Continued from Page 9
Keefer has been a consultant since
last March. She has also served as a
residence hall consultant, trainer, and
In addition to helping desperate
students, consulting has other bene-
fits. "I enjoy being in an atmosphere
where you can learn so much."
Keefer also has instant access to the
consulting computers, which can be
a real asset when the waiting list for
Mac's gets into triple digits.
Not all the problems Keefer
solves are complicated. As we were
speaking, a beleaguered student en-
tered the consulting station.
"I'm trying to print on the laser
writer and I keep getting 'printer
won't open' on my screen every
time I try to print," he said. Without
a pause, Keefer informed the student
that he couldn't print from his ter-
minal because it wasn't a print sta-
tion. An easy one.
Keefer does have all the solu-
tions. "If I don't know the answer,
I've got to be able to find it."
"No one ever leaves without
some kind of help."
- Alex Gordon
Continued from Page 8
Milo came to work at the cafete-
ria through the Older Workers
Listing (OWL), an organization that
places older workers with jobs.
Those who work with Milo re-
spect his job and position. His name
is greeted with a smile, and a couple
of years ago he was named
'employee of the month' by the cafe-
Milo works an eight-hour day,
filling the gap between meal times
by putting up the menu signs and
performing other tasks in the cafete-
ria. The most popular meals served
at West Quad are pizza, steak and ta-
cos, he said. And Milo should know
- he deals with student reaction to
the food everyday.
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Continued from Page 9
Bollar said that he has witnessed
the growth of the University first-
hand, ashe estimates University req-
uisitions have tripled since he began
working in the early 70's.
Although Bollar said he some-
times gets tired of the roughly five
hours a day he spends on the phone,
he thinks it's worth it. Bollar esti-
mates that the University purchasing
process knocks 25 to 35 percent off
the ordinary price.
Bollar said he is most pleased
when he can make a good deal for
his customer. "The reward is seeing
a dollar saved," said Bollar.
And, as a veteran shopper, Bollar
has found that some of his work
helps his personal life. "I find that I
do a lot more comparative shop-
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By Andrea Gacki
Vincent Ward's The Navigator
could be called a paradoxically more
realistic version of Bergman's The
Seventh Seal. But the comparison is
inevitable - there just aren't that
many medieval epics in which
someone schemes to escape the
In this version, nine-year-old
Griffin (Hamish McFarlane) must
save his entire village from the
plague. His beloved brother Connor
(Bruce Lyons) has just returned from
the outside world and predicts death
for their isolated community.
Griffin's haunting, visionary dreams
will provide the panacea.
Griffin sees a cross to be
mounted atop a church tower, a per-
son scaling the tower to aide the en-
deavor, and the person falling to his
death. These trances startlingly in-
terupt Geoffrey Simpson's other-
worldly cinematography. Simpson
provides a beautifully snow-covered
Cumbria, England, in which little
action takes place, save Griffin's vi-
olent images. Facial shots in high
Continued from Page 8
claims that "they've never had any-
thing highly questionable."
After 20 years, Klum thinks it
may soon be time to hand over the
clock, and take a seat in the stadium
with the rest of the fans. "Right now
it's a year-by-year thing."
"It's fun to be around the people
and close to the game," Klum said.
"It's an enjoyable experience, other-
wise I wouldn't do it."
- Alex Gordon
Continued from Page 9
a student finds the original ID card
within five days, some of the re-
placement cost can be refunded.
The Office of the Registrar also
offers additional services for disabled
students, processing their initial reg-
istration and drop/adds and eliminat-
ing a trip to Angell Hall.
Helping students is Early's fa-
vorite part of her job. "I do enjoy
students," said Early, "I like the con-
tact, being able to help them. It's
nice to have someone say, 'Thank
you, I appreciate it."'
- Ed Krachmer
a cross on top of a church tower re-
quires an expedition to the future by
his brother and four medieval min-
ers, with himself as navigator. And
where will be this fantasy land des-
tined to provide dangers for the ex-
plorers? Well, it's in some major
city of 20th century New Zealand,
and you can't help but think me-
dieval man a little slow if he finds a
four-lane highway to be the major
obstacle to salvation from the
But it is kind of funny to make
the promised land into the same old
thing - the ubiquitous sea monster
is cleverly a nuclear submarine. It
also becomes kind of silly, espe-
cially in the scene where Connor is
somehow pinned to the front of a
speeding train. This scene at most
provides a "humorous" diversion that
only seems to strike one more blow
at an already dying joke.
Paul Livingston, Hamish McFarlane and Bruce Lyons (from le.
save their Medieval village from the Plague in The Navigator.
Yet this futuristic experience re-
ally grows tedious when it becomes
heavy-handed. Griffin enters a televi-
sion store, for example. He sees, in
rapid succession, images of nuclear
holocaust and AIDS - today's
"plagues." Gosh. And the truism of
the day is... obvious allegories can
only bore an audience.
