ARTS,
The Michigan Doily Thursday, January 28, 1982 5

I.-

'Heart' troubles

A selection of campus film highlights.

Barry Lyndon
(Stanley Kubrick, 1976)
Some people call this film boring. It is,
instead, a calm look back into history.
The film is more like a moving painting
that frames of celluloid, so artistic is its
production. Ryan O'Neal romps
through 18th century Europe in an in-
spired translation of Thackery's novel.
(Thursday, Jan. 28; Aud. A, 6:00,9:00):

Idiots, the Decline.
Western World, the
and much, much
Michigan Theatre,
11:'00).

and Fall of the
Clash, Iggy Pop,
more. (Jan. 29;
4:00, 7:00, 9:00,

Suspicion
(Alfred Hitchcock, 1941)
A small, gentle film that concerns Cary
Grant's attempts to kill his wife. One of
the first works by Hitchcock to clearly
show his genius, the film is endowed
with a sense of British order and
tranquility, while beneath the surface
lies the possibility of all sorts of nasty
things. (Jan. 28; Michigan *Theater,
4:00,7 :00; 9:00).
Being There
(Hal Ashby, 1980)
Peter Sellers is one of the few actors
who can completely submerge his
character behind a facade of blandness
and remain interesting. As an
uneducated gardner, suddenly thrust
into the "real" world, Sellers displays
the boldness of a chiold combined with
the naivete of the television, his only
friend. Director Ashby vividly shows us
that a movie like Harold and Maude is
no fluke success. (Friday, Jan. 29; Lor-
ch Hall, 7:00,9:30).
Jaws
(Steven Spielberg, 1976)
Spielberg, taking his cues from Hitch-
cock and Ford, and filming only the bet-
ter half of the Benchley novel, comes
out with one of the most enjoyable, and
frightening, movies in years. Dreyfuss,
Shaw, and Scheider are forever
typecast as three roving shark-hunters
in this film from the tan hat put fun
back into the cinema. (Ja';. 9; MLB4,
7:00, 9:30)#
D.O.A.
(Lech Kowalski, 1980)
A pseudo-documentary of the Sex
Pistols ill-fated American tour. Also
features Generation X, Terry and the

Body Heat
(Lawrence Kasdan, 1981)
This is your chance to see the best '40s
film of last year. All right, so it was the
only'40s film of last year. It is still one of
the best recreations of that era of film-
making to come along. Kasdan's first
directorial effort squarely places him
in the forefront of new American direc-
tors. Starring William Hurt as the
small-town lawyer up to no good.
(Saturday, Jan.30; MLB 3,7:00,9:00).
The Black Stallion
(Carroll Ballard, 1979)
A triumph of imagination. The first
twenty minutes of this film have been
rightly called a visual poem. The
classic tale" of a shipwrecked boy and a
horse is perfectly captured on the silver
screen. Featuring Kelly Reno as the
captivated child and Mickey Mouse
Rooney as the aging ex-jockey. The
brilliant Carmine Coppola composed
the music. (Jan. 30; Lorch Hall, 7:00,
9:15).
Psycho
(Alfred Hitchcock, 1960)
Made on a shoestring budget, back
when Hitchcock was doing television,
Psycho is the master's definitive
movie. Thinking back on the film you
will wonder how it works, but watching
it you won't have time to ask questions.
The role that began (and practically
finished) Anthony Perkins career.
Psycho is the father of all those Terror
Trains, Motel Hells, and Friday The
13ths. (Jan. 30; Michigan Theater, 3:00,
7:00, 11:00).
Chinatown
(Roman Polanski, 1974)
Along with Body Heat, this film is this
week's answer to films from the classic
'40s. Jack Nicholson stars in this much
too complicated story of green, incest,
murder, bribery, crime, and love. Not
your typical detective story, from the
not so typical Polanski. (Wednesday,
Feb. 3; Lorch Hall, 7:00, 9:15).

