Friday, July 16, 1976

THE MICHIGAN DAILY

Page Seven

Friday, July 16, 1976T H E MICHIGAN DAILY Page Seven

Ha ppening

All week long
COMMERCIAL CINEMA
Buffalo Bill and the Indians-
(The Movies, Briarwood) - A
splendidly made but largely un-
moving study of the famed
cowboy's Wild West show of the
1880's. Based loosely on Arthur
Kopit's play, Indians, the film
swiftly establishes its dual
theme of the White Man's big-
otry toward the Red Man and
of the power of image-making
showmanship to distort and of-
ten obilterate reality, then
plays variations on the subject
the rest of the way. Director
Robert Altman seems at last to
have evolved a cinematic style
fully and legitimately his own,
and it is a pleasure to watch
this talented filmmaker in com-
plete - if somewhat meander-
ing - control of his material.
But for all its virtues, Buf-
falo Bill lacks something unde-
finable - perhaps it's simply
the fact that most of its charac-
ters are such schmucks that
it's hard to get really involved
with them. The end result is a
film consistently stimulating to
the mind and senses, but aridly
circumnavigating the heart. ***
The Sailor Who Fell From
Grace With the Sea - (State)
-An absurd film about an af-
fair between an American sail-
or and an English widow, dis-
rupted by a group of neo-fascist
schoolboys offended by the sail-
or's defection from his "perfect
balance" with the life of the
sea. Yukio Mishima's story has
been lifted from its original
Japanese setting and ludricous-
ly transplanted to an English
coastal village, with the result-
ing cultural mismatch making
much of the plot seem pointless
and often laughable. As the wi-
dow, Sarah Miles overacts out-
rageously, while seaman Kris
Kristofferson doesn't appear to
know how to act at all. **
The Omen - This Summer's
runaway box office blockbuster
is many cuts above the crass
exploitation film one might as-
sume from its overheated pub-
licity campaign. The story
about the rebirth of Satan in the
form of a five-year-old boy man-
ages stylistically to avoid both
with the overt grotesquesness of
The Exorcist and the overamor-
phous subtleties of Rosemary's
Baby, and is also in no way an
artistic rip-off of either; it is a
straight, stark exercise in ter-
ror, complete with some of the
most profoundly frightening se-
quences ever put in a film. In
it's own way, The Omen is a
cinematic masterwork, but for
God's sake leave the kids at
home; they'll have nightmares
for weeks (so will you). ****
Logan's Run - (Fox Village)
- A post - apocalypse tale of a
23rd Century domed city hous-
ing the remnants of humanity,
and the efforts of two individ-
ualists to escape its stagnant
confines.
The first half of the film is
the second half fallshrdliun,c
brilliant, spine - tingling sci-fi;
MORE O DO
THAN EVER
PINBALL,
B I LLIARDS
ndBWLING
ctteUNION

the second half falls flat on its
face, largely through the pe-
destrian efforts of the formerly
talented Peter Ustinov. Cast as
the lone inhabitant of the out-
side Earth, Ustinov assaults us
with a grotesque semi-W. C.
Fields imitation so out of kil-
ter with anything else in the
film -- or any other film, for
that matter -- that one longs to
yank him off the screen and
give him a solid kick in his self-
indulgent rear. lie's old enough
to know better.
It's all rather a shame, be-
cause much of Logan's Run
rivals 2001 in both scope and
imaginative fling - too bad
they couldn't carry their vision
all the way through. ***

Friday
CINEMA
McCabe and Mrs. Miller -
(Cinema Guild Arch. Aud., 7:30
& 9:30) - Robert Altman's ov-
errated film about the corrup-
tion of free enterprise in the
West. Loaded with atmosphere
and wonderful supporting per-
formances, but dragged down
by a plodding pace and less-
than-convincing acting by War-
ren Beatty and Julie Christie.
The Magician - (Cinema II,
Ang. Aud. A. 7:30 & 9:30) -
Bergman's study of a false me-
dium. A film that never seems
to make up its mind whether
it's a horror movie, or a philo-
See HAPPENINGS, Page 10

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t' WALT
DISNEY
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