Redemption is found at the end of
The Navigator - both for the vil-
lage and the film. You forgive
filmmaker Ward for the foray into
modern times because he provides a
fine ending. While not entirely unan-
ticipated, the end nevertheless
escapes moralistic fuddle. Or, then
again, maybe it doesn't. Maybe the
fantasy genre can't shed cheap jokes
and the calculated monumental fin-
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Film festival showcases Japanese dire
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Continued from Page 4
are. In a devastating indictment of
U.S. double-speak, Simon offers a
long and relentless counterposition
of State Department and Amnesty
International statements on human
rights in Guatemala. Again and
again, we see the State Department
acknowledge - years after the fact
- Amnesty statements they had
originally labeled as lies.
Guatemalans are more honest than
the United States about what, to-
gether, they do to the Guatemalan
people: Simon interviews torturers
and generals, detectives and politi-
cians - all of whom, under cover of
anonymity, admit a systematic and
genocide, as well as the often covert
U.S. support for it.
Given that genocide, Simon's ac-
count is not for softies; Guatemala's
history offers little room for hope
and little place for optimists.
Nonetheless, in portraits of union
leaders and school teachers, guerrillas
and mothers, students and peasants,
Simon gives testimony to
Guatemalans' indomitable spirit -
their stubborn refusal to accept the
logic of the art of the possible. Such
spirit provides hope that
Guatemala's future, despite the odds,
could be different - and better.
If there is one deficiency in
Simon's book, it would be that her
otherwise admirable attention to de-
tail frequently replaces, rather than
just complementing, the often 'iry
analysis for which her text offers
such a wonderful antidote.
Frequently the reader is left at a loss
to explain how the hell which is
modern-day Guatemala reached its
current impasse; confronted with her
myriad of pictures and stories, it is
hard to get past the blinding rage
that consumes Simon herself.
But then that is how one might
imagine hell to be: its consuming
fires leave little room for clear
thought and dispassionate inquiry.
Simon means to enrage, targetting a
U.S. audience that has remained
largely complacent in the face of its
government's horrible crimes in
Guatemala. But her book is more
than a call to action, just as it is
more than a photo album. Primarily
it is a loving commemoration to a
people that the world has chosen to
forget, in the hope that we might
remember them before it is to late.
By Brent Edwards
Every Friday night from now un-
til the end of term, Ann Arborites
will be treated to free films ranging
from adventure to the supernatural to
sweeping epics. All of them are vi-
sually beautiful, all deal with simple
universal problems and all are the
creation of one director: Kenji
Next to Akira Kurosawa,
Mizoguchi is Japan's most interna-
4ionally famous director, having.
made over 80 films before his death
in 1956. Called "Japanese film's
truest creator" by Kurosawa,
Mizoguchi stayed truer to Japanese
culture and ideas than the interna-
tionally-minded Kurosawa,even oc-
casionally using traditional Japanese
theatrical forms such as No and
Kabuki. It was his artistic technique,
however, that brought his films in-
Mizoguchi entranced the French
New Wave cinematists with his po-
etic style. Originally a painter before
becoming a director, he used his
artist's eye to become a master of
the mis-en-scene. Using painstaking
detail, he created beautiful composi-
tions which he presented with lyri-
cally choreographed lengthy takes.
This style of directing helped him
win three major awards at the Venice
Film Festival and brought him in-
The themes which Mizoguchi
handled were another reason critics
hailed him as a great artist. Most of
his films depict the repression of the
working class, particularly the re-
pressed role of women in Japan.
Many feminist critics point to the ti-
tle character in The Life of Oharu as
epitomizing the victimization of
women throughout history. In this
film, Oharu falls from the role of an
aristocrat to a beggar/prostitute
through ill-treatment by men and the
constricting values of her society.
The treatment of all the women
heroes in his films is compassionate
and respectful - a major theme
throughout his career was that a
man's soul is incomplete without a
woman's love - and his powerful
film Street of Shame was thought to
be a major force in the decision to
ban prostitution in Japan.
Other films included inthe retro-
spective are the samurai adventure
The Loyal 47 Aonin, the brutal yet
sensitive Sansho, tehBailiff, and his
classic, Ugetsu. The latter, another
prize winner at the Venice Film
Festival, combines the real with the
supernatural to create a beautifully
filmed legend that deglorifies the
samurai and once again depicts the
unjust suffering of women.
With 16 films remaining to be
shown, including five Ann Arbor
Maharishi Mahesh Yogi Founder of
the Transcental Meditation and TM
Mitsuko Mito, right, stars in My Love Has Been Burning,
one of the 19 films featured in the Kenji Mizoguchi film
Witttltti/1lA Atttl ,_
Weekend/September 2Z 1989