THE MICHIGAN DAILY
Arts & Entertain ment Wednesday, March 2, 1 977 Page Five
Mlle!
Adrich's latest: 'Paranol
By MICHAEL BROIDY Pakula's The Parallax View over a portion of a Montana among these are sequences
and the films of Costa-Gavras missile base. From this nearly where Aldrich almost knocksx
tHE PAST few years have whose rapid fire cutting effec- impregnable position, they are his audience out with a virtuoso
witnessed the growth of a tively adds to the intensity of capable of launching nine Titan sequence of exploding action on-j
relatively new mini-genre of his message. missiles aimed at Soviet tar- ly to follow it with a 20-minute'
films called the cinema of para- Now, at last, we have a new gets, and promise to do so un- lull of the President deliberating!
noa. The films of this rapidly master of "cinema-paranoia"- less the President (Charles with his cabinet. Providing his
expanding genre have all evolv- and, believe it or not, it's Rob- Durning) reveals to the Ameri- audience with a breather follow-
ed from an intense distrust of ert Aldrich. Yes, this Genghis can people the nature of this ing the slam-bang action of the
government. This results, of Khan of film-makers has fash- secret document. preceeding scene is one thing.
course, from the Vietnam-Water- ioned his own political thriller The total and obvious idiocy A lengthy interlude of stultify-
gate-CIA follies, which have not called Twilight's Last Gleaming, of this self-contradictory ploy ing, nonsensical ennui only an-
only been monopolizing head- a film laced with some obvious. (blowing up the world to save gers and ultimately bores the
lines, but have- struck a nerve idiocy, yet still managing to the world???) strangely enough audience which, by the time
in the national consciousness. grip its audience and hold it. ' is nearly camouflaged by direc- such scenes are over, sometimes
Up to now, the cinema of Burt Liancaster, one of Holly- tor Aldrich's sure hand with forgets that this is a thriller.j
paranoia has dealt with these wood's most versatile stalwarts, action which haf been so evi- On the whole, 'however, this
topics primarily (and most suc- plays Lawrence Dell, a maver- den't in such earlier machismat- is Aldrich at his best and most+
cessfully) within the framework jck general who has been jailed ic fantasies such as The Dirty technically able. Ile makes mar-'
Iof the non-fiction film (Hearts on trumped-up murder charges Dozen and The Longest Yard. In velous use of the multiple split-
and Minds) or in quasidocumen- for wanting to stem the suicidal fact, several sequences of Twi- screen, not a new device butI
tary form (All The President's escalation of armaments and light hit so hard and fast that relatively unused. This tech-
Men). The narrative films such atcempting to reveal the "true" little time is left for us to think nique, along with Aldrich's ex-
as Three Days of the Condor reasons for our involvment in. about the various (and numer- pert use of montage, pushes
have made small advances in Vietnam, by disclosing the na- ous) plot inadequacies. several sequences to almost un-
E this direction but have been ture of a secret document. bearable levels of tension, some-
marred by a discinct lack of Dell, by now almost choleric EVEN AN ACTION director times bordering on sheer feroci-
purpose and muddled, stylisti- breaks out of prison with two like Aldrich is apt to make mis- ty.
cally barren direction lacking rather unsavory inmates (Paul calculations, and in Twilight's Robert Hauser's razor-sharp
any technical expertise, with' Winfield and Burt Young) and Last Gleaming there are quite cinematography similarly drives
the notable exceptions of Alan' manages to infiltrate and take a few of these. Most obvious the suspense to new-found'
ac'
thriller
heights, but the Ronald Cohen- ard Daley (although I fail to
Edward Hubesch screenplay see the similarity); 'Darning
(adapting Walter Wager's novel brings his own warmth and hu-
Viper Three) periodically lapses manity to the role. Joseph Cot-
into a regrettable camp. Lan- ten and Melvyn Douglas are
caster, for instance, assures along to add a certain class to
Winifield after the latter expres- + the proceedings, if not any par-
ses concern that rather diminu- ticulary detailed or thoughtful
4
,
!1F
tive snipers might have been characterizations.
