Page Two

THE MICHIGAN DAILY

Tuesday, June 20, 1972

Page Two THE MICHIGAN DAiLY Tuesday, June 20, 1972

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ARBOR OAKS CORPORATION, REALTORS
2310 W. Stadium 48103

cinema

Fuzz: Carbon

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OkTC H for
vnstcnrs SI
esday and Wednesd
11 a. m.-2 p.m.
at
lary CD
ANN ARBOR
1121 S. University

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ILEI.
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qfti1

By RICHARD GLATZER
I guess it's an inevitable result
of our supply and demand capi-
talist system that every success-
ful movie will be followed by
several unsuccessful imitations.
Producers just don't realize that
what we movie-goers always de-
mand is a certain degree of
novelty in any new film, not a
carbon copy of a familiar one.
Looking at Fuzz in sections,
one might be led to condemn
the film as a crass imitation
of a recent, successful movie.
But this is no mere attempt to
capitalize on the popularity of
one film; Fuzz is so audaciously
copied from so many recent
films that it serves as an almost
perfect summary of the past
year of American movies. Try
this plot outline, for instance: an
cxtortionist clla up a police
station nd threatensto kill an
important individual if $50,000 is
not delivered in a lunch box at
a certain location in a 1ocal
park. Dirty Harry? No, Fuzz.
Or try this: a cop enjoys listen-
ing to several inane conversa-
tions while tpping somone's
phone. French Connection?
V

Much of Fuzz comes from
these two films. On the French
Connection side there's a suave
European villain-the Deaf Man
(Yul Brynner). Also, a poor at-
tempt at recreating Connection's
realism, a sense of precinct life,
consisting mainly of on location
shooting in Boston and "human-
ized" cops who horse around like
kids and eat pretzels in their
patrol cars. There's even an
abbreviated subway chase se-
quence.
Borrowed from Dirty Harry is
Dave Grusin's imitation Lab
Schiffrin scre, an insane, cop-
hating killer, a this time suc-
cessful shooting in front of a
church, and even a minor vil-
lain, Dominick (Ron Tannas),
who looks like Andy Robinson
(Harry's Scorpio killer). One of
Harry's themes was that one
must go outside the law to cope
with a lawless individual. Many
critics mistook Sidgal's cynicism
for fascism. Fuzz avoids the cries
from the peanut gallery by tak-
ing Harry one step further; here,
in one of the more preposter-
ous finales I've seen in a while,
three separate groups of crimi-
nals accidentally trap each other
while the bungling cops look on
bemused.
What Fuzz' makers seem un-

opy job
aware of is that the difference
between Connection and Harry is
nothing less than the difference
between pseudo-documentary and
myth. Yet if you find the idea of
mixing these two films is be-
wildering, try adding elements
of everything from Clockwork
Orange (unruly teenagers who
set fire to bums to clean up the
neighborhood) to the imitation of
Burt Reynolds' Cosmo pose that
promoters have inexplicably in-
cluded in ads for the film (Rey-
nolds is never seen nude in the
film).
Fuzz does make a feeble try
to be original. A deaf mute love
interest, for example. And a
generally dull sense of humor
(i.e., Big Yocks are supposed
to be provided by the infinite
number of scenes in which the
policemen ogle Raquel Welch as
if they'd never seen tits before).
But what gives Fuzz its very
unique identity is the huge, brash
degree to which it has aped and
mixed various aspects of recent
cinematic financial successes, ir-
regardless of their differences.
The last shot of Fuzz shows is
that Brynner has escaped his
pursuers while we hear Dinah
Shore sing, "I'll Be Seeing You."
Could it be they're planning a
sequel?

Two WABX DJs resign;