HOLLYWOOD (tJPI)-A couple of
years ago Francis Ford Coppola bought.
the ramshackle General Service
Studios, dubbed it Zoetrope and decided
to shoot his next picture, One From the
Heart, entirely on the lot. Moreover, he
financed it himself-a fatal error.
Coppola hit financial shoals when
costs shot up and the inevitable movie
delays extended his shooting schedule.
He had to cut back, put employees on
short rations and tighten belts.
He admitted that Zoetrope and
perhaps even his San Francisco area
home might be lost if One From The
Heart failed to become a box-office
blockbuster.
Well, earlier this month One From
The Heart was premiered in New York
and received pretty good reviews. Few
raves. Few pans.
Coppola had a falling out with
Paramount Studios which was sup-
posed to distribute the film. It will not.
It was shown in Los Angeles last week
where the critic's applauded the
opening credits more enthusiastically:
than it did the fadeout. One From The
Heart was described byKevin Thomas,
critic for the Los Angeles Times as "a
delightful, wonderful neon fantasy,
romanca. I loved it."
The film is innovative and sometimes
;:". '. "'" The Comic Opera Guil
S MICHIGAN THEATRE
-J Tickets on sale
Michigan Theat e Box Off ce 26 p m Mon Sa
also at Hudson's Briarwood and Wherehouse Records

2 INDIVIDUAL THEATRES

WARREN BEATTY
DIANE KEATON
RES

surprising. Its story is paper thin, the
cast so-so and the ending happy.
One From The Heart is a good and en-
tertaining motion picture. It is not,
however, the second coming. Coppola
acquitted himself admhirably on all
counts. But his film is not likely to har-
vest $100 million or even $25 million.
It is patently unfair that Coppola's
new movie should be judged in respect
to its cost and prospects for profit. But
that is one of the immutable hazards of
Hollywood sainthood.

Joanne Leonard's photograph, 'Countertop Industry,' is
being shown at the School of Art Faculty Exhibition.
Art professors show.
of what they're made

THURS, FRI-8:30 (PG)
SO With this entire ad one,
50ticket $1.50 Mon, Wed,
$" Thurs Eve.
oodThru 1/28/82 (Except REDS) "M"
"The miracle of thismovie is that A
sends us home in a state bordering,
an elation"-Cosmopolitanl Mog.

RICHARD-
DREYFUSS

By Sarah Bassett
T HIS MONTH students can see for
themselves just how well their art
professors practice what they preach.
Works by 24 members of the School of
Art faculty ,are\ on display for public
.perusal at the Museum of Art through
February 28.
"The show focuses on artwork by
4ecipients df faculty research grants
rom the Rackham School of Graduate
Studies. It incorporates a variety of
media: paintings, sculptures,
ceramics, collages, photographs and
metalwork. Three or four works per ar-
tist were selected to provide an over-
view of personal styles and trends.
The exhibit is, of course, a way of
giving University faculty some public
exposure."But it also highlights the fact
that funding is available for creative
artists as well as academic scholars.
Endowed by Horace Rackham and
his wife in the 1920s, the graduate
school gives approximately $500,000 per.
year in'grants to University faculty,
according to Eugene Feingold,
associate dean of the school. The grants
are competitive with about half of all
applicants actually receiving awards.
Usually two or three art instructors
are included in the yearly program.
The money helps pay for travel expen-
ses, art supplies or several months'
salary during the period an artist is on
sabbatical or taking time for intensive
work in the studio.
In academic institutions stressing
scientific and scholarly research, even
two months' funding for creative ac-
tivities is somewhat unusual.
"It's- actually remarkable that
Rackhamsupportsrcreative work,"
said Jacqueline Slee, assistant director
of the art museum. "The exhibit is a
way of thanking the school while letting
the public know about the program and
the artists."
Since almost all the works on display
were completed in the last few years,
they were not necessarily begun while
the artists were receiving grants or
fellowship money. Rather, the pieces
were chosen as reflections of that sup-
port, or, as art school dean George
Bayliss put it, the grants allowed artists
to "explore intuitions and enthusiasms
with far greater assurance" than they

