (Fri., Sat.)
cover; Rubaiyat, Irish Bell Adventure (Fri., Sat., Sun.)
no cover; Del Rio, Armando's Jazz Group (Sun.) no cover;
Bimbo's, Gaslighters (Fri., Sat., Sun) cover; Blind Pig,
Brooklyn Blues Busters (Fri., Sat.) cover, Classical Trio
(Sun.) 9:00 no cover; Golden Falcon, Grant Green (Fri.,
Sat.) cover; Mackinac Jack's, Radio King and His Court
of Rhythm (Fri., Sat., Sun.) cover; Mr. Flood's Party,
Mojo Boogie Band (Fri.) cover, Diesel Smoke and Dan-
gerous Curves (Sat.) cover: Odyssey. Rockets (Fri.)
cover, Lightning (Sat.) cover.
4A Lfor d dLon

Orphans of the Storm
Cinema Guild
1). W. Griffith's 1921 master-
piece about the French Revolu-
tion. Dorothy and Lillian Gish
come to Paris only to get involv-
ed with Robespierre and Danton.
Melodrama and sentiment, all of
which is capped off with a truly
exciting climatic chase to the
guillotine. Top notch stuff.
As is Donald Sosin's fine piano
accompaniment (Tonight he is
playing for the 7:00 show).
Cinema Guild
Sat. & Sun.
Even before World War I there
were demonic figures popping up
in German movies. One of the
first was Homunculus, a synthet-
ic man bent on conquering the
world through the exercise of his
great power. Later came Dr.
Caligari, the hypnotist, then the
Golem. Nosferatu fit right into
the pattern: he was a vampire
and, had dark thirsts like his
predecessors. He managed as
well as he could for a while, but
when faced with the love of a
"pure" woman, life, even a phan-
tom one, was no longer tenable.
A couple years after Nosferatu
(1922) German expressionism
faded out and took these mon-
sters with it, but desires for
power and or subordination to

renaissance amounted to one
play - Look Back in Anger, by
John Osborne. The play was an
attack on the middle class, its
drudgery and stagnation. Its hero
-or anti-hero-Jimmy Porter, is
a talented young trumpet player
and jazz lover who is condemn-
ed to run a candy stall. He rebels
against his environment, his job,
and the people around him, rant-
ing through the play in a refusal
to accept despair.
Kauffman found it all rather
sophomoric. Porter, he said,
seemed to be looking back "in
puny resentment instead of full-
bodied anger." There is nothing
special about him; anyone would
like things to be better, anyone
would raise the same questions
he does. Nevertheless, the film
version of this play remains a
powerful ,and according to anoth-
er reviewer, "ferocious" revolt
against hopelessness.
Its greatest virtues lie in the
acting. Richard Burton plays
Porter with a mixture of sensi-
tivity and fury,and Claire Bloom
plays his distraught wife with a
fine range of emotions. Tony
Richardson, who staged the play,
made his debut as a film director
here, and later went on to make
Tom Jones. Film not seen by
press time.
Cinema II
Sat., Sun.

song "As Time Goes By" (itself
resurrected from a forgotten
Broadway musical) sums it up
best: "You must remember
this." (And don't worry if you
have to leave early - you can
catch the final sequence in
Woody Allen's Play It Again,
Modern Lang. Bldg.
Fri., Sat.
If a contest was ever held for
Most Unexciting Stage Show
Ever, Cream would undoubtedly
win hands down. Which doesn't

structional film calle
Hygiene Dilemma in w
devil contends with Don
the soul of a rock star
me, it's much metterc
than on celluloid."
They Only K
Their Maste
Fox Village
Hemingway once said
of the best ways to wr
thing was to start with
statement and proce
there. So I will: asa
They Only Kill Their M

d Dental tion." Even Christianity itself
which the is reborn.
novan for When it was first released the
. Believe film obviously struck a nerve. It
on paper reaped in the young audiences,
was considered in 'bad taste' by
-STAFF some older people, and was re-
soundingly denounced as a poor,
till and unsubtle, cliched movie by a
few critics. It is doubtful, though,
'rs that it was intended to be any
great work of art. It is very
clearly a well planned film, cal-
that one culated to build a tremendous
ite some- identification with Benjamin. In-
one true deed, there is hardly a shot when
ed from we do not see at least a part of
a movie, him in it, and we constantly see
Masters is things from his point of view.
m ' But it did show a talent in Mike
Nichols for the cinematic hand-
ling of satire, and if it was able
to touch a sensitive spot in
American culture (which it evi-
dently did) then, it is well worth




