v ARTS, Thursday, February 4, 1982- U -M Department of Theatre and Drama Presents Frederick KnottI's MnAl m RECUMMCCOM, Page 5 The Michigan Daily r Feb. 3-6, 8:00 pm Mendelssohn Theatre A selection of campus film highlights Guess Who's Coming to Dinner (Stanley Kramer, 1967) This, the last time Katherine Hep- burn and Spencer 'Tracy worked together, is one of their best-and most important--movies. The .two play husband and wife (again). This time their daughter brings to dinner her intended husband, Sidney Poitier. Get it? A typically enchan- ting, film in which Tracy and Hep- burn prove that they are top-notch actors. (F'riday, Feb. 5; Nat. Sci., 7:00) Superman II (Richard Lester, 1981) The fim of the week to miss. Where Superman gave us a legendary beginning, and a child's eye view of heroism, Superman II gives us car- dboard characters in a plastic plot. It is true that this film is much closer to the comic book Superman, but that only means that it is that much worse. Still, you've got Margot Kid- der, Christopher Reeve, and Gene Hackman acting with more wit, than you would thing possible. (Feb. 5,6; MLB 4,7:00, 9:15). Alien (Ridley Scott, 1979) A visual tour de force. The film combines taut direction and impec- cable production values to provide two hours of extraordinary fantasy. The plot is the oldest one in the book; a nasty monster scares some people. The movie can not be dismissed on those grounds, however, because it is constructed so well. One of the best gothic horror films, and it's set in outer space to boot. (Feb. 5; Lorch Hall, 7:00, 9:15). Rude Boy (J. Hazam, D. Mingay,1980) An incoherent attempt to depict the life of a 20-year-old youth living amidst the subculturesyofcontem- porary England. It's also futile in its attempt to accurately portray the class 3nd racial tensions of the coun- try. But the live footage of the Clash makes the film a must. (Feb. 5; Aud. A, 7: 00,10: 00). The Shining (Stanley Kubrick, 1980) Not the perfect adaptation of the Stephen King novel many would have liked, this film ponders along for the first hour before developing into a fairly scary climax. Jack Nicholson stars as the ex-alcoholic winter caretaker of the remote, and empty, Overlook Hotel. Shelly Duvall is never convincing as the mother, a defect which seriously lessens' the film's impact. (Satur- day, Feb. 6; MLB 4, 7:00f,9:00). Casablanca (Michael Curtiz, 1942) The film that defined the Hollywood tradition of the romantic action movie- is also a tremendous exam- ple of casting in depth. There isn't one false performance in this cinematic marvel. Humphrey Bogart, Ingrid Bergman, Claude Rains, and the inimitable Dooley Wilson are the patrons of the legen- dary Rick's. Only a doctor's note will excuse you from seeing this film. (Feb. 6; Lorch Hall, 7:00, 10:40). Kiss Me Deadly : (Robert Aldrich, 1955) A tpically fast, violent, Aldrich flick that was the culmination of the film noir genre. Ralph Meeker is the private eye out to solve all the mysteries and find all' the treasure. This fijm influenced many of the French new wave directors because of it's perfect combination of style and substance. (Sunday, Feb. 7, Aud. A, 8:45). Stolen Kisses (Francois Truffaut, 1968) Antoine Doinel, the fictional dop- pleganger of Truffaut, scores again in the third installment of his life. Following The 400 Blows and Love At Twenty, we watch Doinel ramble through a series of odd-jobs; ending up engaged to his sweetheart. (Wed- nesday, Feb. 10; Michigan Theater, 4:00, 7:00, 8:45). -compiled by Richard Campbell By Sarah Bassett D ISABLED PEOPLE are usually thought of as "special." They have physical handicaps; their bodies are not ordinary. So (it is com- monly assumed), their lives must be as unusual as they seem to be. But Alan , J. Brightman, a photographer from Cambridge, Mass., disagrees. His insightful exhibit called "Ordinary Moments"-at the Schol of Education through February 6-both states and challenges prevailing con- ceptions. The 34-year-old photographer was also project director and associate producer of the award-winnifig television series "Feeling Free," a PBS broadcast dealing with the subject of