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January 09, 1976 - Image 5

Resource type:
Michigan Daily, 1976-01-09

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rts Entertainm ent Friday, January 9, 1976 Page Five






nn MAM41/ CYofO

lAlt% J9

Pick of the week:
The Producers
Ann Arbor, Film Co-op, MLB 3
Fri., 7, 10:30
Ali right. I'll admit it. Put me
in front of Mel Brooks's flicks
ind I start to guffaw. Not just
laugh, mind you, but guffaw,
struck wildly with the sort of
insane laughter that Brook's
quick humor now seems to gen-
erate wherever his films are
It hasn't always been that way,
of course. Producers emerged
from Avco-Embassy in 1968, re-
ceived a round of critical ap-
plause in New York, and nev-
er appeared again. Perhaps
Brooks's non-subtle blend of
borscht-circuit humor and mad-
cap comic situations seemed
too strong for audiences still
attracted to the gentle comedic
touch of Universal's Doris Day/
Rock Hudson films. But the un-
expected success of Blazing
Saddles (see Chris Kochman-
ski's review below) in 1973
brought Brooks back into box
office favor, and lifted Produc-
ers out of mere cult film sta-
Zero Mostel and Gene Wilder
ominate this wacky tale of two;
Broadway producers who inten-
tionally set out to produce a
rotten, horrible show, hoping to
make a killing on the income
tax write-offs that would follow
their bomb's theatrical demise.
Their production - a period
musical joyfully titled Spring-
time for Hitler - features an
ex-Nazi playwright hung up on
"Deautschland Uber Alles," a
gay director enchanted by musi-
cal sequences that would put
Busby Berkeley to shame, and a
counterculture lead actor who
brings a dash of Timothy Leary
to his performance as Adolf
Producers is a funny, funny
film. You'll guffaw all the way
through it.
-David Blomquist
Nashville, Robert Altman's
magnum opus, deals with the;
lives of 24 people during five
hectic days in the nation's coun-
try music capital. It is devl-
oped in Altman's eclectic style
- present the pictures and let
the audience draw its own con-
But it is this style, which some
have called confusing, that
makes the film a virtualdtapes- i
try of sound, color, and ram-
part emotions, all held neatly
in check by the unseen hand
of Altman.
The theory behind all this is
to bombard the viewer with so
much that he cannot conscious-
ly analyze the proceedings, rath-
er he must allow the film to
work its cumulative effect on
the subconscious mind.
This explains why people
come out of the movie saying,
"I found it profoundly disturb-
ing, even if I can't tell you
why," or "I understand the
point even if I can't put it into I