6:00 2 4 7 News
9 Courtship of Eddie's Father
50 Flintstones
56 Bridge with Jean Cox
j 6:30 2 4 7 News
I0Dream of Jeannie
50; Gilligan's Island
56 Book Beat
7:00 2 Truth or Consequences
4 News
7 To Tell the Truth
9 Beverly Hillbillies
* 501 Love Lucy
56 World Press
7:30 2 What's My Line?
44 Hollywood Squares
7 Wait Till Your Father Gets
4 9 Lassie
56 Wall Street Week
50 Hogan's Heroes
8:00 2 Rudolph the Red-Nosed

4 anlor ana ~
7 Brady Bunch
9 Billy Graham Crusade
56 Washington Week in Review
50 Dragnet
8:1j0 4 Little ePople
7 Partridge Family
50 Merv Griffin
56 Off the Record
9:00 2 The Homecoming: A
Christmas Story
4 Ghost story
7 Room 222
9 News
56 Net Journal
9:30 7 Odd Couple
9 Woods and Wheels
10:00 4 Banyon
7 Love, American Style
9 Tommy Hunter
50 Perry Mason
11:00 2 4 7 News
9 CBC News
50 Rollin
Helen Reddy, Kenny Rogers
and The First Edition.
11:20 9 News
11:30 2 Movie
"A Boy Ten Feet Tall." (En-
glish; 1963)
4 JohnnyCarson
7 In Concert
Blood, Sweat & Tears, Chuck
Berry, Poco, Alman Brothers
50 Movie
"The Burning Hills," (1956)

power remained in Geri
ma. These tendencies c
head with the electio
Nazi party in 1933.l
made his comeback. F
seen by press time.
Look Back in
Cinema II
Fri. & Sun.
In the late '50s there
mors of a renaissance i
drama. Writers whol
"starved for causes" h
ently found some. Film
ma critic Stanley Kauff
to England to invest
matter, and determine
12:00 9 Movie
"The Electronic Mot
glish 1958)
1:00 7 Movie
"Circle of Deception
(English; 1961)
1:30 2 Movie
"The Nylon Noose."
3:00 2 7 News

man cine- The caricatured globe of the
ame to a opening sequence characterizes
n of the the bolder line and broader
Nosferatu stroke of an era now cloaked in
ilm not nostalgia. Movies were made like
plays, with split-second wit and
-STAFF the blinding glare of Hollywood
celestials emanating from the
4nger screen. No one actor seems to
summon up more of the brash-
ness and strangely contradictory
passions of the times than Hum-
were ru- phrey Bogart, here paired with
n English some veterans of the Bogart Re-
had been pertory Theater, Peter Lorre and
ad appar- Sidney Greenstreet. Ingrid Berg-
and dra- man, the "kid" of Bogie's now
man went famous- line "Here's looking at
igate the you kid", once confessed in an
d that the interview that the writers wrote
each day's dialog the night be-
fore, and only in the end did she
nster." (En- know she'd be sacrificed by Bo-
gie for "The Code", as was Mary
. Astor for a very different reason
in The Maltese Falcon (another
hint at the script-writers' empha-
(German; sis on dialog at the expense of
The memorable trio of Dooley
Wilson on piano, "Cuddles" on
the whiskey glass, and espe-
cially Claude Rains on the
French mustache balances the
sometimes unbelievable idealism
of Bogart, Bergman and Paul
Henreid (the Other Man in In-
grid's life).
C a s a b 1 a n c a is not
Bogart's best, nor is it really a
great film. It is a time capsule:
a flashback summary of Ameri
can cinema's star system, melo-
drama, quick-fire exchanges, in-
trigue and glamor. The theme

give Cream, a film of the group's
last concert, much to work with.
The film's redeeming feature,
besides the music, is its energet-
ic vapidity. This movie's so
dumb it's funny. The director
tried to make up for the group's
statue-like stage presence with
a lot of camera gymnastics, but
this approach is about as anti-
climatic as sneaking up on a tree
(a lightning-quick cut to a new
camera angle: WHAM!- Jack
Bruce's thigh). The film is also
spiced up with some incredibly
dummb interviews ("Eric Clap-
ton is widely recognized as, not
merely another pop guitarist,
but a real virtuoso on his instru-
ment. Mr. Clapton, could you
tell us what those knobs on your
guitar are for?").
A terrible movie, but a toler-
able flick.
Guest Film Critic
200 Motels
Modern Languages Bldg.
Fri., Sat.
Incredibly fine Daily ex-film
critic Neal Gabler wrote a typ-
ically superior review when 200
Motels opened here a little over
a year ago. Here are some ex-
cerpts: "a whopping phantasma-
goria with no direction except
down. The purpose of all this
swirling junk, Theodore Bikel
tells us, is to show how 'touringr
can make you crazy.' So we get
tedious snippets of The Mothers
trapped in their prime mover's
(Frank Zappa's) fantasies: a hu-
man vacuum cleaner beating off,
a nun groupie, an exposition on
the various names of the male
reproductive organ, a town nam-
ed Centerville with a cafe call-
ed Redneck Eats, an anti-erotic
nude scene, and an animated in-

