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Terms of Endearment
Starring Shirley MacLaine, Debra
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Directed by James Brooks
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Now playing at the Ann
Theater
Arbor.
ALL r
ALL THE RIGHT MOVES
Another steel-town flick (a la Flashdance about an
underdog who fights to escape the grimy environ-
ment. This time the game is football instead of dan-
ce. (Movies at Briarwood, Briarwood Mall; 769-8783)
AMITYVILLE 3-D
Spooksville revisited, only they're a little late-this
is time to capitalize on Christmas, remember?
(Movies at Briarwood, Briarwood Mall; 769-8783)
THE BIG CHILL
Seven University alumni gather together at the
funeral of a friend, the results being humorous and
touching. Are these the best years of our lives?
(Movies at Briarwood, Briarwood Mall; 769-8780) -
THE CHRISTMAS STORY
Santa isn't even here yet and already we're being
innundated with the commerciality of Christmas. Oh
well . . . (Movies at Briarwood, Briarwood Mall;
769-8780)
idmou
By Barbara Misle
N o RELATIONSHIP can match the
distinct, strong and gripping bond
between mother and child. No relation-
ship bounces quite so volatily between
struggles of hate and love, autonomy
and independence.
The humor and pain if such conflict is
realistically depicted in the movie
Terms of Endearment. Set in Houston,
Tex., the film follows the webbed
relationship of Aurora Greenway
(Shirley MacLaine) and her daughter
Emma (Debra Winger).
Aurora is a nightmarish combination
of every embarassing and abhorrent
memory of one's own mother. From her
obsessive checking of infant Emma's
OCITIZEN
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some watch.
MAN'S
ALARM-
MACHO &
PRACTICAL
THE DEAD ZONE _
Stephen King's newest story deals with the psychic
powers of a man who awakens from a coma after five
long years. (State Theater, 231 S. State; 662-6264)
DEAL OF THE CENTURY
Chevy Chase is the big loser in this deal that never
succeeds. (Fox-village Theater, Maple village; 769-
1300)
EDUCATING RITA
Michael Caine is an alcoholic professor who
becomes the mentor of an aspiring young student in
this comedy. (Movies at Briarwood, Brairwood Mall,
769-8780)
FANNY AND ALEXANDER
Ingmar Bergman's latest film explores family
relationships through the eyes of a young boy,
Alexander. Perhaps one of Bergman's finest works.
(Campus Theater, 1214 S. University; 668-6416)
THE GOLDEN SEAL
A child is disillusioned with the adult world and
finds solace with a friendly golden seal. (State
Theater, 231 S. State; 662-6264)
MR. MOM
A tired attempt at a tired theme. Mr. Mom looks at
role reversal with all the charm of a wet liver. (The
Fox Village Theater, Maple Village; 769-1300).
someday, someone will make a story like this about
the Fleetwood. (Mediatrics; MLB 3, 7:00, 9:00)
THE GRADUATE (Mike Nichols, 1967)
Dustin Hoffman and Anne Bancroft star in a
classic comedy. He makes love to her, but falls in
love with her daughter. In addition to this fun, Simon
and Garfunkel provide some excellent music. Go and
enjoy. (Hill Street Cinema; 1429 Hill, 7:30, 9:30)
RAIDERS OF THE LOST ARK (Steven Spielberg,
1981)
A fun-filled, exciting homage to the old movie
serials. A fabulous way to spend a couple of hours as
Harrison Ford plays Indiana Jones in search of the
lost ark of the covenant. (Cinema 2; Nat. Sci. Aud.,
7:00,9:15)
MANHATTAN (Woody Allen, 1979)
A funny and touching comedy. Allen is in love with
a younger woman, Mariel Hemingway, his lesbian
wife is going to write a book about their divorce, and
that's just for starters. The black and white
photography is superlative. (Alternative Action;
MLB 4, 7:00, 9:00)
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NATE AND HAYES
A 19th-century pirate adventure that takes place in
the romantic world of the South Pacific. Tommy Lee
Jones and Michael O'Keefe star. (Fox-Village
Theater, Maple Village; 769-1300)
NEVER SAY NEVER AGAIN
What an apt title for Sean (I'll never do another
Bond movie") Connery. To some he is the only 007,
to others he's just an old man out to make a buck.
Either way, he's back and he's Bond. (Ann Arbor
Theater, 210 St. Fifth; 7619701).
A NIGHT IN HEAVEN
Christopher Atkins flaunts his toned flesh in this
story about the male strip scene. (State Theater; 231-
S. State; 662-6264)
RICHARD PRYOR-HERE AND NOW
Here we go again with yet another "movie" by
Richard Pryor. Like his last few efforts, this is just a
filmed montage of Pryor in concert. Assuming you
want to see more Pryor monologues, this movie is for
you. (Fox-village Theater, Maple Village; 769-1300)
RISKY BUSINESS
A dozen pubescent high-school hormonalites learn
about love, life, college interviews and prostitution.