might have without funding.
And as any artist knows, that kind of
assurance-the dollars-and-cents
kind-is always welcome when you're
trying to support an art habit.
Sometimes those "intuitions and en-
thusiasms" spur an artist to explore
new creative territory.
One artist in the exhibit, Gerome
Kamrowskl, made the switch from
painting to painted wood sculpture. It is
easy to see why he did. His paintings
from the '60s are exuberant, active and
colorful, as if the shapes are going to
jump off the canvas.
With the cross over into sculpture, his
shapes have taken on distinctly hum-
orous forms: carnival-like, bead-
covered animal forms suspended from
poles.
Several of the painters in the group
appear to be experimenting with tried-
and-true abstract expressionist
methods. George Bayliss uses clear,
sensual colors in his oils. Fluid, organic
shapes dominate his canvases. They
are rhythmic, graceful compositions
which also convey a sense of depth and
solidity.
,In the photography department,
William Carter has some fluid, liquid
images. They appear to be shots of
man-made structures,; such as boats
reflected in water. Paradoxically, the
images take on the eery appearance of
undulating animal shapes.
Commonplace objects juxtaposed
with rough, dream-like crayon sketches
are a theme for Joanne Leonard.-Only a
few small photographs of hers are
shown.
Also on display are some wonderful
mixed media sculptures by John
Stephenson. He fastens chunks of fired
clay to aluminum poles and finishes off
his pieces with touches of curled wire.
The substantial forms convey a sense of
action or movement. They are
dynamic, self-contained pieces, rich in
earthy textures and colors.
Other pieces include Ted Ramsey's
rag paper compositions, reminiscent of
American Indian ceremonial shields,
Alfredo Montaldo's sleek sculptures,
and Philip Davis's photographs.
The art show is a wonderful showcase
for the talent of the University's
faculty, and a good place for students to
see what their professors are talking
about.

Whose
life is It
anyway
THURS, FRI-7:00, 9:15 (R)

I



r

Make

Your Drea

ims Come True...
with
J0f*)
ONCERT
HILL AUD. 8 P.M.
nd $9.50 and go on sale TODAY
ket Office (Sorry, no checks ac-
ENTS PRESENTATIdN

Dfl RYL
0fL

En teirtaildnemhen Briefs
MavnFrn ill nwgsdipj the live

W. HOLLYWOOD (AP)-"Leave it To
Beaver," one of the most popular
comedy series in syndication, may get'
a new lease on life.
Universal Television is considering
whether to produce a new version of the
show. It is still in the talking stage, and
no plans have been made as to what
form it would take.
"Leave It To Beaver," with Beaver,
Wally, Eddie Haskell, Lumpy and all
the rest, ran first on CBS and then on
ABC, from 1957-63.
e HOLLYWOOD (AP)-Jobnny Carson
will be master of ceremonies for the
54th annual Academy Awards show to"
be broadcast by ABC on March 29.
It win be the fourth consecutive year
as master of ceremonies for Carson,
who is host of "The Tonight Show" on
NBC. The presentations of the Oscars
will be in the Dorothy Chandler
Pavilion of the Los Angeles Music Cen-
ter.

evn ran w
broadcast.

IN C

e HOLLYWOOD (AP)-CBS Theatrical
Films is planning to produce 39 motion
pictures, including five for release in
1982.
The five for this year, announced by
Joe Wizan, president of the CBS sub-
sidiary, are "The Challenge," "Table
for Five," "Raoul Wallenberg,"
"War is Heck" and "Nitty Gritty."
Michael Cimino, who directed the ill-
fated "Heaven's Gate," .will direct
"Nitty Gritty.".
e HOLLYWOOD (AP)-English actress
Lysette Anthony will star opposite Ken
Marshall in "Krull" for Columbia Pic-
tures.
Miss Anthony, who plays Princess
Lyssa, recently completed her role as
Lady Rowena in "Ivanhoe" for CBS.
She also player Olivier's mother in he
CBS production of "Oliver Twist."
Marshall recently completed work on
the NBC miniseries "Marco Polo," in
which he plays the title role.
375 N. MAP.E
769-1300
IM Mon-Fr. Before 3 PM SohSun..

MARCH 14

Tickets are $11.50, $10.50 x
at the Michigan Union Tic
cepted) and CTC Outlets.

A MAJOR EV

i ,
f

rnA

.I

1 I S: Ls

-1K-