ARTS Thursday, March 11, 1982 The Michigan Daily. I Page - A selection of campus film highlights The 20th Ann Arbor Film Festival The festival of 16mm films continues at the Michigan Theatre. A different show of avant-garde, experimental, and other independent films are shown eachevening at 7, 9, and 11 p.m. Thursday through Friday; 1, 7, and 9 p.m. Saturday; with highlights from, the festival and winners screened Sunday, March 14, at 7, 9, and 11 p.m. King's Row m (Sam Wood, 1941) A surprisingly well-acted movie concerning a small town, its petty squabbles, and its back-room greed. Ronald Reagan does better acting in the film than ,he's doing now. His climactic hospital scene, "Where's the rest of me?" will almost make you cry. (Thursday, March 11; Aud. A, 8:45). Stir Crazy (Sidney Poitier,1980) Billed as last year's most successful comedy, the film is really an em- -barrassment to the comedic skills of Richard Pryor and Gene Wilder, not to mention Poiter's direction. There is almost no plot, just a series of in- ; cidents designed to keep your eyes focused on the screen for two hours. And as far as the comedy goes, there ,,,,re maybe three, four jokes in the ,entire movie. (Friday, March 12; -Aud. A, 7:00, 9:00). Heaven's Gate '(Michael Cimino, 1981) Yes, the "40 million dollar film that was pulled from distribution after the first reel is coming to Ann Arbor. Hooted out of New York by the critics, the film has been re-edited a number of times. This version is the - first reworking of the film and was released last summer to a couple of theaters. Heaven's Gate is not an abysmal failure. Sure, its got some problems concerning character development and plot exposition, and the ending is bizarre, but overall the movie is remarkably textured. Kris Kristofferson, Isabelle Hup- pert, and Christopher Walken give adequate performances in scenes that are beautifully photographed by Vilmos Zsigmond and backed by impeccable music. The final battle scene between the land barons and the immigrants is truly spectacular. You should really give this film a fair chance. (March 13; MLB 4, 6:30, 9:00). The Four Musketeers (Richard Lester, 1974) Not your typical stuffed shirt, great books version of a story based on the Dumas classic. Lester, director of Help! and A Hard Days Night, has punctuated his film with slapstick, Three Stooges' comedy, visual flair, sight gags, and a cheery, devil-may- care attitude that is very effective. With Richard Chamberlain, Raquel Welch, Michael York, Oliver Reed, Christopher Lee, and Faye Dunaway-but this is not a spot-the- star, anything-for-a-buck movie. It is a wonderfully funny, modern swashbuckler. (March 13; Aud. A, 7:00,9:00). Seven Samurai (Akira Kurosawa, 1954) A dramatic film that overpowers the viewer with sight and sound. Seven Samurai warriors agree to defend a village from bandits, and in the bloody process teach a great deal about loyalty and courage to the townspeople. Better than any Western remakes, and one of Kurosawa's best. (Wednesday, March 17; Michigan Theatre, 4:00, 8:00). -compiled by Richard Campbell By Elliot Jackson WITHOUT A doubt, most of Ann Arbor is serenely oblivious to the fact that there exists, behind the Breast Cancer Detection Center on West Washington, a group of people known collectively as the Performance Net- work, who operate and hang out in a space known as the "Space." Now, though this may not seem like news of earth-rumbling import, the Performance Network, made up of some six dedicated members, would have the public know that it exists, and that it believes itself something of a new and innovative force among the performing arts organizations in Ann Arbor. David Bernstein, one of the six, ex- plained Performance Network's origins. "Ned (Richardson), Jim Moran and I were working on the same show (R. G. Davis' adaptation of Dario Fo's We Won't Pay! We Won't Pay!) and Ruth (Bradley), Linda (Pantry) and Michael (Perry) were working on the 16 mm film festival. It was Jim who brought in the Young People's Theatre. "It's all run much more like a family grocery store than an