Friday, May 31, 1974 THE MICHIGAN DAILY Page Five cinemQ weekend Millhouse Eckstein for Senate Nat. Sci. And. Sat., 7, 9 EDITOR'S NOTE - This on- campus trmn showing is sponsored by an organizatioa which inteads to use theproceeds to help the p- litical campaign of Peter Eckstein. Such exhibitions are illegal under the State Elections Act, according to Washtenaw County's prosecutor's office. At press time there sass no indication whether or not the film will still be shown. President Nixon is at pre- sent the brunt of thousands of jokes and untold ridicule (not to mention a Senate investiga- tion, and possible impeach- ment). In this he is not much different than any other great political leader. However, the film Miihonse by Amelio Antonio is not a joke. It is a collection of film footage that follows Richard Nixon throughout his illustrious political career. The president that we love to hate isn't presented in a very good light, but there is very little editorializing in the film. Antonio just lets Nixon go, and R.M.N. manages to make a complete fool of himself in no time at all. -David Warren Pick of the week: Images Cinema II, And. A Fri., 7:30, 9:15, 11 Robert Altman's Images (1972) has never been commer- cially released and Altman de- votees should not miss this ex- clusive Ann Arbor premiere of a fascinating and almost jigsaw- like motion picture. Susannah York, who was so marvelous in Freud (1962) and They Shoot Horses (1969), fin- ally gets a decent starring role that necessitates talent as well as her beautiful face. The plot, confusing and al- most impenetrable, concerns a young girl with a haunting past, present, and future. To reveal any more would disgrace the efforts of Altman and York, who have put together one hell of a fine and disturbing film. Images is a whole different ball game for Altman, the former television director-turn- sd-Hollywood-moody-success, but be tackles the project artfully and tastefully. York stars with Rene A'iber- jonois in this sleeper of the century. -Michael Wilson Fat City Friends of Newsreel, MLB 4 Friday, 8, 9:45 The first film John Huston ever directed became an in- stantaneous classic. The Mal- tese Falcon (1941) was a bril- liant first effort and probably the best detective thriller ever filmed. But by the '70s, many said Huston, now 68, was wash- ed up and couldn's recapture the fascinating tempo and orig- inality so prevalent in his ear- lier works. No so, however, with Fat City (1971), an authentic tribute to the fading but still consciously unique talents of perhaps one of America's most prolific and substantial motion picture direc- tors. Fat City is about win- ning and losing, in typical Hus- ton fashion, as seen through the eyes of two boxers: one is on the way up (Jeff Bridges), and the other on the way out (Stacy Keach). As the disillusioned fighter trying for one last comeback, Keach gives the performance of his career. His desperate fan- tasy to get back in the ring will absolutely knock you off your feet - he is almost pathe- tically realistic. Bridges, play- ing the young boxer with subtle gum-chewing casualness, com- pliments Keach's talents p e r- fectly., This film is a winner, and not to be missed. -Michael Wilson Sinbad's Voyage Arnold Golden Voyage: Michigan Arnold: State The other night in a dream I saw two of the worst movies I can ever remember seeing: Arnold and The Golden Voyage of Sinbad. Not only were they just bad pieces of film, b u t they didn't do much for my ego: I was about the only per- son in both theaters. There was some small excite- ment toward the end of Sinbad: some sexy squeals, insinuating laughs, and helpless giggles. Un- fortunately, I soon realized that this was not part of the film - two ushers Krebs and Veronsky, were playing footsie in the last row. Oh, why didn't my editors, Blomquist and Fink, steer me clear of these bombs? Fo r heavens sake don't make the same mistake I did - avoid these two dregs at all costs! -Louis Meldman The Trial Cinema II, And, A Sat., 7:30, 9:30 I don't mean to sound hero- worshippy or anything but I think I'd go to see anything that Orson Welles had anything to do with, even if he was just the gardner on the set. Any- thing. The Trial (1962) was directed and adapted by Welles from the paranoid Kafka novel with prac- tically everything intact, ex- cept for maybe the beginning and the end. Welles himself plays the advocate in the film, which stars Anthony Perkins as Joseph K. in one of the most brilliant pieces of casting in film history. Perkins is the perfect bureau- cratic fool, and co-stars w i t h Jeanne Moreau, a perennial Welles favorite. The film is overly long, a n d almost too much to bear dur- ing the last hour or so, but the photography alone is worth the price of admission. Shot in an abandoned railway station, The Trial is more visually stimulat- ing than seventy hours' worth of Charlton Heston spectacle re- runs. The angles Welles shoots from are absurdly just right, the kind of thing nobody but Welles would dare to do and succeed. Yet if you liked the book, skip the movie. If you hated or miss- ed the book, don't miss The Trial. -Michael Wilson On the Waterfront Cinema Guild, Arch. And, Fri., 7:30, 9:30 Marlon Brando likes only two or three of the 50-some odd per- formances he's given on film, and On the Waterfront (1954) happens to be one of his fav- orites. Directed with a profes- sional and talented hand by Elia Kazan, Waterfront is a shattering and kinetic portrait of the waterfront docks in New Jersey. Besides Brando, the fantastic cast includes Rod Steiger, Lee J. Cobb, Eva Marie Saint, and Karl Malden. The plot is simple: Brando fights back when corruption starts hitting too close to home, and that's when the fun begins. (Continued on Page s) Michigan Daily Atrts 'Extemporaneous Body' Great fun By TONY CECERE In the blackened Residential College Auditorium actors stretch and reach in warm-ups borrowed from Tai-Chi, while on the stage two women portray a sup- ermarket drama. One woman turns to the other and inones the following bene- diction: "A day without orange juice is like a day witehout sunshine!" Ah yes. The Theatre Company of Ann Arbor is at it again with a show that opens tonight and runs through tomor- row titled The Extemporaneous Body, an evening of improvised, symbolic con- temporary theatre. It promises to be great fun and excellent drama. The show is a thread of playlets that cover a wide spectrum of subje.:ts, open- ing with "The Story of our Names", pro- ceeding through sweet tidbits titled "Per- fect People" and "The Sexual Circus", and finally winding up with "Enflings and Beginnings". Each playlet is a miniature cosmo.s containing the basic elements of human interaction. "The Story of our Names"' is an im- provised tale of Genesis, depicting each actor's vision of how his name was ar- rived at. Immediately the strong flavor of each player's personality surfaces in this brief portrait: the name B.nita ih physically blocked out in a cha-cha and a tango while the name Bill is con- templated in the staid, traditional 01n- ner befitting a Michigan dairyman. "The Sexual Circus" is best described by its title. Materials drafted from day to day American life are stripped down and analyzed under the stark micro- scope of the bare stage, with notoriously humorous results. You may never go to Burger King again after i ewing this playlet. Indeed, there are many serious io- I ments in the revue. Perhaps the heaviest piece in the program is "The Creation and Destiny of the Earth People", a the highly symbolic and formal statement Resi- about the human condition, See EXTEMPORANEOUS, Page 8_J Doily Photo by KAREN KASMAUSK Coming out? Pictured are John Mifsud and Jan Kirby Mesler enacting a scene in the womb, part of "The Sexual Circus" sidt from Theatre Company of Ann Arbor's production, "The Extemporaneous Body." Shows are tonight and Saturday in the F dential College Auditorium, East Quad, at 8 p.m.