Friday, May 28, 1971 THE MICHIGAN DAILY
Reviewing the Cannes festval

(Continuied from Page 5)
*years older, as he fights in the
boxing ring, falls into rivers,
and slurps paper streamers.
TAKING OFF, the American
entry, was by far the days worst
experience. It is another one
of those American films about
"now" America which is always
nade by someone with little
or no comprehension of our na-
tional mileau. Czech Director
Milos Foreman is the culprit
this time. After spending o n I y
two years in America he has
tried to make a film about the
generation gap and has come
p with the usual stereotype ---
revival at
Met fails
(Continued from Page 5)
appropriate for I Pagliacci, per-
saps, but hardly the nuanced ap-
proach needed for effective
French opera. Corelli was im-
pressive in his beautifully con-
trolled diminuendi and crescendi
in the Freiendship Duet (Act II)
and "Pourquois me reveiller"
(Act III), while his death scene
tame across well due, for once,
to his unaffected phrasing.
It is a double tragedy that the
production as a whole failed be-
cause it is one of the two few
unstandard repertory items the
Met has staged and sent on tour
4P recent years, and because a
combination of first-rate stage
direction, exemplary conducting
and sensitive vocal coaching
could have transformed this
Werther into an outstanding pre-
sentation.


rock music, inarticulate youth,
bourgeoise parents, and p o t
smoking.
The Australian entry, Out-
back, was brutal but excellent.
It stars Donald Pleasance and
Brian West. It is a film about
a man imprisoned within him-
self, a man separated from so-
ciety by his hatred of his sur-
roundings, his scorn of his as-
sociates, his sense of intellect-
ual superiority, his need for ac-
ceptance, and his loneliness. It
is a film which makes a power-
ful comment on our male-
oriented society of aggressive
hospitality which has elevat-

ed the phrase "have a drink,
mate" to the status of the first
commandment.
Now about the new Bresson
film - I must frankly admit I
didn't understand it. It is
adapted from a short story by
Dostoevsky and takes p Ia ce
during four nights on the Pont
Neuf in Paris. It is the story
of two young people - a male
artist, and a female, told
through flashbacks. However, it
was unsubtitled and my French
isn't good enough to help me
find a mens room in an emer-
gency, let alone understand a
Bresson flick. C'est la vie.

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