organization," Bernstein said. Performance Network, explained Bernstein, is an off-shoot of an organization formed in 1980 known as the Network of Artists for Political Ac- tion (N.A.P.A.). This organization in- cluded groups like the Radical Arts Troupe, dedicated to political theatre, and a variety of song-writers and poets and such, who would meet upon oc- casion to display, discuss, critique, and re-work their material. "The only problem with that," Ber- nstein said, "is that everyone was so busy with their own work that there was no time for anyone to think of keeping the network together. "We needed a space to work in to sur- vive, as a focus for our activities." The Pertformance, Network seemed at first nothing more than an out- growth of the defunct N.A.P.A., acquiring a unique identity when Ber- nstein and Moran recruited Davis, to direct his adaptation of We Won't Pay! We Won't Pay!. The Network also acquired the long- wished-for "Space" in a building on West Washington Street. "We signed the lease on December 15th, and the rehearsals for We Won't Pay! began two days after that," Bernstein recalled. As for their plans, the Network is em- phatic in agreeing that the production of We Won't Pay!-currently touring the rounds of local UAW assembly halls-and the work on the film festival, are only the beginning. "There is," according to Ruth Bradley, "no consistent home for film showings or the productions like the ones we intend to do-there is no chan- ce for discussion or intimacy. We want to create a congenial atmosphere for discussion and hanging around. "It's a very versatile space-it could be used as a studio for shooting film, or dance." . The group is emphatic about keeping the "Space" open to outside groups, who use it for diverse purposes, from experimental theatre to assemblies. "At the moment, the Space is being used more for preparatory work than for performance-we had the previews of We Won't Pay! there, and it's where we're doing the pre-screening for the Film Festival," said Bernstein. "Right now we think of the Space as being home plate. "Other people are seeing the Space -now, and it's sparking ideas, because there's no other space like it in Ann Ar- bor. We may eventually rent it some months of the year, and reserve bet- ween 2-4 months for PN's own projec- ts." Meanwhile, Performance Network continues with its own projects, and en- courages outside interest. The public is cordially urged to find out and get in- vlved with what goes on at 408 West NOON LUNCHEON Soup 8 Sandwich $1 .00 FRIDAY, MARCH 12 Susan Edwards, Women's Community Center: "ANN ARBOR WOMEN ORGANIZING" GUILD HOUSE -802 Monroe St. (662-5189) 375 N. MAPLE 769.1300 BARGAIN SNOWS $2.5 0Nfore 56PM Network performs in' SpaceCe' Washington, behind the Breast Cancel Detection Center. For more infor, mation on volunteer work with the Network or possible "Space" rental; stop by or call 663-0881. AN1 ARBr -7 9* NO A "iv9eng 7 ACADEMY and AWARD 41 $1 ad NoMI- IhA. TUES Enthralling NATIONS 1:15 .. Film.- 4:00 i 7:00 BURT LANCASTER SUSAN SARANOON 33 ATLANTIC 530 C:TT 7-30 s ACADEMY AWARD NOMINATIONS JACK NICHOLSON He found a line1:15 within himself.0 R-O ITHRE L5:20 BORDER730 A UVESAL 9:45 DON'T YOU WISH 4 ACADEMY AWARD YOU WERE ARTHUR? NOuTM130 Dudley Liza 3330 Moore Minnell J 530 he most jun money can bu> 740 0- r Daily Classifieds Bring Results i ii ' _ _ Iecords Twv Falco's Panther Bur- also itsr ns-'Behind the Magnolia Cur- Tav F tam' Trade)argume ain' (Frenzi-Rough Trade) far mor One thing for sure about this album is than in that no one else but the Rough Trade tain just Records would put it out. Like The Snashchords EP-which exaggerated goozo-feedback-garage rock to such an absurd degree that we had no choice Lipps, but to call ,it Art-Behind the Magnolia (Casal Curtain is an album you could dismiss as h novelty if it didn't have so much to I don't $ay about the very essence of the music ce that that inspired it. music a Basically, Panther Burns plays Lipps In seminal rock and roll close to its coun- west. T try' & western and rhythm & blues cultural toots. You