(Movies at Briarwood, Briarwood Mall; 769-8780).
THE RIGH'T
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Aurora: Domineering, but loving
crib (to ensure that the child is
breathing), to brashly jacking up of
tennage Emma's bra strap, Aurora'in-
cessantly tries to control her daughter's
life.
But Aurora's efforts are foiled by
Emma's bold determination to be in-
dependent. Emma ignores her
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mother's insistence that marrying Flap
Horton (Jeff Daniels) would "make
wretched her destiny" and follows the
undependable English teacher to Des
Moines, Ia. and then Kearney, Neb.
Emma's defiance doesn't dilute her
intense love for Aurora, but rather it
shows a keen understanding of her
mother's manipulative personality.
The movie, written and directed by
James Brooks, (creator of the Mary
Tyler Moore show) plows forward with
no apparent structure dragging with it
the tumultuous mother-daughter
relationship. That lack of. structure
makes the movie somewhat choppy but
the biting, funny, dialogue and
engaging acting are both sufficient
compensation.
Other recent movies depicting family
relationships such as Ordinary People
and On Golden Pond primarily focused
on a strong narrative. The absence of a
tight storyline puts Terms of Endear-
men in a catagory all by itself.
Relationships in so-called real life
don't follow trite storybook themes, but
they evolve indiosyncratically over a
long period of time. Terms of Endear-
ment captures the frustration, pain,
and humor of a very realistic relation-
ship between a mother and daughter.
Scenes such as Aurora's shrieking ob-
jections to Emma's first pregnancy,
painfully illustrating her terror of
aging, are very real. And several years
later, the aggrieved expression on
Emma's sons' faces prove true some of
Aurora's warnings.
The children are weighed down by
their parents' acerbic fighting over
money and the couple's mutual
betrayal. Flap's destructive affair with
a spanky-clean graduate student (Kate
Charleson) and Emma's affair with the
banker (John Lithgow) who bailed her
out in the grocery store line, tear the
marriage apart.
While Emma struggles with her
family in the heartland, Aurora is
rediscoveirng romance in Texas with
her paunchy next-door neighbor
Garrett Breedlove (Jack Nicholson).
Breedlove, a former astronaut, uses
hilariously sadistic teasing to even-
tually penetrate Aurora's military
facade.
It is during these scenes with
Nicholson - some of the funniest in the
movie - that Aurora slips back into the
folds of giggly, girlish romance and ex-
poses her vulnerability.
After seeing the softer side of Aurora
it is clear why she clings so tightly
to Emma. The aging woman is so
desperately afraid of rejection that she
fights to control others in order to
prevent them from hurting her.
Aurora is forced to abruptly give up
some of her egocentrism in the last
segment of the movie when Emma bat-
tles with cancer. The piercing relation-
ship between mother and daughter,
though much changed over 30 years,
still thrives on the same seeds of earlier
times.
Terms of Endearment is engaging
and different. It doesn't hold the
audience's hand from scene to scene,
but the writing and performances dre
believable enough that the audience
cannot avoid feeling for the characters.
THE SKIN GAME (Alfred Hitchcock, 1931)
One of Hitchcock's lesser-known works chronicles
the battle over development of rural land between
two families of varying social means. Adapted from
the John Galsworthy play. (Cinema Guild, Lorch
Hall, 7:00)
SPELLBOUND (Alfred Hitchcock, 1945)
A psychological thriller in the typical Hitchcock
vein. He, of course, gets the best performances out of
his glamorous stars, Gregory Peck (portraying an
accused murder) and Ingrid Bergman (playing his
psychiatrist who eventually falls in love with him).
(Cinema Guild; Lorch Hall, 9:00)
TOM JONES (Tony Richardson, 1963)
Albert Finney plays Henry Fielding's hero. He
spends his time romping through 18th Century
England, as a playboy. A multiple Oscar award win-
ner. (Cinema 2; Aud. A, 7:00, 9:15)
THE MAN WHO FELL TO EARTH (Nicholas Roeg,
1976)
David Bowie stars. His role is that of a water-
seeking traveler of the stars who comes to Earth.
Like most alien visitors in movies, he makes a per-
fect vehicle with which to investigate human society.
Also stars Buck Henry and Candy Clark. (Classical
Film Theater; Michigan Theater, 7:00,9:30)
MEPHISTO (IstvanSzabo, 1981)
The evening's wide variety of film continues with
some German cinema which deals with the effects
of.the Nazi rise. Investigated this time is an actor
who sacrifices his ideals for advancement.
(Mediatrics; Nat. Sci. Aud., 6:45, 9:05)
MARIANNE AND JULIANE (Margarethe Von Trot-
ta,1981)
Different strokes for different folks. That's what a
German clergyman finds out as his two daughters
join up in the radical movements of the '70s. One
becomes a terrorist, the other a radical journalist.
