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November 14, 1975 - Image 5

Resource type:
Text
Publication:
Michigan Daily, 1975-11-14

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THE MICHIGAN DAILY
A rts & Enterta inm en Friday, November 14, 1975 Page Five

FRI.-SAT.

8:30

John Roberts
Tony Barrand

$2.50 !
&

cinemca

weekend

'ter"
:. 3.
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a
i
v
,.
~ , +,

from
ENGLAND
CONCERTINA, BANJO,
GUITAR.
Enalish Music Hall, oub sonos, novelty
songs, ballads.
ALSO: Children's Concert-
Sat. 2 p.m.

Pick of the Week:
Jaws
The Movies, Briarwood
So the booking agents at
United Artists Theater Circuit,
the owner of the Briarwood film
complex, have decided to bring
Stephen Spielberg's phenomenal
Jaws back to town after nearly
three months of first-run play
at the State. Is there really
anyone left who hasn't seen this
sanguine tale (subtitled The
Crunch Fish)?
Well, absurd as it seems,
expect a line out at Briarwood
this weekend. For Jaws, like its
genre predecessors Airport, Po-
seidon Adventure, and Towering
Inferno, is a perfect specimen
of today's financially successful
film: the movie with sufficiently
broad audience appeal 9s to
develop a virtually inexhaust-
ible pool of potential patrons.

What's playing this Cinema Weekend
This weekend in cinema is highlighted by a pair of
Alain Tanner films, La Salamandre and The Middle of the
World. The former is an exploration of personal freedom
and individuality as depicted by the mesmerizing actress
Rosamonde, the latter a much-acclaimed accounting of a
red-hot romance, compared by some to Bergman's Scenes
From A Marriage.
If you were on Mars last summer and managed some-
how to miss seeing Jaws, that climatic union of teeth and
flesh returns to town via Briarwood. And of course, the
lumberjack chorus sings on at the Fifth Forum as Monty
Python and the Holy Grail continues to drive careful men
stark raving mad.
Here's the scoop:
Friday - La Salamandre, Aud. A, Angell, 7, 9:15; Get-
ting Straight, Nat. Sci. Aud., 7:30, 9:45; Davy Crockett,
King of the Wild Frontier, Old Arch. Aud., 7, 9:05.
Saturday - Wind in the Willows, Legend of Sleepy Hol-
low, Aud. A, Angell, 3; The Middle of the World, Aud. A,
Angell, 7, 9:15; Getting Straight, Nat. Sci. Aud., 7:30, 9:45;
Duck Soup; Old Arch. Aud., 7, 9:05.
Sinn d RBdn-Pl Nt fin Agi7202A .vu;

Getting Straight
UAC Mediatrics, Nat. Sci. Aud.
Fri., Sat., 7:30, 9:45
Yet another installment of the
Richard Rush "Hall of Blame,"
Getting Straight, a 1970 travesty
that attempts to cash in on the
now infamous youth movement
of that period stands as one of
the worst movies of the last
hundred years.
Featuring Elliott Gould and
Candice Bergan in the lead
roles as the college and his
WASPish woman, the plot swims
around some quasi-identity crisis
that Gould faces in his struggle;
against the bureaucracy of the
big university.
Whatever Rush was attempt-
ing to do with this mess is
beyond virtually anyone, as
Getting Straight serves as Ittle
more than a suitable forerunner
to his latest debacle, Freebie
and the Bean.{

TUES. NITER-
RIFF ROSE
COMEDIAN-SONGWRITER
1421 HILL 761-1451
It Pays to Advertise in The Daily

