s &THE MICHIGAN DAILY A rts& Entertcinm ent Thursday, November 1 1, 1976 Page Five 'Burnt Offergs A fine, though inconsistent thriller By DAVID KEEPS BURNT OFFERINGS, on dis- play at the Briarwood Mov- ies, is a fine thriller, despite some inconsistencies. The prob- lem is simple - there's more to this neo-Gothic suspense sto- ry than meets the eye, and the questions this unsolved mystery, leaves unanswered are beauti- fully maddening. Because the film is visually spellbinding, because the acting is superb, because the suspense is strangling, and most import- antly because the interwoven horrors are never fully explain- ed, this film will either drive you crazy with its inefficiencies or it will stay in your mind for quite some time. The film opens slowly, in the best tradition of thrillers. Ben and Marian, played by Oliver Reed and Karen Black, have rented a fascinating, but run- down mansion for the summer. They, "their son and an elderly aunt (Bette Davis) are to take care of the place while the own- ers are away. THE HOUSE is theirs - al- most, The Allerdyces have left behind their mother, who re- quires no further care than thrice-daily trays brought to her room. She never leaves her room and, of course, there is some doubt as to whether she exists at all. Nevertheless, Mar- ian continues to bring her trays up to the sitting room, where the old girl keeps a collection of photos, whose subjects have disturbing, staring eyes. Event- uallly Marian' becomes obsessed with the room and a music box on the photograph-laden tables. She soon begins sleeping there, as strange and viouent disturb- ances begin to splinter the fam- ily. Each incident is set against a glowing, pastel cinematogra- phy suffused with eerie light- ing and disconcerting camera angles. The house, a pre-Vic- torian monstrosity, serves as, the lone setting for a series of tragic, yet beautiful transfor- mations. The polished produc- tion values add to the obvious conventions in the script that make the house the main char- acter of the movie and offer the only concrete answer to the film's puzzles. The music, too, is thrilling and, in ' combination with the rich visual atmosphere, is ex- tremely compelling. THE ACTING is the surprise of the picture, with restrained performances the rule. Occa- sionally, a few minor characters will cut loose, but for the most part it is a credit to the writers and stars that, no matter how spooky the action becomes, the acting is at all times real and believable. As cameo players, Eileen 'Heckart and Burgess Meredith, as the owners' chil- dren, are effectively weird, without resorting to cliche. Lee Montgomery, as the son David, acts like a normal child; neith- er precocious nor bratty. Bette Davis, who plays Aunt Elizabeth, appears only briefty, offering her clipped, polished bravado as a comic foil, be- fore falling victim to some of the house's more meager mach- inations. Though some might feel her part is inconsistent with her star-status, she is interest- ing. And in a role that requires less than a broad range of emo- tions, she can still tug at the heartstrings like she used to. Karen Black and Oliver Reed make an interesting couple; both performing faultlessly and enhancing each other's streng- ths. Black undei-goes an amaz- ing series of transformations with a great deal of subtlety and a shocking emotional range. Reed, too is brilliant, whether cursing good-naturedly or cry- ing from the emotional anguish of his death fantasies. He is an actor who must work over- time to compensate for a phy- sical appearance which sug- gests stereotypes, and through- out the film he proves a strik- ing example of depth and sensi- tivity. OBVIOUSLY the film was shrewdly cast. The coupling, at first, could not seem more un- likely. But Karen Black is bril- liant at playing horror, and de- spite the mundane personali- ties of their roles, Black and Reed spark each other off. The shrewdness is evident because they look and act like typical people, and both actors' flaw-, ed attractiveness roots the au- dience to the reality of the situ- ation. The film is evidently a one- man product, and the creative mind responsible for Burnt Of- ferings is Dan Curtis, who wrote, produced and directed the film. Curtis, a veteran of TV drama (Dark Shadows), knows not only a successful, formula when he sees one, but also how to bring it off stylish- ly. If the film has any failings it is because it presents too many viewpoints, probably more in tune with