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January 28, 1976 - Image 5

Resource type:
Michigan Daily, 1976-01-28

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A rts & E ntertain m e ntWednesdayJanuary 28,1976Paeiv


Nash vile'


Year's best films

By JAMES VALK recoup their investments. If anyone is deserving of this
Editor's note: Ten best lists, Although this lack of a box award, it's Altman. No Ameri-
as they have traditionally be- office hit didn't stop Altman can filmmaker has directed so
come known, tras le - from working (he has directed many films of such consistent
comre kn, n presume that seven films since M*A*S*H), it merit in recent years. His work
there are, indeed, ten superior was a lingering problem that has included such films , as
films in a given year. This potentially could have brought M*A*S*H, McCabe and Mrs.
review ill deal with the about severe restrictions on his Miller, Thieves Like Us and
"best" films of the pastyear, creative freedom. Nashville.
but without the numerical re- Nashville has at least tem- As a result, a great number
tritin Any films that played porarily absolved him from the of respectable critics have in-
for the fert timen A Arg- impending crisis. Perhaps be- sisted on a thorough dissection
bor or Detroit in 1975 are ig- cause of the cover story in of each work, but I can't help
ible for consideration. Newsweek or some high-powered but think Altman chortles to
advertising from Paramount himself at the seemingly enlc ss
IF 1975 will be remembered Pictures, the public has flocked interpretations his films invite.
for nothing else, it will be to Nashville to the tune of nearlyG
remembered for the revitaliza- $7 million. ALTMAN himself admits to
tion of director Robert Altman, being somewhat hazy about
a creative maverick who was ON TOP of the monetary suc- Nashville, stating, "I don't heve
headed for financial ruin be- cess, the film was voted Best any philosophies. I don't have
cause of a notable lack of com- Picture by the highly-revered anything to say." And as odd
mercial success. It was six New York Film Critics; and as it may seem, that mnay well
years ago that M*A*S*H storm- promises to be the A-ademy be the Altman philosophy.
ed the market, and since then . Awards' token "art" film nom- Nashville is a film (hat isn't

combines exact compositions
with images and sound.
Kubrick's abstract visual adap-
tation of literature ro film will
undoubtedly serve as. a source
of debate for years to come.
Where 2001 provoked fury, Barry
Lyndon will stir rage. Unfor-
tunately some viewers .emain
so cinematically crippled that
they require this literary crutch
to recognize a work as art.


THERE WERE, of course,
other films in 1975, 'iot the least
of which was Shampoo, a de-
viously slick testament to the
new morality, directed by Hal
Ashby. Together with screen-f
writer Robert Towne and pro-
ducer-star Warren Oeatty, the
three have created a scathingi
comedy that serves as a monu-
ment to sex as Bonnie and Clyde
did to violence.

Towne get us to think, get us i to be one of the most spactacu-
to care about these peuple. And lar in modern film.
if the final scene appears a bit A movie that had no trouble
much, it should. We were never with publicity was Universal's
invited to accept this dolce vita Jaws, which immediately be-
as our own; yet somenow the came more a way of life than
film manages to strike a hidden a movie. Grossing over $100
nerve in all of us. million since its release, the
film belted its way to the top
ARTHUR Penn's Night Moves, of Variety's "highest 'grossing
which is the director's first film films" list, while in the mean-
since Little Big Man, proved a time the public was sopping up
surprisingly complex thriller of everything from Jaws T" shirts
vast proportions. Gene Hack- to sharks' teeth.
man plays Harry Moseby, a
private investigator in search ALL THIS hucksterism seems
of an aging starlet's teenage to distract from the fact that
daughter. His quest takes hbm director Steven Spielberg has'
from his own murky homcliie in fashioned a first-rate commer-
southern California to the exotic cial thriller that holds its own
mystery of the Florida Xeys, with Hitchcock's Psycho. The
where he finally realizes there terror is much more nhysical,
are no answers to all his ques- but Spielberg knowns how to
tions. generate it without resorting to
Penn has been hiding out for a freak show (remember the
a feW years, and Night Moves Exorcist?). The result tis a
shows the director at peak, if totally watchable film tnat suc-
not somewhat: radical, form. ceeds despite the fact that it
Amassing a superb supporting
cast, Penn and editor Dede Allen See NASHVILLE, Page 8
manipulate Hackman through a
colorful facade, culminating in James Valk is The Daily's
a terrifying finale that provesI film critic.