placed outside the silo, that l As you might have by now
"There are no midgets in the certainly guessed, this film is
United States Air Force." One not to be approached with the
can only express a short but idea of obtaining valuable in-
sincere, "Uggh," to such woe- sights into some complex politi-
fully misbegotten attempts at cal issues. Rather, Twilight's
humor. Last Gleaming works primarily
THE ACTING HERE, as it j as a well-crafted, briskly paced
does in most Aldrich films, takes entertainment which happens to
a back seat to the fiery goings- have some rather ill thought
on. But Lancaster, though, man- out political overtones. The var-
ages to be suitably intense and ious "statements" of the film
driven as the maverick general strewn about often make little
Dell. His counterpart, Richard or no sense at all, and many
Widmark, is also good as the characters ner' tpx'rihlv fnm -
martinet Gen. MacKenzie who iar, to say a
fights Dell all the way to the But Twilight's Last Gleaming
exciting, but downbeat climax. ;dsbcaionallv.m-ake:its
Top acting honors go to Char-
les Dunning as the President, a
characterization allededly mod-
eled after the late Mayor Rich-:
tllu , V iQ 1' , 1 'x At1- L
points, at the same time rivet-
ing our eyes to the screen with
some very stylishly sophistica-
ted and powerful film-making.
Comedy
dominates
R.C.
playI
By SUSAN BARRY ' and the maturity of his calcula-
ITWAS TOO BAD for the Resi- tions was fascinating to observe.
-Daiy Photo by CHRISTINA SCHNEIDER dential College Players that The problem with this produc-
G 9 9 ! Middleton and Rowley's The tion, then, centered around a
'I tv ] iFn be free... - Changeling wasn't written as technicality. The comedy was
Singe, Denise Williams gets down at a crowded Hill Aud. straight comedy. Indeed, all the only intended to reflect and
concert Monday night. Wiiains sang a selection of funk 'notably superior elements of the highlight the events in the tra-;
fa orites anG then gave up the stage to The Dramatics. production, p e r f o r m e d last gedy. However, the perform-'
week-end at East Quad, added ances of the characters in the
up to the possibility of a deli- sub-plot were so dynamic that'
'1 cious farce. they over-shadowed the interest;
Firstly, one Bob Brown, whose in the main plot and emphasized'
Srrtop; gnomish face and auspicious the rather one-dimensional line
oral ruminations were charac-readings th heir - counterparts
ANDREW SARRiS, the dean of American film critics and a terized by a timeliness that pro-; often spoke.
professor of cinema at Columbia University, will be lecturing duced the maximum level of The tragedy involved the un-
irony. Brown never let a line orV happy pairing of Beatrice, a
tomorrow on Robert Altman's films, at 7:30 p.m. in Rackham gesty. slip by whot psne overnor' aghter p a
Audtorum(adision$125) Igesture slip by without person- governor's daughter (pl1ay7e d:
Auditorium (admission $1.25). - alizing it and thoroughly infus- with proper courtly affection by
Sarris is a contributor to many publications, and he writes ing it with his characterization. Cindy Bauml) with Piracquo, a'
film reviews for the Village Voice. His books include The Ameri- Secondly, one Jeff Wine, whose lord played by Patrick Grimes.!
can Cinema, Interviews with Film Directors, and Confessions of wrooling, goofy expressions were Beatrice contrives to have Pi-
a Film Cultist, all of which are regarded as superlative exam- only too convincing. Wine's an- racquo murdered with the help
pIes of film criticism, analysis, and information. tics with a ball and cup were I of her father's deformed servant
Sarris is one of the most impor ant proponents of the auteur so wittily executed that it alone De Flores (Sommers), who de-I
theory of film criticism. The theory (now recognized by most was nearly worth the admission mands her virginity in payment
students of film as fact) proposes that the director of a film to watch. The combination of1for his crime. Beatrice thus
Wine and Brown on the stage surrenders her honor in order
is the one responsible for the film's artistry, and that a direc- was comically explosive. that her scheme will not be re-I
tor's collective works each reflect his artistic stamp, much the vealed to Alsemero (R o b e r t
way books reflect the author's style (auteur is French for author). THIRDLY, one Russell Som- Stormont), a nobleman whom'
The auteur theory has done much to establish film as a legiti- mers, whose demeanor and in- she desires to marry.
mate art formtimidating vocal inflections were
horribly appealing. Sommers
Sarris' appearance is sponsored by UAC as part of the spoke his lines with an obvious BAUwL STRUCK her haughty
Robert Altman Festival. relish for his characterization, poses with appropriate Jaco-
- -. - bean arrogance. However, she
seemed os engrossed in proper-
lish a proper communication in quickly.