are not to be chastised if you it requi think they just sound like .any old fun. All drunken truck-stop bar band imitating found fu Jerry Lee Lewis. That is precisely the For ex point, my friend. that tool Panther Burns flaunt the fact that Lipps. they respect this music mostly as just them to an excuse to get really rowdy. Behind music h the Magnolia Curtain pretty much They see demands that you get pissing drunk, if the star only because that's the only way that "Funky it's going to sound right. that it If nothing else, you have to respect tinue on a band that would release an album as too ser unabashedly unpracticed as this one. resigne Even if you can rightly call it repeat t amateurish, you would have to be un- the arti salvagably narrow to deny that that is finally p ............... ............. most charming quality. Falco and company make the nt that with rock and roll it's e important to be in the swing sync. Behind the Magnolia Cur- might have you convinced, too. -Mark Dighton * * * * Inc.-'Designer Music, blanca- Polydor). t think it's any mere coinciden- some of the cleverest dance round-Was (Not Was), Prince, nc.-is coming out of the Mid- 'he heartland has always been ly sheltered in such a way that red people to make their own of these bands have simply nk a good way to do that. xample, I have heard few bands k themselves less seriously than Inc., an attitude that allows clearly telegraph through their how much fun they're having. em to have had that knack from t. That demeanor both made town" the throwaway wonder was and allowed them to con- after that. Taking that success iously probably would have d them to eternally trying to themselves. Instead, they took stic long-shot and succeeded, producing an album full of en- tertainly diverse and yet impressively onsistent tunes. . . none of which sound anything like "Funkytown." The only comparison to "Funkytown" this LP will bear is in, recognition of its well-managed balan- ce between production polish and atten- tion-grabbing edges. Chief sharp edge is vocalist Cynthia Johnson, who somehow combines the earthy toughness of Aretha Franklin with the heart-on-her-sleeve vulnerability of Tammy Wynette. (No, really.) The only current touchstone for Lip- ps, Inc. would have to be Kid Creole and the Coconuts. Only a patchwork as ingratiatingly demented as a Kid Creole production could hope to carry off the merging of orchestral manoeuvers and flamenco breaks that Lipps, Inc. achieve so winningly on the title track of this LP. Eat your heart out, Kid. As for me, I'll take my funk with a healthy dose of good humor, thanks. -M.D. * * * * Irene Cara-'Anyone Can See' Elektra) Remembering that Irene Cara first hit the bigtime portraying a talented (and beautiful) young artist doing prac- tically EVERYTHING to "make it", in a movie directed toward our continuing sentimental-fantasy fascination with young anguish ("Fame"), you might expect her new album to feature more of the marketable slickness which made her (and her voice) the object of many a somewhat fawning light touch ear: You might be right. Anyone Can See hails from the Power Station, New York's factory of slickness. Studio musicians all over the place, including guitarists Leon Pendarvis and Hugh McKracken and producer Ron Dante. Money slides all around the post-disco rhythm. Not that one. can't say some good things about commercial stuff, especially when it's pretty well done, as it is on tracks like "My Baby (He's Something Else)," "Why," as well as the hit single title track. The music does what it's supposed. to-not grate. Smoothness is enjoyable once in a while, right? At least Cara is honest; she doesn't pretend to be saying or singing anything original. -Ben Ticho Count Bill of Rights Article VI Article VI: An Act to Make Your Wholly Whole pizza Specia Life Whole Again. Molly Pan The Wholly Molly Whole Pan Pizza $2.00 Off Whole Pans of Count-za Everv Wednesday Night 5-12 Midnight 1'1.40 S. University at Cuc 868-8411 t ._ _o _ Micl9iGras University Activities Center Sat. March 13 8pm $2.50 Union SUNDAY UNNIES March 25,2e,27