words." 1 either case. f® IJIIIILJIUI V VInIJ1W~
Nashville has been called an Mel Brooks and Warner
analysis of America, but it is Brothers made a hell of a lot
far more. It deals with people of money off this zany comedy, By CHRIS KOCHMANSKI and out of rooms when they the show makes advances at It seems that ever since All comedies, particclarly Norman
on a broad scale, with effects but the fact is that the funniest see it so fit. the distressed heroine, but like In The Family scaled populari- Lear's.
such that Eisenstein could nev- bit in the film is the Techni- When I sat down in front of There are likewise several Doris Day of years gone by, ty's heights a few years back, They feel that the important,
er achieve. color credit-although no one tie tube last Tuesday night, 1 supporting characters. None of she resists their advances with television producers sensed a relevant topics often covered by
The film has to be seen more else seems to get the joke. eagerlytexpected a night of con- them knocks on doors, but in- nimble dexterity. trend and set forth churning out the Bunkers, Rhoda, Phyllis,
than once, so even if you've seen There are some good perform- (stnt situation comedy hilarity, stead they enter suddenly (ap- The action shifted to a busi- countless spin-offs and imita- Ted Baxter and the rest are a
it before, go. If it has been ances-notably by Gene Wilder, ut w at Ib discovered instead parently to great rounds of ap- ness office where an elderly tions in the identical mold. positive sign, and in this re-
called one of the greatest films Madeleine Kahn, and Harvey plause judging by the halts in employer sent the audience into One live-audience formula sit- spect I must give television
of all time, that praise is not Korman-but much of Saddles is tireepisode of One Day At a th action upon entrance). fit by sizing up Bonnie's legs nation comedy (or maybe two credit. Admittedly, race rela-
exrvgn nuh vrytetia.Tehmri Time without benefit of sound
extravagant enough- overly theatrical. The humor is disb Bonnie greets each one (they and other feminine endowments - add Sanford and Son) is tions, women's liberation and
Y often broad and forced. Some I scovered that even the are all men) with a sigh and a (none, by the way, which are enough. The imitations and spin- sexual politics are meatier top-
* gags fal flat as a pancaketug at the hair, and when she particularly exciting). offs are so formulized that you ics than inviting the boss over
B I Saddles But its popularity is undenied, highly touedrodu of the speaks with them, she does so This was the high point of the might take the audio portion of for dinner.
and the few really good belly- NomadyLar-Mary le Mre with such wide-eyed sincerity program. Franklin's wide-eyed an episode of Maude, let's say, However, in their attempts to
Mediatrics, Nat. Sci. Aud. laughs are the type you will isually assmbyine are as that one might mistake it foryand run it with the soundtrack capitalize on the trendtelevis-
comedly uiagntiean nsincerity became eyerolling, adrni ihtesudrc aiaieo h rntlvs
Fri., Sat., 7, 8:45,10:30 repeat for years to come. ntirel predictable as next year's fear . open-mouthed displays of out- from a Rhoda segment and per- ion producers have fallen into
fri.,e SradenBat.,g7, 8:4eirepeatdes'fian iely rdcal snx ersBut thnehapsshe is afraid
If you've already seen Blazing Likewise, Saddles' financial es e, perhaps rage. I can imagine the audi- haps not notice much differ- a rut. Their current formula's
Saddles, don't see it again be- success has given Brooks the aseuninspied astelevison pro Every male human being on ence's delight at the star's seem- ence. possibilities have all been ex-
cause there's nothing in it of power to make the films he grammng in genera. pingly unlimited dramatic range. It's a sad realization. When plored, and it's time that they
cinematic value to warrant re- wants to make. And with The i found that television come- King of Hec'rs No even Bea Arthur expresses critics pan network program- moved on into other directions.
peated viewings. If you haven't Producers and Young Franken- dy as a visual art is non-exist- Ann Arbor Film Co-o disgust so neatly. m g, year after year, for being Personally, I would rather see
seen the film, you probably stein to his credit, this means a et and that the same as a MLS Fri 7 9 The episode closes on a hap- dull and predictable, they are more situation comedies on film
know all the 'gags backwards lot. dramatic art is sorely lacking , t t a py note as, in the grand tradi-not doing so merely to appear (M*A*S*H, for example), and
and forward so why bother in -Chris Kochmanski I Tm stion of situation comedy, family intellectual. Network television they can even keep the canned
an example I have concluded other jerks at The Daily have and friends gather for a final bit is dull and predictable. laghter if they want. But,
that the sole intent of this show's been telling you. Don t believe of wisdom in Franklin's apart- In the past few television sea- please, no more One Day At a
tthem when they say King of met. The camera freezes on sons, however, critics have at- Time.
Jthat's playing t/tis Cinema Weeewriters-producers-directors is to Hearts is not the greatest f lm Bone's ironic griac d te tempted to sift through the cops.
heavdically run her hand through ever made. Because it s the credits roll by. and robbers junk i search of Chris Kochmanski is The
Good news, Ann Arbor. The lines may be long but the u hr and h greatest film ever made something at least of limited im-
GodnwAnher soupbowl haircut and sigh graes il~veaad.Perhaps it is unfair to judge DiysAssatAt n n
genuine first-run Hollywood product is definitely there to Can you name one better? Two a program by ignoring its aural agnation. They have chosen to
make your hot Saturday night dates even hotterdchiracter's entrance or exit films that I can think of offhand content. Admittedly the strength bestow the bouquets on the ertainment Editor.
makeyourhotSatudaynigh dats een htte. chractr'sentrnceor eitcome pretty close-Harold and;o oa' eeiso oeyle
Lucky Lady is a big, expensive, nostalgic, star-studded, which occur roughly every five Mofe and The i rltodays television comedy lies
and sadly disappointing Hollywood extravaganza and it's mri'utes. B3ut besides that, nothing tuches tinthe wriing -the oneuiners,
headed for a long run at the Fifth Forum. Also lighting up The live audience apparently King of Hearts- teinteractions,te situations,
!.it biB up, snce after eac igo ers yt. v w