her conversations with the other In all the production succeed-
characters. ed in entertaining but the per-
The interweaving of the plots formance fell short in its over-
in this play was achieved with all unity and adherence to its
a thread so fine that I was un- themes. But then perhaps in
able to perceive it. Clearly one East Quad the entertainment
reflected and parodied the other and enthusiasm that this produc-'
in a Baroque manner, but their tion generated took precedence
thematic incongruity robbed the over its claim to absolute ac-
final scene of. its pathos, par- curacy.
ticularly when some of the -'-- - ---
comic characters were unable
to keep a straight face.
A great deal of care was
taken in the production of the;U
drama to insure the proper 1"th
century atmosphere. The cos-
tumes, designed by Heather
Phillins, were meticulously and
lavishly constructed. The make-
up, particularly the scarred face
of De Flores, appeared to be
carefully applied and authentic.
The set design was economic
and functionary in the true de- --{
sign of the Elizabethan theatre.
e
FROM COLLEGE DAYS 'TIL HER TRAGIC DEATH
-THE MOST INTIMATE ACCOUNT OF
SYLVIA PLATH'S LIFE
'o'
PLAT4
l E d lr;M JA...IE
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A fasInating
and essential document
... the best biography of her available"
Erica Jong
A BANTAM BOOK/WHERE PAPERBACKS ARE SOLD
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SEVERAL OF the smaller
parts were also worth noting.
Tim Prentiss as a madman
raved and fluttered with such
concentrated intensity that his
characterization w a s notably
solid. Kevin Maher communi-
cated a highly dramatic stage'
presence, although he inevitab-
ly succumbed to what was an-
other common fault in the pro-
duction, speaking the lines too
Impressions
D)UTCH IWAX BATIKS
FRENCH COUNTRY PRINTS
NAVAJO HAND SCREEN PRINTS
347 Maynard, Ann Arbor
995-1095
Final faculty concert pleasing
lv and effectively pronouncing
the anachronistic language that
she ultimately failed to estab-+
By ANGELA NICITA and his tones were cear tndI
QUNDAY AFTERNOONS are mellow, never blurred.
perfectfor;atteningconerts EugeneBossart and Chacles
and the Faculty Chamber Con- Fiher rvided iththehig hretef
cert Series proved this when the recital with their three
they presented their last ex- pieces for two pianos. The firstt
cellent recital of the season on work, a sonata by Poulenc, was -
February 27 at Rackham Audi- not in the program originally,
torium. but proved to be an enjovableI
surprise. The Prelude portion
The recital began with a selec- of the sonata began very in-
tion from Francois. Couperin's tensely and gradually gave way
Lecon de Tenebres, "Incipit La- to a softer, melodious ser:es of
mentio Jeremiae Prophetae.", individual n o t e s from each
It was performed by baritone piano, building again to intens-
Leslie Guinn and his accompan- ity. The Mystique portion was
ist Edward Parmentier on the exquisitely soft and expressive
harpsichord.''The duo's second piece' was
The piece c o n t a i n e d five Vittorio Rieti's Suite Champe-
verses, each prefixed by a mel- tre. This neoclassical work was
ismatic presentation of a He- performed excellently by Bos-
brew letter. Done in Latin, the sart and Fisher. The openingI
movement is supposed to sug- section was light and merry with ,
gest the masses of mourning harmonious crescendos and de.
held on the evenings of Holy crescendos which gave way to!
Week. a stately, almost march-like'
THIS PARTICULAR selection rhythmic pattern.
from T e n e b r e s represented THE LAST SECTION was
Maundy Thursday. Guinn gave strong jnd intensive. Again the
a very effective and moving two pianists spun a magic '" eb
rendition of the piece. With of feeling and melody through--
exquisite expression and beau- out the Rieti piece.
tiful vocal variety, he portrayed The performance of L'tiw-
the haunting lamentation and lawski's Variations on a Theme -
p 1 e a d i n g exhortation of the
music.