manU ey unrick his films have been lucky to inated for Best Picture. seen-it's felt. Like most of Alt-- In what could have easily
man's films, it's a visceral work, been a pretentious romp of mu-
one which creates moods irns'ead sical bedrooms, Asi-by and
of plots, experiences instead of Towne wisely opted for satire,
messages. You don't watch an surpressing Beatty's, Hawn's
Altman film as much as you live and Christie's characters to the
with it. point of stereotyping. The set-
This, classically, isn't what ting is the social vacuum of
By STEPHEN HERSH only been playing guitar for a Shari. Wattell, both playing yellow- movies are made of. But th nBeverly Hills, a fantasyland
month, and 1 only know three orange electric guitars, worked Altman 's stylized essays aien't microcosm that serves as a
CAROL KING'S music offered chords. KING looked much more together nicely, playing in u- made to betreated as "movies." meteporcal plate.
no surprises during her Hill casual than her daughter, wear- son and trading riffs. -IThe effectiveness of Shampoo
Auditorium concert M on d a y "BUT," she said, ",I happen ing jeans and a peasant blouse The show started oil with ALTMAN'S films are con- is derived from a simpie bal-
night. She performed faithful to know a song with those three for the second half of the show. King alone on piano, and then str'icted in layers, with the su- ance between tragic comedy and
reproductions of her recordings, chords." Her shoulder-length, frizzy hair she was joined by Bobbie Hall nerficial actions far removed sensual tragedy - Amhby and
throwing in a new phrase here King looked slightly ill at ease, was parted in the middle. on congas and Clarence Mac-i from the complex reactions ?hey ------ - -- - - - -
and there or spitting out a line with her guitar slung over her King played a hefty sampling Donald on electric piano. elicit in the viewers' mind. The
with some extra vehemence, but shoulder, but she managed to of songs from her new album, result is a unique blend that sra
otherwise sticking close to the belt out a very soulful rendition Thoroughbred, including "Am- LATER, an entire band came contributes to an overall mood
familiar renditions of her most of "Smackwater Jack." brosia," "There's a Space Be- out to back her up-Lee Sklar, rather than a message.
popular songs. a A second surprise was the ap- tween Us" and "Alabaster who played electric bass ard By stunning contrast, Stan-rf
Yet King did treat the audi-|pearance of King's daughter Lady." acoustic Spanish bass; Russ ley Kubrick's latest film is a University Clericals"
ence to a couple of unfamiliar Shari Goffin to sing along withKs much less rofound wore.
features. Oe-a oegia e o n" elteErh She saved most of the old,;Kunkel on drums; Doyle Hoff: ucj lssprfudor.
s. One was some guitar her mom on "I Fee the Earth on acoustic guitar, plus Kootch Yet Barry Lyndon is the most -Includinq discussion and oar-
playing. Move." Fourteen-year-old Shari, familiar hits for the end of the k and Wattell exciisitely daring film ever ticipation of effective asser-
"This is a guitar," she joked,, looking formal in flowing black show. It wasn't until her encore made-a project that refused to- tive vs. aggressive behavior
holding a six-string Martin up trousers and carefully sculpted that she sang "You've Got a The studio musicians produc- compromise its vision at the each.thersks involved in
to the spotlight. "I'm going to hair, sang harmony and traded' Friend" and "Natural Woman." ed a tight sound, as tight as expense of what may seemto
do something very brave-I'm verses with Carole on the the sound of a hit single. And if beindulgence SAT., FEB. 7
going play it for you. The rea- I chorus. King came nut from BUT SHE played "Jazzman" you like King's records, there's
son that's brave is that I've behind her piano to sing with earlier-her clear, ringing voice nothing wrong with that.. WHERE Nashville succeeds o.m. to 4 p.m.
- complemented by the stiaing
Y the s hg LtIr jYaiof heldfLne




EB. 2


... ..

O rtons 'Loot boasts
of theatre innovations
By ANDREW ZERMAN Theatre. After the props and
,wfurniture had been moved into
theatrical offerings is the place and flourescent tape had
University Showcase presentah to be put on strategic points on
Univrsiy Sowcae peseta-the stage and the prop technic-
tion of Joe Orton's Loot. Kath- ian warned thetcastto "be gen-
leen Conlin, a graduate t tle" with the curtain aroundsthe
in the theatre department, is di- bed, Conlin ran to each cast
recting the show, member individually and whis-1
LOOT is considered a "black re nr n n o

guitar work of Danny Koorc'i.
Kootch and guitarist Waddie

Stephen Hersh is The Daily'
Editorial Director.

>ecause or Tne pertartnances,
s supplied by its 24 main charac-
ters,, Barry Lyndon 3icceeds by

Anderson Km.
Mch.' Union

comedy,"ra genre which Con-
lin described as "vociferous
and sometimes violent comedy'
whichapproaches disaster. The
audience has an impulse to slap
its hands for laughing at what!
it's laughing at."
Orton's comedy is nightmarish
and anarchic. In the course of"
the play he mecilessly attacks
the Catholic church, govern-
ment, the police and convention-
al sex, and makes light of mur-
der and death.
THIS IS Conlin's second year
at the University and, as some-
one who was drawn here by
the Experimental Theatre Festi-'
val, she says she is disappoint-
ed in the lack of experimenta-
tion and innovation in the thea-
tre department.
However she explains that she,
thrives on the stimulation of a
large, vital university commu-
nity. "It helps me be aware:
of where we are in 1976."
That awareness of what's hap-
pening in the world and, in gen-
eral, the ability to see beyond
the play one is involved with
are of great importance to thea-
tre students, according to Con-
lin, and she laments the insular-'
ity of the University's theatre
department and many of its
ON SUNDAY I visited a re-
hearsal of Loot in the Arena
Jacinto Battleground, the site
where Texas independence was
won fromhthe Mexican Army,
boasts the world's tallestI
monumental column.
From the observation plat-'
form 570 feet up the San Jacin-
to Monument, a visitor can see
the 450 acre state park and the
Battleship Texas.

