Saturday, March 20, 1976

THE MICHIGAN DAILY

Page Five

THE MICHIGAN DAILY Page Five


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pictures vy uai 7 DAYS 343 VAN HOUTEN AVE.
PASSAIC, N.J. 07055
themos b icretirmens'os'(313)55 158 Call now for
shots of the bears were a treat. prised of two still shots. the most basic requirements of Spring and Summer courses
The film was in black and Kathy Rose's The Doodlers, good cinema: a unified theme,. ....
The 7 p.m. showing of the fes- white, and this was probably its the first animated film, was varied styles of presentation, ap- k .
tival ranged from some really biggest downfall. The scenery intermittently funny, though propriate timing and pacing, and
awful flicks to a couple that was simply too good to be so crudely drawn. Still, she dis- adequate technical manipulation ,ib
weren't too bad. stark. The other problem was plays a marvelous sense of within the language of film. Friday-Sat. $2.50 j
It started out on a bad note that it appeared to lack unity. color, utilizing the broad pri- Two University of Wisconsin
with Exercise by Victor Faccin- It was 60 minutes of nature and maies to create a feeling of filmmakers, Mira Reym Bin-T R
to. This film tried to parade it- nothing else. The addition of gaiety. ford and Michael Camerini, pro-
self as a serious piece of art. periodic narration would have Thanksgiving, a 1.5 minute vided the evening's outstanding
The plot consisted of running a benefited this film. short, was truly amusing in a p i c t u r e: a sensitive, well-
"meaningful" phrase across the -Phil Bokovoy wacky sort of way. Clarden developed documentary entitled
screen about 15 times. It appear- Johnson's light touch informed Village Man, City Man that
ed to be filmed on scotch tape. 9:00 . . . humorous the whole, and made it a delight, examined contrasts between life 'Tracy's impressive fiddle, banjo,
One wonders what grade Fac- , Two long films, one enitled in urban and rural India. and guitar styles have made him
cinto got on this exercise. Thursday's 9 p.m. showing was Remember Tomorrow (Ceorge a major influence on the coun-
Slop Print, Jud Yalkut's fine largely free from the kind of Kuchar) and one entitled My Binford and Camerini exquis mr lene on the coun-
little {gem, finally broke the paralyzing vacuity that has mar-, Trip in a '52 Ford (Ernie Pal- th
boredom. The shots were good,'red earlier screenings. The ani-'omino), each tried for whimsy, of film to show an action or years. Tracy has played in every
and the sight of two pigs hav- mation was of a spectacularly yet only the former succeeded event rather than just talk about major festival in the U.S. and
ing sex to the tune of "Lay,, poor quality, and the whimsy in any measure. it, using superimposed titles as ar festiva n thme Us.cad
Lady, Lay" was hysterical. It fell flat, but the humor was of Remember Tomorrow was a n
seemed as if Yalkut was direct- a generally better level than parody of '40s films, reilete tional obtrusive voice-over. tion with the New L o s t City
ing them. previously. with black velvet-gloved hand Their cameraa d a diver Ramblers makes him no stranger to the Ann
An attempt by Michael Wallin The first film, however, a re- opening a book which contains set of moods and emotions, from Arbor audiences.
to create a dream-like effect in showing of Homage to Kroy Ru- the credits. Its misdirection, its anized factory to the rhythmic,
Sleep Walk failed miserably. Thebin (from the 7 p.m. Wednes- attempt to cram too much into routine pace of village chores. THURS.-BARRY O'NEILL
acting was really poor and it day session, where it was can- too little, was the cause of its
seemed that he dug up the cast celled due to technical diffi- failure. . Two verite documentaries had
from the dump. culties),dwas truly idiotic. The But '52 Ford was an attempt somerwhat less success. Chuck SUN.-PUTNAM STRING COUNTY BAND 
The only documentary was sound track was charming, yet to be relevant and now and all Hudina's piece on a visit byj
Bear Creek by Howard Bass, directors Barry Mowat and Tom those other boring words, and its (his parents to his home at col- 1 421 H I LL 8:30 761-1451
which was a day in the life of Lyons have a great deal to pomposity was amazing. Palo-'lege adequately covered familiar
an Alaskan lake. The photog- learn about film as a dynamic mino might find cutting hair a generation gap territory, but re-
raphy was excellent and the medium, for the film was com- more productive occupation than flected a lack of technical assist-'--- _-- __ ___ ___ ___ __
- --- - making movies in the future. ance (Hudina's mother carried
Cze sThe best film was the un- the Nagra synchronous recorder CANTERBURY HOUSE presents:
at scheduled 33 Yo-Yo Tricks, a while he interiewed her). PATHS TO SEL F-AWAREN ESS
'" deadpan comic short by P. Caffe Trieste, from San Fran- r A1A~ L
White. Slickly filmed and utterly cisco filmmaker Ira Rothstein, -A SERIES OF LECTURE-DISCUSSIONS AND DEMON-
pretentious, it was an inten- aptly brought out the lively joie STRATIONS ON SPIRITUAL AWAKENING
tional delight. de vivre spirit in a popular THURSDAY EVENINGS at 8:00 p.m.
G oodu't shllow-Jeff Selbst Greek cafe. But the film failed
to strongly establish identifiable
11:00.6 ,personalities, and seemed rather 1. ANTHROPOSOPHY I: A Science of
By STEPHEN PICKOVER 'pathetic, and slightly disgusting static at times. the Spirit: The Philosophy of
humanity. tOCUmentry--David Blomquist Rudolf Steiner

