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November 11, 1988 - Image 18

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The Michigan Daily, 1988-11-11
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lane Keaton a cow an mother
FI asks* Is .

By Greg Ferland
Diane Keaton's latest movie, The
Good Mother, took me by surprise.
I went into the film knowing only
that it was about a single woman
who must prove to the courts that
she can be a responsible mother to
her young daughter. Sounds a lot
like Kramer vs. Kramer meets the
afterschool special, right? No way.
The Good Mother is an ambitious
and controversial drama that shatters
this stereotype.
The story deals with the touchy
subject of sexual awareness among
children and the court's prerogative
to decide the value of a parent's de-
cision on the subject. Director
Leonard Nimoy (yes, Spock) lulls
the audience into the calm, hip
lifestyle of single mother, Anna
Dunlap (Diane Keaton), and then

positively stunning. She was par-
ticularly impressive in her last two
performances - Crimes of the
Heart and Baby Boom - both of
which were light and funny. And on
Late Night With David Letterman,
she proved to be a genuine goofball
off-screen which makes her perfor-
mance all the more surprising. Ni-
moy often has the camera dwell on
her face to catch little smirks or
heartfelt tears. In one particular
scene, Keaton must be indignant
and then slowly break down. Here,
Nimoy bravely chose to use a
close-up for a good five minutes
without cutting away. Teri years
after winning an Oscar for her role
in Annie Hall , Keaton is sure to be
recognized again this year with at
least a nomination.
In fact, a slew of nominations
could come from The Good Mother
.Ralph Bellamy and Teresa Wright
are excellent as Anna's rich grand-
See MOTHER, Page 7

INTER VIEW
Continued from Page 10
C: The film is not really the
analysis of the American economy
or political reality; it's still within
the focus of this particular case.
And it's interesting sometimes
when you look at a really small el-
ement how you can bring the larger
issues out. So that's what the in-
tent was.
W: What components of the film
specifically made it successful?
C: I think if the film is successful,
it is because it was told by the
people who are directly involved in
the situation rather than told by me
as the film maker. Of course, that
does not mean I do not have a point
of view, obviously I do have a
point of view. But I did give equal
time, as much as possible, to both
the victims as well as the defen-
dants. I designed the film in the
genre of minimalism. The issues
get repeated, but every time you re-
peat, it reviews new information.
So, at the end, the audience be-
comes a judge. So, I designed the
film like a visual courtroom; I've
involved the audience from the first
frame to the last frame. So it's a

very engaging type of approach.
It's more like a Brechtian approach
where you are engaging the audi-
ence in every single minute. To-
wards the end, I disappear; I'm in
the shadow. The audience becomes
the ones who makes the decision.
I started making films when I
was about nineteen. And I studied
architecture for many years as most
Asians are told that they have to
have a career otherwise they would
starve to death. Film making is as
not as simplistic as you see.
There's so much heart involved, and
it can really awake people or influ-
ence people. It's an extremely
powerful tool today. But I think it's
important to have people who have
some kind of consciousness, some
kind of understanding other than
only America. I think its important
for the American people to know
not only the great masters but also
understand the issues of minorities,
issues of women, issues of gay
[men] and lesbians, issues such as
South African apartheid situation,
and issues of the Palestinian and
Jewish question, and issues in
terms of the working people. Some
of us should use the media not only
creatively as an artist, but at the

same time to address the key issues
concerning all the people in Amer-
ica. Whether it be Black, white,
Asian it doesn't matter. Why not
use this channel to express some of
the ideas perhaps that are not being
accepted by today's standards -
perhaps furthering the whole field
of visual art. I do not want to sit
around complaining about so and so
is not doing this, such and such a
station is not doing this, and that
Hollywood is not doing this. Yes,
you can complain the rest of your
life but it's more important that
you step in and stop complaining
and change it. And only when you
can change it - do it!
W: Some of the praise that sur-
rounds you specifically with this
film has revwolved around the many
views you bring into the film. You
interviewed Vincent Chin's mother,
his boyhood friend, friends and
relatives of the defendant, topless
dancers, police, along with people
active in the campaign called
"Justice for Vincent Chin." Why do
you take strides in reporting in such
an "objective" manner?
C: I don't thing there is much ob-
jectivity within our society. Objec-
tivity is a- relative term. I think it's

important that I respect the Ameri-
can audience. See, unfortunately the
majority of documentary does not
respect its audience, and so what it
does is it puts in a narrator to
spoon-feed the audience. And that's
one of the purposes, to engage a
serious discourse not only in the
racial issue but also in the much
larger America phenomena.
W: You mentioned that although
you've chosen to do the film with-
out expressing your personal opin-
ions, you do have some personal
opinions concerning...
C: Oh yes, I've made some 30
films and every single film has a
very subjective reason for me to
make.
W: Concerning the Vincent Chin
trial, then, do believe that justice
was served?
C: Well, I don't think the question
to me personally was justice or not
justice. I was very close to Lily
Chin (Vincent's mother). She is in
a very similar situation as I am:
immigrant. She came to the United
States believing in the American
system, thinking that you do the
"right thing", you vote, your hus-
band joins the army, you raise your
children in the suburbs, go to the
right schools, do the right thing,
etc., then you're okay. But, ironi-
cally when her son got killed, she

allI
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We
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ate

James Naughton (left) and Diane Keaton (right) battle for the custody of Asia Vieira (middle).

hits hard with a major catastrophe
- Anna's former husband tries to
take her daughter Molly (Asia
Vieira) away from her. Anna is
shocked and so is the audience.

