Page 8-The Michigan Daily- Monday, October 28, 1991
SIDNEY
Continued from page 5
noise. I was a little bit of a shock to
him, because I was probably the
youngest director he'd ever worked
with, and he couldn't get used to a
guy coming on a Harley every morn-
ing, with my black boots and things.
That threw him a little bit at first."
Sidney looked back at the days of
the Big Studios with fond memo-
ries.
"The only thing they were inter-
ested in was, 'Can we make it bet-
ter?"' he said. "Our pictures, hope-
fully, were for everyone, not for a
segmented audience from (age) four-
teen to twenty-six.
"Today, you fellows couldn't do
what I did. I just went from one
thing to the other: I was a camera-
man, I was a cutter, I was an actor.
There was plenty of work. By the
time I came to Hollywood, they
were making eight-hundred pictures
a year, you know, good, bad or indif-
ferent. You get fired from the job,
you've got another job in twenty
minutes. I suppose the only place
you've got a chance now is in a film
school.
"We give a luncheon every year, a
group of us, directors, for the for-
eign directors who are up for the
Academy. This year it came up,
'How many of you went to film
schools?' Two hands came up. Bob
Weiss said, 'There was no film
school.' I said, 'Yeah, I went
through hell film school, I went to
MGM. That was the film school I
went to.'"
Sidney retired after his last
film, Half A Sixpence, was released
in England in 1967. He went back to
school and became a paleontologist,
and he continues to travel and study
all over the world. He also contin-
ues to serve on committees for the
Directors Guild.
Recent films Sidney has enjoyed
include Goodfellas, Working Girl
and Out of Africa. And he also
voiced his opinion on one of last
year's biggest moneymakers.
"Pretty Woman, Pretty Woman
was Cinderella. The fact that it
worked," he laughed. "You know,
you pick up a hooker on Hollywood
Boulevard, this guy's a big guy from
Manhattan. Come on... But there's
always a point in the picture, if you
can get by that, you have 'em."
Little Dean Stockwell has grown up and made good, according to veteran
Hollywood director George Sidney. While most of the Little Rascals
came to grisly and tragic ends, Stockwell has starred as fine, upstand-
ing citizens in films such as Blue Velvet and Married to the Mob.
LENS
Continued from page 5
woman is wrapped.
John Lemker, the last photogra-
pher of the trio, focuses on nature
imagery. The theme for his display
is, appropriately, autumn. Lemker,
with his strong geology back-
ground, depicts nature in what he
believes to be its truest form.
The forests, leaves, flowers,
streams and sky portrayed by
Lemker show that nature is omni-
scient. Nature is shown in close-up
studies of form, sometimes against a
black background to emphasize the
subject matter. Lemker photo-
graphed single leaves as well as a
spider web interwoven into a plant
form full of intense red berries and
lush green foliage. Lemker allows
viewers a chance to experience na-
ture on a more personal level.
Through the Lens - Three
Views be on display at Clare Spitler
Works of Art, 2007 Pauline Ct.,
through November 26. For more in-
formation call 662-8914.
-Amy Meng
A Celebration of Alumni Dancers
Dance Building, Studio A
October 25 and 26, 1991
"Dance makes visible the inte-
rior landscape," said Martha
Graham. If this is true, then the 15
artists who made up Friday and
Saturday night's Guest Artist Series
have souls as vast and varied as
America itself.
Their 14 works spanned a
wealth of topics and perspectives,
but one thing that held true for all
of them was their honesty in both
choreography and performance. The
choreographers chose topics of ei-
ther personal significance or per-
sonal interest. The material was in-
timate, but it was by no means ex-
clusionary. The ideas, jokes, emo-
tions and images were universally
understood.
Barbara Neri started off Friday's
concert with her Great Lakes
Movement Study, a mysterious, al-
most meditative, solo, full of the
depth of her feeling for the earth.
The piece was performed to the ac-
tual sounds of Lake Superior (from
July 11, 1988), giving it a reality
and depth that the average run of the
mill "environmental music"
doesn't offer.
Next on the program came
other energetic movement piece full
of quirky, offbeat movement. The
dancers were very successful in car-
rying out her choreography, and the
prop-enhanced images were delight-
ful. The quintet might have fared
better in a larger space where the au-
dience could see the shapes from a
distance, but the audience neverthe-
less found it captivating.
Dreams, by Barbara Rinaldo, was
a delving, intense solo to her own
poetry. The piece was dramatic, con-
frontational and stirring. Her deliv-
ery was impeccable, thrusting her
Ferrato's technical virtuosity created a
wonderful vehicle for this tale of adolescence
and adulthood. Juxtaposing texts of wit and
pain with peach pie recipes engaged the
audience with it's non-confrontational style
and deep truth
with a wonderful audience-perfor
mer awareness.