Shown Tonight At
7:30 & 9:15
Open At 7:15

music,

e s ley - UOJt" e eU, eat. e i . tiu u 1 /.3U ; t per ' Jam es Valk
mental films, And. A Angell, 8; Voyage to Italy, Old Arch.
has the same audience effectJ
as the old P.T. Barnum cir
cuses: it quite literally offers All weekend - 3 Days of the Condor, Michigan (665- Monty Python and Jim Martin, Mark Forth, and Connie Cicone are shown here
some form of entertainment for 6290), Mahogany, State (662-6264), Monty Python and the the Holy Grail in a scene from Machiavelli's "Mandragola," presented by
every taste. Jaws has some de- Holy Grail Fifth Forum (761-9700), Lost in the Stars, Cam- Fifth Forum the University Showcase Productions in conjunction with the
lightful moments of humor, a pus (668-6416), Jaws, Rooster Cogburn, Return of the Pink
light, mysterious plot, a little Panther. Hearts of the West, Briarwood (769-8780). In a quest at securing what Unversity Boccaccio Festival. The show runs through Satur-
bit of sex (but not too much might possibly be interpreted as day at the Arena Theater in the Frieze Bldg. A full review
and not at all in the erotic domestic National Lampoon hu- will appear in Saturday's Daily.
realm), and-above all-that mor, Monty Python's Flying..................
slight touch of gory violence Gable and Lombard, W.C. Fields as are Blythe Danner as a Circus, a lunatic group tht has!
that family hour has banished and Errol Flynn on cinematic resourceful Depression-era wo- run rampant in Britian for sAme
from television. tap, Hearts of the West serves man with a large heart, and time, invades American thearres
Spielberg's taut direction and a valuable balancing purpose. Alan Arkin as a B-movie tyrant. with ninety minutes of irrev- By KEVIN COUNIHAN woodwinds over a veil of strings,
crisp editing by Verna Fields It is a deliberately small film The surprise of the film, erent, irrevelent nonsense in the Stravinsky has never had a, producing an exotic, near-
makes Jaws cinematically note- that details the rather bitter though, has to be the fallen, form of Monty Python and the more complimentary interpreter Eastern effect.
worthy. But, primarily, Jaws is lives of the bit players on lots cynical and unscrupulous char- Holy Grail, than Pierre Boulez. Recording Listening to the comlete
superb entertainment - superb resembling the Republic or acter that Andy Griffith brings This is not to be mistaken as the definitive "Le Sacre du Firebird, one is made aware'
fun. It illustrates that Universal Monogram western studios of to harshly realistic life, bad entertainment. The com- printemps" with the Cleveland once more of Stravinsky's spe-
is still the master of the re- the early 1930s. Hearts of the West succeeds rleted tale of the "search" for Orchestra (there has yet to be cial dramatic talent, a talent
spectable grade B movie. A pseudo-plot about stolen ultimately because its is per- the holy grail contains uim- a more perceptive reading of which comfortably acclimated
-David Blomquist money is merely a frame for ceptive enough to avoid the easy erous witty vignettes and run- the "Rondes printanieres"), itself to both the ballet and con-
the sketching of characters that pitfall of becoming one of the ning gags that are novel in both Boulez brought the same intel- cert stages.
populated the small time Holly- simplistically moral films it so concent and presentation, but ligence and insight to "Pet----------
Hearts of the West wood of that era. accurately depicts,, and yet re- simnlv never solidify as a uni- rouchka" with the New York
The Movies, Briarwood Jeff Bridges, as a would be tains a small, uplifting triumph fied film. Philharmonic several y e a r s
Zane Grey who falls into movie for the hero. Of course, this is exactly ihe later.
With biographical films of work accidentally, is excellent, -Cynthia Cheski course by which Woody Allen's With a new recording of The
early films proceeded, and thus Firebird (Columbia M 33508),' Nr
PENDLET ON READING the sole basis of evaluation is Boulez further demonstrates his i mSu
D E OR A ITGleftSup to the arbitrary scale of supremacy as a conductor of
personal humor. Stravinsky and of twentieth cen-
E But for those devotees famil- tury music.
iar with the style of Monty What makes this recording
Poet ry:.M Li iC in w ordPython, there is no doubt cause particularly unique is that it ® BEEF
for elation. The mere fact that contains the complete score of
the boys from abroad have 1910, with the original orches BURGERS
By RUSTY GREEN voice crackles across the still- rhythm or pattern of movement, made it to the American screen tration (Stravinsky reorchestrat-
ness, then purrs thickly, then and that gives them their musi- with some reasonably amusing, ed the work in 1919 in rewriting U CHICKEN