the novel it was based on, and offers too few explanations. After all the objections and inconsistencies are pared away, and many viewers will suffer none. of these, the film still emerges as a beautifully wrought chiller. Distinguished by fine performances, and the creative unity of Dan Curtis's direction, Burnt Offerings de- serves much praise as an ex- ample and suspense unaided by cliche grotesquery and sensa- tionalism. WITHOUT BECOMING INVOLVED How to watch a reh By JOANNE KAUFMAN Mendelssohn Theater c o m e muttered "there but for the same dance steps "DON'T BE surprised if we opening night December 9. grace of David Merrick go 1." the same songs a stop you in the middle of Whatever happened to all the TO SAVE grief all around, the same speeche a line. We're just trying to get backbiting of those Ruby Keeler here are a few bits of audition Those auditioning an idea of your voice, and movies? etiquette for aspiring Mary Mar- fascinated by w whether it's good or bad we may AS I SAT through the dancing tins and Alfred Drakes. No. 1 ceive as deep in cut you off. But don't worry. It and singing warm-ups, I had the Don't sing a song from the Director's table. doesn't' mean anything." chance to make a few random show being presented. The direc- there I can assur It means something. First of observations. While it is not true tor has heard too many other one is murmuring all it means that the Soph Show that ciothes make the woman, people do it and do it badly. voodoo chant or s production of How to Succeed in it seemed that those wearing he'll thank you for your con- the Koran. Mor Business Without Really Trying leotards were ineffably more sideration by inviting you to l"someone, getn Bsins Wu for rehearsal, and graceful than those in jeans and call-backs. No. 2. Audition on coffee," "I need second, if the director has di- sweatshrirts-the former tripped the first night. If that is im- "Did you catch th, rected that particular little the light fantastic; the latter possible, audition as early as red leotard," an speech at you, gripping your had more of a tendency to trip. possible on the following nights. I go to business s sheet music and trembling, you On the other hand, the women The director, choreographer et This soph show probably aren't going to be at in blue jeans sang better. You al are in good moods then and ferent. Its versi those rehearsals. Such are the figure it out. can't be sure of what kind of Succeed is full of hard cold realities of the Thea- Also, for some inexplicable talent they'll be offered. What' where the male tre. reason, there are always more is regarded as vintage the first original Broadwa Actually many of the hard women than men at these gath- night may be viewed as less portrayed by wo cold realities of the Theatre erings. Since directors are often than vinegar two evenings later. , versa. The produc coldreltesdy hebsen atrenthactually desperate for male per- No. 3. When it's your turn to assures me that for the first round of auditions, formers, men are practically a sing, don't say you're just get- has never been d forwhefrstw rondy- e ofuosI shoo-in for a spot on stage, ting over a cold. Not even the I believe him. I t which saw twenty-seven hopefuls merely by showing up and look- greenest director will fall for interesting to see aning, sggre and gacg wh ing at least one-quarter alive. that. No. 4, Don't grovel. No tors will do with varied degrees of grace, pa- It does help, of course, if they matter what the director tries There is som nahead tent.FnkThe chorecan tell their left foot from to convince you to the contrary, special about Soph ographer, Sherry Fnkel], was their right. he is jest a human being. one is about the art puary supportive o er- The warm-ups over and he Now don't think for a minute one can call on marges,pwit: Sile Een idance audition completed, I be-, that the "artistic directors" en- vanced years to you don't know the steps, fake gan to tense up, and I suspect I joy ' putting the auditioners There is rage, a it. 