What makes this film so ambitious
is that the husband is not just a
ruthless monster; he truly cares for
his daughter and his reasons for
taking Molly from Anna have real

validity. The film is sure to pro-
voke a lot discussion because the
members of the audience, like the
judge, must form their own opin-
ions as to whether or not Anna is a
"good mother."
The believability of the plot and
the overall success of the film rests
on Keaton's performance - she is

FRIENDS distance from many of today's
products that are churned out for our
Continued from Page 5 mainstream benefit by American
to have a little refresher course on studios. 0
how important this emotion is.
Also, the sincerity and unique aura BOYFRIENDS AND GIRL-
that Rohmer lends to Boyfriends FRIENDS is playing at the Ann
and Girlfriends puts this film at a Arbor Theater. Callfor times.

BARGAIN MATINEE $3.00 UNTIL 6 PM DAILY
SUNDAY & HOLIDAYS FIRST SHOW ONLY
TUESDAY BARGAIN DAY 2.00 ALL SHOWS
CONT. SHOWS DAILY/LATE SHOWS FRI &ASAT
A CRY IN THE DARK T
12:40, 2:55, 5:10, 7:35, 9:55, 12:15
I2.5 IRON EAGLE I
12:50,245,450, 7:15, 9:25, 11:35
1:00, 3:05, 5:00, 9:40, 11:40
ERNEST SAVES CHRISTMAS
1:25, 3:20, 5:25, 7:25, 9:25, 11:30!1J
CHILD'S PLAY m
1:20, 3:15, 5:10, 7:45, 9:45, 11:50
1 HE GOOD MOTHER I
°12:55, 3:10, 5:15, 7:40, 9:50, 12:00
°.09 U2, RATTLE & HUM -ri I
12:55, 3:00, 5:05, 7:20, 9:35, 11:45
EVERYBODY'S ALL-AMERICAN
12:35, 2:50, 5:05, 7:30, 9:50, 12:05
I THEY LIVE
1:10, 3:30,530,740,9:55, 11:55
MYSTIC PIZZA m
1:25, 3:25, 5:25, 7:50, 10:00, 12:10
SPE LLBI NDE R
9:45, 11:55
K° " ""'THE ACCUSED RI1
12:45, 2:50, 4:55, 7:20, 9:30, 11:45
GORILLAS IN THE MISTm-a
1:30, 4:15, 7:30, 10:00, 12:20
CROSSING DELANCEY o
1:00, 3:10, 5:15, 7:15, 9:20, 11:20
WHO FRAMED ROGER RABBIT
1:15,3:20, 5:20 f

Nationalists vs. Individualists:
The Cultural Division in Israel
Join Professor Menachem Mautner, visiting
professor from Tel Aviv University, who will
discuss the recent Israel elections.
Monday, November 14
U-M Law School
100 Hutchins Hall 7:30 p.m.
For more information call 769-0500
Sponsored by: Jewish Law Students Union
HILL STREET FORUM/GREAT WRITERS SERIES
Anne R0iphe
"Reflections on the
State of' Jewry"
Black - Jewish Relations, Jewish Mothers and
Sons, Jewish Sanity and the Pope, The Holocaust
and Israeli Politics
Tuesday, November 15, 8:00 pm, Green Auditorium, 1429 HilI Street
Ann Roiphe's latest novel, Lovingkindness, has been on the New York Times
bestseller list and is considered her best book so far.
Tickets available at Hillel.
769-0500

DURANT
Continued from Page 10
and had only been underway for
about a half hour when I arrived. As
soon as I walked in the door, the
stench of liquor hit me. Pow! I
fanned the air and said, "Dang! you
all need to do something about this.
Pew!" The candidates sat in the
center of the room while many of
the 70 or so spectators and staffers
sucked on beers or Wild Turkey
Kentucky whiskey with cranberry
A CENTER FOR MENTAL HEALTH
Diplomnate American Board of Psychiatry
P.S. VAcHHER, M.D.
Adult & Adolescent Psychiatry
Individual Therapy. Marital & Family Therapy
Hypnosis." Biofeedback " Behavior Therapy
Stress Management " Pharmocotherapy
455 E. Eisenhower #65 (Nr. Briarwood)
Ann Arbor, MI 48108 4995-0530

juice. Candidates were called all
kinds of names, i.e. communist and
dictator and were queried on every
subjects from a six-day Daily to the
new news policy and their past and
future conduct with the minority
community on campus.
I only lasted until about 10:30
p.m., five hours was enough for
me. All the while I just kept
thinking that I should have gone to
the Eclipse Jazz concert instead.
The debating, the name calling, the
motions, and the voting drudged on
until 6:00 a.m. the next morning.

At the end, after the dust cleared,
Adam Schrager was the new Editor
in Chief, Alyssa Lustigman, the
Weekend Magazine editor, and
Elizabeth Esch and Amy Harmon,
Opinion Page editors.
Unfortunately, in terms of Daily
operations, we have no new people,
just the same old ones in different
places. We can only hope that in
their new positions they will make
an effort to be responsive to the
overall health of the paper and serve
the needs of the University com-
munity.

The School of Music Opera

s
J

ides

C

NE CARD SHOP
Great Selection of
OFFICE SUPPLIES:
account books, clip-
boards, date books,
envelopes, erasers,
folders, glue, index
cards, pens, pencils,
push pins, rulers,
scotch tape, staples,
typing paper

Directed by Jay L
With the University Symphony Orchest
November 17, 18,
November 20
at the Power Center part of th
Tickets are $10 and $7; student
The League Ticket Office in
To charge by phone:
First time by the School of Music Opera Theo
with surtitles projecting an]F
Gianni Schicchi sun

222 South State Plaza
769-4211

PAGE6 WEEKEND/NOVEMBER ~11, 1988 -,

PAGE r6

WEEKEND/NOVEMBER 41, 1988 -$

WEEKEND/NOVEMBER 11, 1988

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