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February 20, 1955 - Image 7

Resource type:
Michigan Daily, 1955-02-20

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n Display
A group of black and white pho-
tographs and color transparencies
taken by John Arms, '56 A&D, are
now on display in the arcade of
the School of Architecture and De-
In subject matter, the pictures
range from architectural shots of
St. Marks in Venice to street
scenes in Paris. All the photo-
graphs were taken during the war
while student Arms was stationed
in Germany.
Arms has been working with
photography for almost four years,
but primarily as a hobby. The cur-
rent show is his first exhibit, and
the aim has been to reflect a part
of the environment that he saw.
Arms used a German Kodak, Re-
tina IIa, Xenar f.2 lens, with Plus-
X film.
The show closes Friday.

CAMERA-EYE--Carnival and wine-cellar atmosphere has been caught in these two pictures by architecture student John Arms, '56.
The tilt-a-whirl pictured on the left was taken in Koblenz, Germany, with gingerbread shapes contributing to a study in design that
suggests unreal carnival atmosphere. Wine bottles on a checkered tablecloth give a more nostalgic mood to the picture on the right, tak-
en in Rudesheim-Rhine, Germany. For this unusual shot, the photographer used a one minute exposure at f.2.

Judy Garland Poses Oscar Problem

One of the "hottest" items of
gossip in film circles and news-
papers today is whether or not
Judy Garland deserves an Acad-
emy Award for her performance
in A Star Is Born.
Her comeback, after a four-year
absence from films, is in many
ways sensational beyond anything
achieved in the past. Star has
proven to be the perfect medium
for her talents; it has given her
an opportunity to display all of
her abilities. But it has also made
evident her limitations; and it will
be very hard for Miss Garland to
advance from this film, for she
may never find another picture so
Ssuited to her personality.
The story is about a young girl
who meets a Hollywood actor. He
puts her on the road to stardom,
then marries her. While she be-
comes increasingly popular he
sinks into a kind of cinematic ob-
livion and eventually commits sui-
Emotional Quality
It is a very emotional story for
a very emotional lady, and the
Garland forte, has always been
emotion, at best a controlled, ar-
tistic emotional quality which is
most apparent in her singing, at
the very least an uninhibited emo-
tionalism that sometimes comes
through in Star with the em-
barassed laughs, the inability to
direct body movements to coincide
with facial expressions.
Acting is an. intellectual grasp-
ing of a characterization, a mas-
tery of mind over body, a willing of
one's personality into complete
identification with the character
involved. It can only be this which*
enables a Broadway actress to re-
peat a performance night after
night, regardless of her personal
Mexican Objects
Now on Display
An exhibit of Mexican art ob-
jeets is now on display through
March 6 in the North Gallery of
the University Museum of Art.
The exhibit, which includes ob-
jects ranging from modern house-
hold utensils to paintings from
the Colonial period and pre-Co-
lumbian idols, boasts 500-year-
old articles.
Material for the exhibit was col-
lected during the past five sam-
mers by Harry Schulke, design
and photography instructor in the
College of Architecture and De-
Schulke first became interested
in Mexican art in 1948 while en-
joying a traveling grant from
Vogue Magazine which enabled
him to spend 11 months study-
ing and photographing the coun-