the marquees are Hustle (thle dynamite teaming or ur
Reynolds and Catherin Deneuve), The Black Bird (a take-
off on The Maltese Falcon, as if Chinatown weren't enough),
Dog Day Afternoon (a true story!), and Nashville (already
a classic in just a few short months).
A complete round-up:
Friday-African Queen, Arch. Aud., 7, 9:05; The
Producers, MLB 3, 7, 10; Start The Revolution Without Me,
MLB 3, 8:45; King of Hearts, MLB 4, 7, 9; Blazing Saddles,
Nat. Sci. Aud., 7, 8:45, 10:30; Gentleman's Agreement, Aud.
A, 7, 9:15.
Saturday-I Confess, Aud. A, 7, 9; The Little Ark, Aud.
A, 1, 3; Blazing Saddles, Nat. Sci. Aud., 7, 8:45, 10:30;
Deep Throat, MLB 3 and 4, 7, 8:30, 10; Garden of the
Finzi-Continis, Arch. Aud., 7, 9:05.
Sunday-Garden of the Finzi Continis, Arch. Aud., 7,
9:05; Wuthering Heights, Aud. A, 7, 9.
All weekend long-Hustle, State (662-6264), Nashville,
Campus (668-6416), The Black Bird, Michigan (665-6290),
Lucky Lady, Fifth Forum (761-9700), Let's Do It Again,
Killer Elite, Monty Python and the Holy Grail, 3 Days of the

sigh poor Bonnie must stare
bhAkly ahead for a few seconds
to let the laighter die down.
Nonetheless, I made no at-
tempt to discern the plot of
'hs week's episode, but instead
sat back, tufrned down the
so'Ind, and observed carefully
each character's motions.
The episode made use of two
sets-Bonnie's apartment (which
looks suspiciously like the apart-
mersts on Mary Tyler Moore and
Joe and Sons) and an office
somewhere, in which it seemed
Franklin applied for a job
Franklin has two obnoxious
looking daughters on the show,
whose function it is to stand
next to each other behind the
couch, gesture wildly while
they speak with exaggeratedI
muuth movements, and run in

Alan Bates is so groovy, and,
oh, this movie makes you feel
so goad inside. Whenever I see_
it. I feel like kissing my dog.
Or doing something to help
mankind get out of thish ra
-Bart Shirl^y

But by ignoring an important
element of the program, I was
mide aware of its other limita-
tinns and the exact nature of
'omething that has bothered me
.b;,t_ these shows for a long:

Wednesday, Jan. 14, 1976
7:30 P.M.
2nd Floor, Michigan Union



GEOGRAPHY 303-3 Credits
PROFESSORS: Julian Bond, Karen De Crow,
Susan Brownmiller, David Brower, Dick Gregory
& Rolo May.

Condor, Briarwood (769-8780),

Emmanuelle, Matrix


SUNDAY, JAN. 11-8 P.M.


ANN ARBOR-Prepare yourself for the RETURN INVASION of
Ann Arbor's
Firesign own comedy
Theatre The
Movie Professionals
SUNDAY, JANUARY 18th & Monday, JANUARY 19th
603 E. William
TWO SHOWS NIGHTLY AT 7 & 9:30 p.m.
TICKETS $2.50 available in advance For further info- 994-0627


r At
" O



-------- ---

THE PRODUCERS-Zany comedy with Wilder and Zero
Mostel. In MLB Aud. 3 at 7 & 10:30 p.m.
bicentennial with Wilder and Donald Sutherland. In MLB 3
at 8:45 only.
THE KING OF HEARTS. In MLB 4 at 7 & 9 p.m.
MA rs Comedia
Open Auditions
MONDAY, JAN. 12-7:00 P.M.
UAC Offices, 2nd floor Mich. Union
Auditions for TIME OF YOUR LIFE, an original adaptation
of four plays: Renee Taylor's "Lovers and Other Strangers,"
Robert Anderson's "You Know I Can't Hear You When The

i, V '


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