(Ann Arbor Film Coop; MLB 4, 7:00, 9:00)
THE BLACK STALLION (Carroll BIlard, 1979)
A young boy is stranded on a Mediterranian island
after a ship wreck. There, he befriends a stallion.
One of the sleepers of 1979. (Classic Film Theater;
Michigan Theater, 9:00)
NATIONAL VELVET (Clarence Brown, 1945)
Mickey Rooney and Elizabeth Taylor display
childish charm in this classic story. They portray
two children trying to train their horse to win the big
race. (Classic Film Theater; Michigan Theater,
6:45)
A THOUSAND CLOWNS (Fred Coe, 1965)
Jason Robards is a television writer trying to raise
his nephew. But he's unemployed and society doesn't
think unemployed people should be raising children.
Martin Balsam won an Oscar as Robards' brother.
Adapted from the Broadway play. (Hill Street
Cinema; 1429 Hill, 7:00, 9:00)
THE SEVENTH SEAL (Ingmar Bergman, 1956)
Max von Sydow returns from the Crusades and
battles Death in a chess game. Splendid photography
and superb directing make this one of Bergman's
most popular and interesting films. (Cinema Guild;
Lorch Hall, 7:00 9:00?
THE TURNING POINT (Herbert Ross, 1977)
Anne Bancroft portrays a prima donna ballerina
who befriends a former colleague's daughter, who
has decided to follow in mom's footsteps. Shirley
MacLaine is the former ballerina, who sacrificed a
promising career in order to raise a family in middle
class America. Beautiful ballet sequences
highlighted by the appearance of Mikhail
Baryshnikov. (Mediatrics; MLB 4, 7:00, 9:05)
Mickey and Liz: Horseracing
DAY FOR NIGHT (Francois Truffaut, 1973)
The French director plays a French director of a
problem-plagued film. Entertaining. French with
subtitles. (Cinema Guild; Lorch Hall, 7:10, 9:20)
THE THIRD GENERATION (Rainer Werner
Fassbinder, 1979)
The third generation of terrorists in Germany, of
course. And the third generation terrorists are the
more violent ones like the Baader-Meinhof gang. The
film deals with a bunch of middle class people who
belong to something similar. (Ann Arbor Film Coop;
MLB 3, 7:30)
GERMANY IN AUTUMN (1977)
From the long to the short of it. Shorts dealing with
German terrorists by a wide variety of directors, in-
cluding Fassbinder and Volkor Schlondorff. (Ann
Arbor Film Coop; MLB 3,9:30)
THEY SHOOT HORSES, DON'T THEY (Sydney
Pollack, 1969)
Jane Fonda, Bruce Dern, and Susanah York, star
in a film by the director of Tootsie that uses a dance
marathon as a microcosm of the Great Depression.
(Classic Film Theater; Michigan Theater, 7:05)
KLUTE (Alan Pakula, 1971)
Jane Fonda once again, this time starring with
Donald Sutherland. Fonda won an Oscar for her role
as a call girl who saw a killer being hunted by detec-
tive Sutherland. (Classic Film Theater; Michigan
Theater, 9:15)
BUGS BUNNY/ROAD RUNNER (Chuck Jones,
1982?
New footage of Bugs as a semi-retired manion-
body. He looks back at the good old days, which ser-
es as a vehicle to look at some classic footage. (Hill
Street Cinema; 1429 Hill, 7:00,9:00)
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THE DECAMERON (Pier Paolo Pasolini, 1970)
Plague ravages the cities, sending many of the
residents into the countryside, where they pass the
time by telling stories. The bawdiness of some of
them explains the film's X rating. (Cineam Guild;
Lorch Hall, 7:00,9:00)
THE 18th INTERNATIONAL TOURNEE OF
ANIMATION
Twenty award-winning shorts, many of which are
making their Ann Arbor premiere, from all over the
world, are displayed tonight. One common feature of
all is their ability to show just how awful Saturday
morning cartoons are. (Ann Arbor Film Coop; Aud.
A., 7:00,9:00)
DINER (Barry Levinson, 1982)
A nostalgic look at the late '50s as a bunch of frien-
ds just hang out and talk at the local diner. Hopefully
THE SPANISH EARTH (Jorvis Ivens, 1937)
Ernest Hemingway narrates a look at the Loyalists
during the Spanish civil war. The footage of the bat-
tling should be realistic as the director spent a few
weeks at the front geting it. (Alternative Action;
RM. 126- East Quad, 8:00. FREE)
DICK TRACY (William Witney and John English,
1941)
The series concludes with "Invisible Terror."
(Cinema Guild; Lorch Hall, 6:30, 50t.
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8 Weekend/December 2, 1983
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