ears.hc aco semedre
charged after hearing these
words from the coach, and the'
rehearsal began.
LOOT is fast and farcical
and outrageous, full of verbal
play and stylized chaos. A
corpse is handed back and;
forth among the characters as
if it were a sack of potatoes.
The play's central prop is a
coffin that's wheeled around
the set with amazing frequency
and mobility.
If Feydeau and Agatha Chris-
tie had tea together and were
joined by Joseph Heller and
the three set out to write a
play, something like Loot might
be the result.
Andrew Zerman, the Arts
and Entertainment staff's Ad-j
ininistrative Assistant, reviews ;
drama for The Daily.
JAN .28-31
$2.00 Gen.Adm.
Advance sales through PTP Ticket Office
located in lobby of Mendelssohn Theatre 3
Building. Mon- Fri. 10 am.-1pm., 2.5 p.m.
Professional Theatre Program Ticket Office
(313) 764-0450

Daily Photo by KEN FINK
Carole King
PIRGIM thanks those who have supported its
public interest woirk.
For those who wish not to fund, PIRGIM announces a
1. Your tuition bill shows the $1.50 PIRGIM fee.
2. To eliminate the fee
a. simply fill out the enclosed card (or any piece of
paper) . . .
b. with your name, i.d. number, signature,
c. and send or take the card ...
d. to the Student Accounts Office (2nd floor SAB) or
the Cashier (lobby, L.S. & A. bldq.),
e. ANY time this term.
(ve hope, of course, you will want to support our activities
as set out elsewhere in this paper.)
Peter Garyj
Frampton nd Wright

nrolceeding in a totally different I To register send $3.00 to InIfla benefit forhK
direction. It is Stanley Kubr ick MSAY ATR
wvho is the focus of ;attention in 10 GLER9OUTSigOu agzn
Barry Lyndon-the unseen force { ANN ARBOR 48105 with DEEDE PALLAZOLA, BOB WHITE,
behind the camera who carefully and SKUNK'S MISERY STRING BAND.
2 SHOWS 8:00 & 10:30
SERGEI EISENSTEI N'S 1946 $3.00 PER SHOW. Tickets on open sale.
Now Available at the Ark
PART 11 1421 HILL 761-1451
} (AT 7)
Eisenstein died before he could finish this planned trilogy
of films on the life of Russia's infamous czar Parnthe
interesting color sequence. 31 south state DON'T MISS THIS ONE!
(ATte hoeI42624- 'Weds.--All Seats $1 till 5:00
Based on short stories written by one of the actors, a
voung couple travels through Europe and fight all along!
the wav.
Cinema Guild Both Shows OLD ARCH
CinemaG ." C J P
th e e e * C *f
TONIGHT-Wednesday, Jan. 28
TODAY AT 1:00-4:20-7:35
I OPEN AT 12 45
{Joshua Logan, 1967),"'har Phn66-4OEAT1X5
(JoshuaPLogan, 1964)6 Weds.-All Seats $1 till 5:00
Film from the popular Lerner and Lowe Broad-
way musical based on T.H. White's "The Once TWO UNFORGETTABLE FILMS
and Future King." Richard Harris, Vanessa
Redgrave, David Hemmings. THREE'ACADEMY "What a triumph! Fellini's new
AWARDS. 'Amarcord' is even more IGMAR BERGMAN'S
beautiful than 8'A'. It is a
wonderstruck,'affectionate "Haunting, chilling mas-
AIU D. A, AN GE L L HALL work. One wants to shake P terpiece"-Red Reed
someone by both his hands
at 7 & 9:45 $1.25 admission and say well done'." L
.25 adm ssion-peneivp, Gifllatl,'The New Yorker ,
_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _U C R I E S A N D
6049st brtySHOWN TODAY AT 1:30-
Marionettes a r e notSHW TOAAT13-
just for kids. G OPEN AT 1:15
David Syrotiak has trans- y .9 Today-All Seats $1 till 5:00
formed this traditionally chil-
dren's art form into a mature, Paramount Pictures presents the return
sophisticated presentation de- of the greatest love story of all time,
sianed especially for an adult PARAMOUNT PICrUR£s presenu
audience. Color, light, music, ' 1AME LIi. li
dance, and. mime combine into F i o ZEFFIRELIJ
a beautiful display of "the art
of the puppeteer." Don't miss RomE
this rare chance to view a true ROMEO[ TJ11 E
master of a unique field. - iLVi
Thp hlntinnnl A.A.:nrinnpeThpntp

UHC Intervie*ing for:

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