bad news. I mean what can one
say about a film that co-stars
two otherwise fine actors like
James Garner and Katherine
Ross in the emptiest roles they
will probably ever have, features
recognizable supporting actors
in bit parts they ought to be
ashamed of, and stumbles
through the old tale of the de-
tective in search of the "real
killer". The assumed killer is a
fierce - looking Doberman pins-
cher named Murphy who theoret-
ically ripped out his mistress'
throat but is perfectly docile any
other time - hence the title.
There is not much else to say
about They Only Kill Their Mas-
ters except that I got the feel-
ing as I was watching it that it
might originally have been made
for television - and that's anoth-
er good reason not to go see it
in a theater.
The Graduate
Nothing better for a book on
"American Culture at the Break-
ing Point" than to cite a popu-
lar film which seems to. give
voice to the conflicts causing
America's disruptions. So, in
The Pursuit of Lonliness, sociol-
ogist Philip Slater saw The
Graduate as something of a land-
mark as it ultimately refused to
compromise or disguise the emo-
tions seething onboth sidesof
the generation gap. During the
wedding ceremony at the film's
end Benjamin wails furiously
against the glass overlooking the
chapel, and Mrs. Robinson, along
with others of her ilk, becomes
absolutely venemous. The cross
is brought out of the church and
is used as a glaring symbol of
a regenerated form of purity,
"love triumphant over conven-
Have a flair for
artistic writing?
If you are interest-
ed in review ing
poetry, and music.
or writing feature
stories a bo0ut the
arts: contact Art$
Editor, c/o The
drama, dance, film,
Dec. 9-15, 11 a.m.-8 p.m.
7280 Platt
1 mile south of

In Midnight Cowboy, John
Schlesinger proved himself cap-
able of creating live, deep char-
acters and of evoking strong
emotional responses to their es-
capades. Darling (1964) lacks
this emotional depth, but the
life is there in full force. Julie
Christie portrays a capricious,
self-centered model who climbs
the social ladder affair by affair.
As she goes, Schlesinger makes a
point of satirizing various En-
glish society types, high-lighting
the ironies that punctuate their
Ann Arbor veteran movie-goer
T. M. Kutsche says that this is,
"the film that made Julie Chris-
tie famous. It also caused a "re-
view-feud" and later a letters-
to-the-editors feud in the Daily
when it first played locally. Some
praised it to high heaven for its
don't-know-what-pleases-you atti-
tude, which they labelled per-
fectly indicative of our times;
others admitted it was technical-
ly brilliant, but otherwise point-
less, senseless, repetitious, and
Reefer Madness
Fifth Forum
Fri., Sat.
In 1936 what worried the anx-
ious parents of America was not
widespread use of heroin, mor-
phine, cocaine, or even WW II
but, according to the pseudo-
documentary film Reefer Mad-