Parmentier gave an equally
gratifying performance on the VAC
harpsichord. He executed the MUSKET
trills in the piece excellently PRESENTS _
.____. _.. __.__...._._-; u~' 7-tf -r~
by Paganini was definitely theS
brightest spot of a brilliant re-
cital. The individual seriesofr
notes on both pianos, the intri-4
cate trill patterns and runs, all
portrayed a great expertise. 4
Mendelssohn's Octet in E flat,
Op. 20 for four violins, two
violas, and two cellos provided
the final number of the concert. ,
The performers were A n g e 1'
Reyes, Gustave Rosseels, Char-
les A v s h a r i a n, and 'yrone
Grieve on the violin; Francis
Bundra and Barbara Sue Bobin-
son on the viola; and Samuel'
Mayes and Carol Bundra on the
cello.
THE OPENING movement of
the Octet, "Allegro," was soft
and plaintive in the violin sec-
tion followed by a crescendo
into smooth and connected tones
interspersed w i t h occasional
clipped staccato.
In contrast, the "Andante"
portion of the piece was sad
and haunting at the beginning
and b e c a m e very intensive.
Some nice fingering was seen
in the cellos.
The entire work was done
with a beautiful blend of expres-
sion and sensitivity.{
7117
JOHN FORD DOUBLE FEATURE
SHE WORE A YELLOW RIBBON
(AT 7)
One of Ford's aims in this film was to duplicate
on screen the color and action of Frederick
Remington's famous western paintings. He suc-
ceeds with the help of John Wayne and Ward
Bond.
THEY WERE EXPENDABLE
(AT 9:05)
This film shocked moviegoers in 1945 because
it depicts the U.S. defeat in the early part of
World War I1. The P.T. boat struggle is carried
on by John Wayne and Robert Montgomery.
BOTHFOROLD ARCH.(
CINEMA GUILD $2H FORAUD.
Tonight in Aud. A, Angell Hall
Land of Silence and Darkness
(Werner Herzog, 1971) 7:00 ONLY-AUD. A
"This unbearably moving account of the lives of the deaf-and-
blind confirms Herzog as the mysterious new humanist of the
1970's. . . . When a deaf-and-blind man first gingerly touches a
leaf, a branch, a tree, and finally enfolds its trunk in a wordless
and sensuous embrace, we are in the presence of the true suffer-
ing and hope of humanity and the true genius of a great film-
maker."-Amos Vogel. "It's like no other film at all."-Sight and
Sound. ANN ARBOR PREMIERE. German with subtitles.
Plus: THE GREAT ECSTASY OF SCULPTOR STEINER
Aguirre, Wrath of God
(Werner Herzog, 1972) $1.50 9:15 ONLY-AUD. A
The story concerns the descent into madness of a 16th century
Spanish conquistador in search of gold. Peru's mysterious jungle
proves the perfect set for Herzog's cinematic poetry, visualizing
a concern for the individual at odds with his world. "There are
many memorable moments, most particularly the final shot of a
lone figure Aguirre ranting on a raft as hordes of monkeys
clamber over the timbers-as potent a visualization of madness
as one might wish for"-Film and Filming' ANN ARBOR PRE-
MIERE. "Werner Herzog is the greatest filmmaker alive and
making films today."-Francois Truffaut. German with subtitles.
Showtimes are 7 & 9:15 Admission at 7:00-$1,25
at 9:15-$1.50
Showtimes 1-3-5-7-9
II
..
s
TRIBE
611 CHURCH A te-995595 5
SPECIAL PERFORMANCE
SALEM TH
CRAFT
MARCH 31-APRIL 3, 1977
POWER CENTER
Evening Performance
8.00 p.M.
A ' ! r
c
r''4 f
1
SCREENING INFORMATION: -
Screenings are held in the old Architecture and Design Auditorium at 7 :00, 9:00, 11:00 p.m. daily-
1 :00, 7:00, 9:00 p.m. on Saturday. Winners and highlights are screened on Sunday at 7:00, 9:00,
1 1:00 p~m. in both the old Architecture and Design Auditorium and Auditorium A of Angell Nail
Single admission is $1.25. Series: $16.00. Advance sales begin at 6:00 p.m. for that day only. Seriso
tickets are on sale on Tuesday, March 15th at 5:30 p.m.
nm a a aina ss 1® 1O i1bI *
Thursday, March 3 in Aud. A
"AGUIRRE, WRATH
at 7, 8:45 & 10:30
OF GOD"
Matinee, April 3 r
2.00 p.m.
Friday, March 4 in MLB
"THE PINK PANTHER"