'Sell t. Come on you .guys, was not alone. Now understand through all this torture. When earsal , often hearing ment and lots of hysteria for a nd listening to while and everything finally es adnauseam. smoothes out for opening night g are always i with the director assuring his hat they per- cast that "this will be the best intrigue at the Soph Show anyone has ever Having been seen. e them that no PLUS CA CHANGE, plus la g a mantra, a meme chose. I said the exact selections from same thing to my cast. And just re likely it's about two months before, that me a cup of same cast had been asking, a cigarette," "When will call-backs be post- hat chick in the ed?" And both prospective casts d "Why didn't had left the audition hall mut- chool?" tering, "God, I really blew it, is a littlte dif- I really blew it. How could I do on of How to a thing like that?" role-reversals The director thanks everyone parts of the for coming and mercifully does- y cast will be n't add, "Don't call us, we'll men and vice call you." Who says you can't cer, Jim Stern, go home again? With the right such a thing clothes and make-up I could one before and pass for a sophomore. And you hink it will be should hear me belt out "To- what the ac- ih it. night. iething really h Show. Every- The United States named same age; no nine new astronauts on Sept. his more ad- 17, 1962, including two civilians, win a point. four air force officers and threw little tempera- navy officers. SMILE." Where else but the Soph Show would you have a musical direc- tor who lets you try again when; you begin the song an octave and a half beyond your range? Where else but the Soph Show would the director let you read for three parts without the slightest suggestion that your acting is on a part with, say, Tab Hunter's or Elizabeth Ray's.' And where else but Soph Show would the hopefuls encourage and applaud each other? I must' say such outward signs of good- will are damned sporting of them considering that out of the' 120 people vying for a place in' the show, only thirty or so were going to be on stage at Lydia this: I was merely a no:- I someone has finished dancing participating spectator but as' and siking he or she can leave. soon as I heard the words "havean your sheet music ready," my The director and his staff must vocal cords suddenly tied them- sit in one place 4ree or four selves into sailors' knots and I nights running, watching the NOON LUNCHEON Home-made soup and sandwiches 50c Friday, November 12 ' "A QUEST FOR JUSTICE" A discussion of indictments 'of two nurses at Ann Arbor V. A. Hospital. At GUILD HOUSE-802 Monroe (corner of Oakland) - - r > There IS a differernce!i7 " Mr-A . 1 AT *.flAT N - Ihu4r1 *GMAT .CPAT - "'-1 U1 *VAT .GRE - OCAT *OCAT .SAT 7 - - - - - - - -- - - . NATIONAL MED. & DENT. BOARDS . 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One gets the feeling this Gomez (Rita Moreno) who could have been a good film if thinks Procol is a producer only writer Terrence McNally looking for new talent, a de- (adapting his own Broadway tective hired by Carmine to find play) and director Richard Les- Procol with a voice that would ter had put a little more sub- make Alvin the Chipmunk stance into their work. wince, and a perpetual "chub- by chaser" who races maniac- As the picture opens, we see ally around after the rotund a New York-based Italian-Am- Procol. erican family grieving wildly over their terminally-ill patri- These loonies almost trans- arch. His son-in-law Procol (hi- form The Ritz into a rich and lariously played by Jack Wes- memorable comedy; almost but ton) is just in from Cleveland, not quite. For all its non-stop where he runs a successful gar- activity, all that lingers after bage collection business. Just the film's end are the charac- before the old man dies, he tells ters themselves. Writer McNal- his Mafioso son Carmine (Jer- lv has a superb way with one- ry Stiller) to "kill Procol!" The liners, but the plot - what lit- sinister Carmine is only too ea- tle there is - is quickly forgot- ger to oblige, and Procol de- cides he'd better make himself' ten. One leaves The Ritz feel- scarce in a hurry. He tells a ing starved for more, but only cab driver to take him to the' because there was so little there one place where no one would to begin with. think to look for him, and the - cabbie dutifully responds by de- Adolf Hitler wrote "Mein positing him at a bathhouse called The Ritz.Kampf" while serving time in What Procol doesn't know is pison in 1924. The book's Eng- that The Ritz is a gigantic, lish title was "My Battle." posh haven for homosexuals. Naturally, many of the ensuing r-- --- events involve Procol's discov- S ery of this fact and his franti-1 cally humorous attempts to hide' from both his brother-in-law and his wife, while also evading the - i The Mil I TONIGHT: McCaffrey (Formerly Whiz Kids) Second Chance 994-5350 Art I: "INSIDE URSA LA" AND "COME WITH MY LOVE" Art 1I: i III!