VICE. and VERSA. MICK JAGGER. and MICK JAGGER.
PERFORMANCE
James Fox, as runaway gangster, meets recluse rock-star, magic, and ritual.
includes "MEMO FOR TURNER" written by Mick Jagger for this thought-provoking film.
"With its haliucinogenic mushrooms, its direct equation of the underworld with respectable so-
ciety, its obtrusively restless visual style, PERFORMANCE runs the gamut from Henry Livings'
EH? to Costa-Gavras' Z by way of Fritz Long's M. There is-the noticeable influence of such
contemporary sages as R. D. Lang (THE POLITICS OF EXPERIENCE and the BIRD OF PARA-
DISE), Norman 0. Brown (LIFE AGAINST DEATH) and Erving Goffman (most especially the
chapter on "Performances" in his THE PRESENTATION OF SELF IN EVERYDAY LIFE), an
elaborate score that combines rock numbers by Mick Jagger and Indian-style music by Jack
Nitzsche, rib-nudging references to painters like Magritte, Peter Blake, Richard Hamilton
and Francis Bacon, the looming presence throughout of Jorge Luis Borges, and lurking be-
neath it all the ethos of the so-called underground and its cinema.
"Coupled with the much publicized troubles that the makers have had with their distributors,
and to a lesser extent with the censors, it's not surprising therefore that the film has been ac-
claimed as an urgent mind-blowing revelation or dismissed as a trendily mindless confection.
There is certainly ample evidence to support both views. Yet for all its faults I found it a
most engaging movie, and I have yet to meet anyone (though some there surely must be)
prepared to deny its manifest technical merits-and for this credit must go individually to
Nicholas Roeg for his virtuoso camera work and to Donald Cammell for an inventive, often
very funny script; and to Roeg and Cammell jointly as co-directors for the remarkable acting
(or should one say performance?) they've elicited from their oddly assorted cast."
-Phillip French, "Performance," Sight and Sound magazine, Spring 1971
"Picture of the year!"-Rolling Stone magazine.
"PERFORMANCE is a motion picture not so much to be seen as to be exercised. If they still
burned witches, the makers of PERFORMANCE would be in trouble."-Lawrence DeVine,
DETROIT FREE PRESS, Oct. 30, 1970.
"A film so devastating in technique and content that it should be seen and seen again."
-NEWSDAY
"Are you ready for a trip inside Mick Jagger's head? . . . A Question of Identity (Can't you
guess my name?') is resolved, in o manner of speaking, and we all know who Jagger really
is, don't we?
"PERFORMANCE is a stunning film, stunning in the sense of a body blow, and if Woodstock
presented one sort of reality, PERFORMANCE presents another sort, a dark yin to Wood-
stock's yang. The Maysles brothers aside, this is the Altamont movie. We have to deal
with Altamont-and of course Jagger knew about Altamont even before it happened.
PERFORMANCE was shot nearly two years ago, long before the apocalypse at the Speedway,
but it's all here in final form-future tidings neatly catalogued and even pre-analyzed. A
line from Jagger's song: "We were eating eggs in Sammy's when the black man drew his
knife." This is a weird movie, friends ...
"At the heart of it all is the relationship between Turner and Charles, and that relationship
reeks of purest evil. Purest evil . . . Black magic is tricky stuff, and there is no free lunch;
Turner pays the only price there ever was.
"Jagger is exquisite. In fact he is more than exquisite; he is downright outrageous. Nobody
but Jagger could have played the part of Turner; he turns in a performance that transcends
acting to verge on psychodrama.
"If you need a way into the film, the music is a perfect door. Jack Nitzsche has put to-
gether a fantastically appropriate score . . Nitzche has included some of the most incred-
iblee.lectronic music I have encountered in a film ...
"Everything in it (music, acting, photography, editing) moves together in a beautifully or-
chestrated crescendo to peak in white light/black death .. .
--Michael Goodwin, ROLLING STONE magazine, Sept. 3, 1970
TONIGHT-June 20th -ONLY!
auditorium a, angell hall 7 and 9 p.m. 35mm 'X' $1
h a a o 0 0 0pa0
Coming Thurs.: John Voight and Dustin Hoffman in MIDNIGHT COWBOY

cite program
By BURL WAGENHEIM
WABX personalities Jim Dulzo
and Larry Monroe, announced
their resignations from the Dc-
torit radio station while on the
air Sunday .night. Citing restric-
tions from management over
programming, the two disk
jockeys announced they were no
longer able to determine the
type of music that is played.
"We're told to pay attention
to the hits," said Dulzo, who
claims the s t a. t i o n manager
forced him to cut down orr jazz
and blues selections and concen-
trate on more popular material.
He also objected to the in-
creased sponsorship by tobacco,
brewing, and automobile compan-
ies as representatives of "death
culture" viewpoints.
Dulzo and Monroe were joined
in lengthy debate by other
WABX personalities, Dan Car-
lisle, Dave Dixon and Dennis
Frawley, who defended the sta-
tion's programming as the best
possible under capitalism. Ac-
cording to Dixon, if the pro-

restrictions
gressive rock station is to sur-
vive it must "appeal to ratings"
and no longer play music chosen
entirely by the disk jockey.
Dulzo, a resident of Ann Ar-
bor, will soon present a program
over Ann Arbor's new cable tele-
vision system in conjunction with
the Tribal Council. Dixon de-
scribed this move as "copping
out from Detroit" and also spec-
ulated that Monroe would return
to station WNRZ, where he work-
ed prior to WABX. Monroe de-
nied the charge and stated his
plans, at present, as undeter-
mined.
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