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C1976 Coifomia Avoco aAdvisory Board.Newport Beoch.Caifomia

WATCHING the Couzens En-'
semble Theater (CET) pro-
duction of Samuel Beckett's
Waiting for Godot is like read-!
ing an unfinished murder mys-
tery. It leaves you wondering,
even if you're not sure what
about.
Godot is a tragicomedy, an
optimistic outlook on the futili-
ty of man's existence. Emotions'
are brought down to their purest
form, exemplifying a starkness'
of feeling which is reflected in1
the language, the acting, and!
the setting of the play.
BUT THE PLAY has humor,
and perhaps that's what makes
it enduring (it was first intro-!
duced in 1952, and has received '
countless productions since).I
Ranging from dry linguistic wit
to bald vaudeville, the cliches'
work upon the barrenness of
the script to produce a unique
kind of freshness.
The acting was impressive for'
the most part, but lacked com-
passion. Jan Marks as Gogo and
Charles Van Boven as Didi each
displayed technical competence
and elan. In their characters lay
the only true sympathy one man-
aged to feel for the play - the'
scenes where, for example, Didi
and Gogo embrace each other,
symbolizing at once the kindred,
spirit of man and the idea that.,
friendship is, at base, an alli-
ance against the world.
Their neat circumscribed
world, a world where living isn't'
being but merely waiting, is in-
truded upon by two strangers,
Pozzo, a slavedriver (Robert
Shalwitz), and Lucky Steven '
Borkan), his slave.
POZZO, the grandiose tyrant,
was played to. the hilt with an
hyperbole that encompassed un-
derstanding. And this was no:
more displayed than in the
scene where he loses his watch,a
his pipe, and his atomizer, and'
thence become helpless, a de-
posed and stripped man. Shal- I
witz laid bare all his follish,

Lucky was pitiable, sad, and I feel a lot better now about
an admirably portrayed human the 14th Ann Arbor Film Festi-I
waste. And yet Borkan failed! "
to perceive the base of the va.
character-that is his nebbish's Before Thursday's 11:00 show, ' q
sense of vulnerability. Lucky the screenings I'd attended ' " G
should make you realize (as'mostly contained prime exam-:IM PRE
should Pozzo) that, though this ples of the worst products of'"
may be the worst of humanity contemporary experimental cin- ,
in front of you, it isn't the end ema. I'm sick to death by now ! "
of the world. Borkan's Lucky of seven minute films consisting :
was merely sorry. entirely of close-ups of failing .
Beckett was writing about life, water accompanied by a quick *
and nowhere is this as clear synthesizer soundtrack. "
as it is when Gogo plans to But the final session Thurs-
kill himself in Act I. But they day night was vastly different., Al
have no rope, and for lack of I Five of the nine films achieved':
a means there is no end. The a-e-tl- ---em
author tells us that life may Younq People's Matinees 1 I
not be much, but it is all there I presents "

is.

GREG MILLER'S direction
was understanding and clear,
perceiving the base of the play
to be this noncomprehendingI
but accepting view of life. The
main problem he had was in
the blocking, and that due to'
the strange shape of the room
with which he was working.
The play came off as a bit
of a tennis match, as the stage
was too elongated for the ac-
tion of the play. Otherwise, he
displayed an immaculate sense
of absurdity, a must with Beck-
ett.
Some of the mood of the play
was dissipated due to various
technical difficulties, yet the ac-
tors were able to camouflage
this flaw sufficiently until the
crew regained composure.
Waiting for Godot is a play
about life and people, and in an;
immensely powerful vehicle.
And but for a few flaws, the
CET production was worth the
time invested.
COLOR
PHOTOGRAPHY
Munson and Munson
CALL 995-3929
Hours: 11 a m. to 9 p.m.

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Blanches n Ma rU 5des

February 26th, with DR. ERNEST KATZ
2. ANTHROPOSOPHY 11: Spiritually
Based Education in the Teachings of
Rudolf Steiner
March 4th, with DR. ERNEST KATZ
3. YOGA: A Synthesis of Its Various
Systems
March 18th, with K. SUNDAR DAS
4. KARMA YOGA, Natural Law, and
the Declaration of Indeaendence
March 25th, with DICK AHERN
5. GESTALT THERAPY: Attaining
Wholeness
April 1st, with MICHAEL ANDES
TE(BUY
IOUE

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