Part of the meaning of poe- ripples with lightness, then re- cal quality." fare assures mainlanders of the popular "Firebird Suite").{
try is to share something that sounds with exuberance as he The poet's literary tastes are some future cinematic rival for In the 1910 version, the large ® FISH FRY
as beautifully as you can, and weaves a spell around his listen- not limited to serious literature. Woody and Mel. Wagnerian orchestra is supple ,
you have to say, that you've said ers. He casts out images which Wright says, "To hell with Ham-' -James Valk mented by celeste, piano, three M1 Open Daily
then give it to someone, says leap through the audience, to let and Homer sometimes. One harps and offstage trumpets and 11 AM-9 PM
Pulitzer Pize wing poet startle or soothe, to bring em- of my benign spirits is Groucho WE CHEWED tubas, a marked change from
James Wright. accordin$670 MILLION WORTH the relatively simple orchestra a Low Prices
"Sroslieaue4atr pathy or emIness, acrng Marx. It's amazing how much3ofte4ui.
because it is a joyous thing. to his artistic whim. it lifts my spirits to remember AKRON, Ohio (M-Small fry of the Suite." *No Tipping
Joy Is essential to life. You Prof. Robert Hayden, who has of one of -his songs. I'm de- and big fry combined to spend Drawing on the precision of
s published six books of poems lighted, not for any particular pennies, nickels a n d dimes i ear and meter that defined his
eay wandhy I r wth ex d teand edits the nation's leading reason. totalling more than $670 million previous triumphs of Stravin-
but that's not the ultimate an- anthology of black American Wright and Hayden both feel in 1974 to satisfy their chewing sky's ballets, Boulez brings out
swer." poetry, was the first poet to that modern poetry istnot as habits, according to Goodyear, the richness and layered texture
read his fll'sprogram. obscure as it is often taken to a rubber supplier to the gum o h tig ihu arf'~g
Wright several poets Hayden feels that it is valuablebe be. Wright berates critics for industry. e delicate counterpoint of the
w havecnsentfannto hear poems read aloud be-r andaway
Tuesday afternoon sharing poe- cause "you get a feeling for the ai a"rely the world's leading m con- The influence of Stravinsky's
try in a series of readings held particular tone, particular style poems of his which are "ry ers ading g con- teacher, Nikolai Rimsky-Korsa-
in the Pendleton Center. The . descriptive." surners, masticating a yearlytecrNkliim y-ra-
with which a poet writes. average of 175 pieces per person kov, has never been more ap- 3035 Washtenaw
center, located onthe second 4"Rhydn hmk thoundkileandp imageryena
on Rhythm, sound and imageryI in a veritable rainbow of colored parent, many sections appearing across from Lee Oldsmobile
floor of the Union, draws dis- are all part of the meaning. A listeners can understand poems gum sticks, balls, candy-coated to be all but transcriptions of
tinguished poets from around poem cannot be divided into upon hearing them read Lor the squares and numerous other Scheherazade.
the world . just one of these parts. Some- first time. "Most poets give shaps, in scores of fruity and Like his mentor, Stravinsky
Usually a poet talks conver- times I write poems that are commentary. If poets read skill- spicy flavors. favored the interjection of solo
sationally with the audience be- harsh and stark, and I y to fully enough, although you don't -cf-- t
tween poems, and the air of the make them sound that way. get all the implications, yu do
large room rustles comfortably "I hear my lines as I write get the essentials.
with the sounds of the audience. them. If they don't sound right "I should hope that the value
But when a poet begins to I work on them to get them to of the poetry reading is that it
read a poem his listeners re- sound right," Hayden says would stimulate people to want
spond with silence. His lone "Poems have some sort of to read further," he said.

Mahoganythe woman w manwnts tobe-
and emeyman wants toh=

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Bian knew what
Mahogany was-
and still loveshet
Sean created > c .
Mahogany *.''
andthentned
to destroy het:
COrstianowanted
to on Mahogany

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_____________0_es__i__y
a ' 4th Sensational Week
Showns Tonight At
7:00 & 9:05
Open At 6:45
HIS CIA CODE NAME IS CONDOR.
N THE NEXTSEVENTY-TWO HOURS ALMOST EVERYONE
HE TRUSTS WILLTRY TO KILL HIM.

K-

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It's a better movie than 'Blazing Saddles'
or 'Young Frankenstein'. -Roling Stone
xMI -
t 1C Am iDC,

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DING DE LAURENTHIS PRESENTS,
ROBERT RE.FORD/FAYE DUNAWAY
CLIFF ROBERTSON / MAX VON SYDOW
IN A STANLEY SCHNEIDER PRODUCTION
A SYDNEY POLLACK FILM

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