Jean MacGregor-Wiles Within
Reach was a visceral, grounded per-
formance of an engaging, if
unclimatic, solo. MacGregor-Wiles
herself was really what made the
piece so intriguing.
Alan Lommasson's Martha's
Lament (no relation to Graham)
was a witty, light piece set to a fab-
ulous score by John Lock. Lom*
masson utilized the quartet mostly
as two duets, making it easy for the
audience to follow the humor.
Without a doubt, the most strik-
ing of Saturday's works was
Portrait of Frida Kahlo, by Eli-
zabeth Bergmann, an excerpt from a
larger piece, A Woman's Place,
about three female artists including
Kahlo and Georgia O'Keefe. Kahlo, a
Mexican artist most famous for he
striking self portraits (featured
throughout the piece), is one of the
foremost artists of her era. Says
Bergmann, "It's about women sup-
porting women... about their. per-
sonal power."
Henry Van Kuiken gave a com-
manding performance in his solo,
French Postcards. He gave the audi-
ence an engaging and delightful
show in his witty piece. 0
Finally, the Carolyn Dorfman
Company presented Video Vantage,
which gave the audience the rare op-
portunity to look through the eyes
of the performer. Using two video
monitors which projected different
angles of what was happening on
stage, as well as text of what might
have been going through the dancer's
minds, the piece was a captivating
perspective of the performance. *
-Alexandra Beller
Catherine Lichtman's Peach Pie
and Passages, performed by Linda
Ferrato. Ferrato's technical virtuos-
ity created a wonderful vehicle for
this tale of adolescence and adult-
hood. Juxtaposing texts of wit and
pain with peach pie recipes engaged
the audience with it's non-con-
frontational style and deep truth.
Paula Hunter's male duet, Cave
was an exploration of the power and
grace of men dancing. Veta Goler's
Sisters was obviously a personal ex-
ploration. It incorporated self-ma-
nipulation and some vivid images
and was successful in getting across
a feeling, if not the inspiration be-
hind it.
Whitley Setrakian's De Soto
Sonata offered the audience yet an-
voice into the risers and shooting
forth the striking pictures of her
body.
Closing off Friday's program
was Barbour Gym, choreographed
by Diane Eilber and Carol Richards
especially for the occasion. Al-
though the piece was intended
specifically for the University audi-
ence, Eilber said, "(They) tried to
find themes that had significance to
everyone."
Saturday night opened up with
Nadine Tringali's playful, rhythmic
and colorful solo, Lagtime. It was
followed by Beth Corning's Special
Delivery, a sardonic look at love..
Full of humor and honesty, it alter-
nately made the audience laugh and
sigh. The execution was excellent,
with student comedian
T H jE The L~~e mmity flub is a
UL,..B t V , 1 1 i rOpn t cul members may
C L Purchae acohol.
Is
Josh Berg
Christoph Winarski
Universty Activtes Center
for more information
dial 763-1107
11
The Investment Banking Division
of
Goldman, Sachs & Co.
cordially invites the students
of the University of Michigan
to an information session on careers
in Investment Banking.
All undergraduates are
welcome to attend.
Monday, October 28, 1991
Michigan Business School
Paton Accounting Center - Room 1016
5:00 p.m.
(;lrh1 ;l n
Nope, it's not the Bay City Rollers' reunion party. It's Ibid and the Footnotes, Dave Gould's answer to
Parliafunkadelic. The mothership lands tomorrow night at Rick's.
MMOMMb-
Discover Kinko's.
You get more than
just great copies.
When you're checking out the campus, be sure to
check out your local Kinko's. You'll find
10\04
just about everything you:
help you complete course
including...
~ Quality black and whi
copies,
~ Full color copies,
~ Macintosh*rental,
need to
r/
Poster-size copies,
Binding, and more!
We're open 24 hours t
projects.
ite
to -
s -- --
'aw
r-
IBID 0
Continued from page 5
enough of that."
O.K. So the band doesn't play
ABBA.
Dave: We play a lot of
Schoolhouse Rock songs... all the
grammar ones, "I'm Just A Bill"...
Me: Why Schoolhouse Rock? Is
it, like, delving into your past?
(Maybe I could convince him to d
the theme from S.W.A.T.)
Dave: It's really good music.
It's so much fun, and for people our
age, it's something to look back
upon and laugh.
I enjoyed talking with Gould,
and I admired his quest to bring back
funk to the world. I wonder if he
knows that Roxette, the other
Swedish band, is on a stamp?
IBID AND THE FOOTNOTES play
tomorrow night at Rick's. Doors
open at 7:30 p.m. Cover is $3 at the
door.
hel p you make those
last minute due dates
Oren 24 Hour,
761-4539 - 540 East Liberty
747-9070 - 1220 South University
6TH AVU_ AT LIET M1.CAA