disabled children. He has co-authored several books on the subject, and holds a Ph.D. in education from Harvard University. The 45 color photographs are of people playing sports, sailing boats, kissing, working, and sharing jokes together. The people, however, have ar- tificial limbs or are in wheelchairs. They all are handicapped. Brightmen has photographed casual situations that confront us with people who are not perceived as ordinary, but who are nevertheless doing common- place things. The lives of the disabled, we find, are filled with the same or- dinary moments we all experien- ce-"pointless punctuations in any day," he calls them. + Most of the people were photographed in Boston, where Brightman heads a nonprofit firm devoted to improving the quality of life for disabledmindividuals. The pictures were originally taken in celebration of 1981, the International Year of Disabled Persons. The images force us to review some common misconceptions about the disabled. These men and women seem capable; the photographs show us that they experience universal emotions. They are seen at home, in parks and at their jobs while laughing, pondering, concentrating, frowning, and playing. They do not differ greatly from non- disabled people in the scope of their lives or the activities they choose. And they are neither pitiful nor awesome as individuals. Instead, they remind us of ourselves. Dear Merchant. Did you know that Daily readers spend- over $125 million on items you sell?____ GET YOUR AD! CALL 764-0554 "So many public images of disability are designed to prove something or teach something about what it's like to be different," Brightman says in his in- troduction to the exhibit. ". . . (these photographs) are like pictures one might take of a friend, just a person being who he or she likes to be." Qutoes from the people are spiced throughot the exhibit to help project their personalities. One reads: "It's hard to dance in a wheelchair. Not im- possible, just hard. . . and with the_ right person, wonderful." Each quote is a refreshing, stereotype-shattering glimpse' into these individuals. The quotes also add dimension to the photographs: we not only see the people, we also learn of their thoughts and feelings. As a result, the men and women reach out beyond appearances and we see them as individuals. However,-they usually perceive the non-disabled more incisively and ac- curately than vice versa. There are some powerful comments quoted in the show on this subject. "'People should only see how they look when they're looking at me," reads one. The observation is a reminder of how ? the handicapped expect to be stared at, whispered about, and treated awkwardly by others-daily. Frequently, Brightman explained, we divide up the world into "us" and "them," allowing "us" more freedom. "We change our roles to suit the oc- casion. They remain' "the disabled" everywhere, all the time," he said. Physical disabilities do not limit them, Brightman concluded. Rather, they are not- accepted as "ordinary" people: "that's the handicap that mat- ters." Perceptions and attitudes, then, are the real subject matter of "Ordinary Moments," attitudes belonging to disabled and non-disabled people alike-the real handicaps. The exhibit is one step toward inser- ting truth where myths used to be. It remains a moving, disturbing, warm and unique experience. 'Ordinary Moments' shatters stereotypes. "A gutsy, emotional movie about what it really takes to be a hero. One of the finest films of this or any year." -Rona Barrett, Today Show, NBC-TV "A masterpiece. The film's overwhelming impact will touch and affect you." -Rex Reed, Syndicated Columnist STARTS1 TOMORROW CALL FOR SHOW TIMES: CHARIOTS OF FiR ,AtI it[D SARS. PRES I'N A" [NUMA PRODUCT IN PG PARENTALGUIDANCE SUGGESTED St-J S BENCRO5- IA! CARDS( " NG ELAVLR5 s2M!ItER ' OSEStCEOCE -"° CII RYL CAMPBELL " ALICE.KKIGF -"Guest Stars LINDSAY ANDER50N C. C i~~t~i!'lNNS CiiIUS'iOrIiR - !'IOELDAVENPIORT -BRItAD DAVIS ' -- u~cro*.*.' PTER f[(jAC" S. 'OH JN'!(jtIL) -AN! HOLM -PATRICK MAGEE A LADD COMPANY AND WARNER BROS. RELEASE K4'. )' Y LNC 11!!WLI.L.A!'1IMuic nyVA!'!tLIS .wAn"E""