ness, the illegal, illicit drug
Marijuana. Death, or worse,
awaited those youngsters tempt-
ed by the devil to try this dan-
gerous weed. Today this ana-
chronistic film brings, a smile
to the face of the hip drug so-
phisticate; even William F.
Buckley can join in on the gag
Our clean cut hero Bill, and his
sweetheart Mary become en-
tangled with a sinister clique of
drug fiends, and there is no
escape . . . Marijuana is a one
way ticket to kicks and degen-
eracy, my friend. Bill's life was
once concerned with grades, ten-
nis and his best girl friend. Now
he's inextricably involved in
death, murder, rape, and reefer
The standout performance of
the movie belongs to Bill's
friend, who after partaking of
that wild cigarette goes raving
mad. His eyes become glazed
and firey, his breath quickens,
and ie froths at the mouth like a
rabid dog. This is the awesome
effect of marijuana, and Reef-
er Madness depicts it vividly.
One point escapes me; why are
Bill and his friends so fortunate
that they have found a pusher
who doesn't charge cash? This
fact lends credence to the belief
that the Boss and his team of
brazen hussies work in direct
collusion with Satan, just for the
joy of doing evil. They aren't
greedy - just seeing America's
most prized national asset, its
youth, head for ruin is satisfac-
tion enough.
Actually Reefer Madness was
way ahead of its time. In recent
years high schools and commun-
ity groups have crammed truck-
loads of anti-drug propaganda
down the throats of adolescents,
with reckless abandon. Reefer
Madness can be considered the
father of all Health Ed and Dri-
vers Ed flicks. You probably
laughed at those movies hard
enough, so there is no reason
why Reefer Madness won't be
equally hilarious.
And Yet Another
W eek O f. .
Ladies Sings the Blues-State
-Mediocre but enjoyable movie
about Billie Holiday's depressing
life that makes Diana Ross a
first rank star in one swift, stun-
ning stroke. Fantasia - Disney's
combination of beautiful 'music
and generally brilliant anima-

Unfunny 'Knack'-
At a turtle's place,

in Cooperation with
Douglas Ward's HAPPY ENDING

music by

*December 9
2 P.M. and 8 P.M.
December 10
2 P.M. and 8 P.M.

Arena Theater
(Frieze Building)
$1 .75 for matinees
$2.00 for evening performances

The Mothers of Invention
The Royal Philharmonic Orchestra

Tickets are on sole on the first floor of the Michigan Union
beginning Wed., Nov. 29 thru Fri., Dec. 8 from 12 P.M.-4 P.M.
*Due to the nature of the theater, late comers may be delayed
in being seated 10-20 minutes.

---------------- ---
Aliman Brothers Band

I laughed twice, chuckled three
times and smiled twice at t h e
University Ulayers' production
of Ann Jellicoe's "The Knack".
Though the play is, theoretically,
a comedy, Director Robert Ben-
nett has somehow mysteriously
transformed it into a mildly
amusing wake.
Tom, Colin and Tolen are three
mod types who live in a junky
London apartment. Tom is the
zany madcap who wisecracks his
way through life and is immor-
talized in countless modern farc-
es. (Remember Alan Bates in
Georgy Girl?) Colin is the poor
dumb bumbler who wants to know
the knack of getting girls. Tolen
is the slick pick-up artist, who
tries to teach a course in ap-
plied male chauvinism to Colin.
Enter Nancy, a poor dumb bumb-
ler from the provinces. T o m
wisecracks, Tolen teaches a n d
Colin bumbles. Many jokes and
one pretended rape later poor
Coin gets poor Nancy. Happy
The director has poured mo-
lasses over the wild comedy of
The Knack. The show c r a w l s
1921. The screen's spec-
tacular adventure of the
French Revolution. With
tender romance, touching
rescued once more-this
pathos. Lillian Gish gets
time from the guillotine.
The original Dracula
L . CE' n U A -3 I

along, like a steamroller, crush-
ing the characters' mania. The
humor depends on a speedy bom-
bardment of gags, noises and
As Jellico says, in the pro-
gram notes, "The theatre is a
medium which works upon peo-
ple's imagination and emotion."
I don't think she meant that the
audience should have to imag-
ine the humor in the play.
As Tom, Richard Frank mur-
ders the comic bits. He wrecks
Tom's spontaneous frenzy with
slow pacing.
Frank tries to show the method
in Tom's madness, but only suc-
ceeds in making Tom's funny
nonsense into dull word patterns.
Evan Jeffries is good as the
awkward Colin. Jeffries stumbles
around the stage as he mimics
Tolen's style, tripping over both
his feet and words.
Acting like a transplanted Eliza
Doolittle from a tenth-rate pro-
duction of My Fair Lady, Pa-
tricia Ursin yells "a-owwww" in
a distinctly unappealing, e a r
splitting way whenever the ac-
tion slows down.
Jamie Farbman, exhibits the
appropriate dyed-in-the-wool sex-
ism for Tolen.
Throwing on his , sexy Foster
Grant sunglasses whenever a pair
of female legs passes by the
room's window, he dashes out to
conquer another "lucky" woman.
In one of the best bits of the
show, Tolen, badgered by Tom's
kidding, asks Tom is he is a
homosexual. Tom, after a preg-
nant pause, replies, "No (anoth-
er pause) but thanks anyway."


AV% 9 AV% 1 - I- I-

I r m io Eh i ---J ^o Vegr

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