feelings. Judy Garland could never
do this; she is not an actress.
Great Realism
Star took ten months and
$6,000,000 to film. Director George
Cukor played each scene over and
over-until his star could dupli-
cate each emotion. There was
never acting, only duplication; and
it is this duplication which made
Star such a personal film.
It seemed at times that the
camera had been placed in some-
one's home andrecorded the little
day-to-day emotional crises. There
is one scene where Miss Garland
breaks into hysteria in a dressing
room that was as real as any hys-
teria could be.
Much Embarassment.
Throughout her performance,
Miss Garland was never the act-
ress portraying, only the actress
living her role. This, of course has
its advantages and disadvantages.
In addition to the aforementioned
personal qualities, the film had al-
most complete realism and the in-
tegrity which this realism brought.
To the negative, there was the
near embarassment which aud-
iences seemed to go through at
screenings, the feeling that here
was tremendough emotional pow-
er left unchannelled, given no art-
istic ordering. There were the
breaks in Miss Garland's voice, tht
hysterical laughter, the quivering
lip that at times were almost
Music Integrated
Like Miss Garland's work, the
film itself had an amorphous
quality. It held together rather'
loosely. The musical selections
were integrated, but still it lacked
dramatic unity, an over-all per-
spective which would transform a
series of somewhat unrelated
scenes into a whole.
Cutting the film-about 40 min-
utes were removed from the orig-
inal 182 minutes at the insistance
of theater managers who claimed
the film was too long for continu-
ous. showings-only accented this
disunity. Before there existed a
unity in individual scenes; then
much of this was gone.
Many Cuts
For example, the dressing room
scene was originally framed by]
the "Lose That Long Face" num-
ber which provided the irony of
the actress who is professionally
happy and privately troubled. The
song and dance was removed: the
scene looked completely out of
Another twenty-five minute cut
removed the portion recounting
the difficulties Miss Garland ex-
perienced in her rise to fame.
Other individual cuts, near the
middle and end of the film, took
out little footage, but tended to ac-
centuate the choppiness and un-

As a singer, Judy Garland also
is an emotional animal. Her tonal
reproduction is clear and her
phrasing accurate; but she relies
more upon style and delivery (as
do most "popular" singers) than
vocal technique. Even here she
has little control and she is likely
at one moment to be screaming
and shouting, at the next being
tender and wistful.
For Star, Composers Harold Ar-
len and Ira Gershwin wrote six
numbers, each giving Miss Gar-
land an opportunity to display
some particular emotion.
"Gotta Have You Go With Me"
was a rousing bounce number;
"The Man That Got Away," had
power in Miss Garland's presenta-
tion of a blues singer who is really
blue, but it was sometimes overly
loud; "It's A New World" and
"Here's What I'h Here For" (gone
from the cut version) were tender
ballads performed with feeling and
color; "Lose That Long Face" was
perhaps too-obvious a parallel of
Miss Garland's baggy-pants rou-
tine in Easter Parade.
Good Clown
As a clown, Miss Garland has
the timing which only stage work
breeds in a performer; but she
often relies upon her cuteness and
upon the shock of singer-turned-
comedienne to win over her aud-
ience. In the partomine-parody of
movie production numbers in Star,
Miss Garland used her cuteness
and timing to advantage. In addi-
tion, she seemed to be enjoying her
work, which is invaluable in win-
ning audience approval.
As a dancer Judy is an old vaud-
eville trooper. She has danced
with Fred Astaire and Gene Kelly,
but her Terpsichorean talents are
very limited. Her dances for Star,
the "Lose That Long Face" buck-
and-wing and the "Swannee"
strut, were choreographed by
Richard Barstow who often works
with non-dancers.
Her other "dance" work in Star
was confined chiefly to simple
rhythmic movements Barstow em-
played to remove some of the
static quality which straight sing-
ing in a film inevitably brings.
Future Bleak
It will probably be difficult for
Judy Garland to find another film
like A Star Is Born. She will un-
doubtedly win an Academy Award,
if only because the Academy is
often very sentimental, and the
sentiment seems to be. swinging
toward Miss Garland.
Also, the years when studios re-
fused her services because she was
too tempermental, would not work
within schedules - that is prob-
ably over for the present. But the
future holds very little that is bet-
ter than A Star Is Born for Judy
--Ernest Theodossin

The Detroit Institute of Arts
will offer its next program in
The Film as an, Art series at
8:30 p.m. Tuesday at the muse-
um buliding in Detroit.
Directed by Frank Lloyd in
1933, the film, Cavalcade, stars
Diana Wynard, Clive Brooks,
Una O'Connor and Beryl Mer-
Other films in the series in-
clude La Nuit Fantastique, The
Winslow Boy, No Way Back and

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Student Bill
To Feature
Verdi Opera
Robert Kerns, Grad, will sing the
title role of Falstaff in the speech
department-music school produc-
tion March 1-5.
The Verdi opera will be the first
in a ti-part Spring Playbill which
will also include Thornton Wilder's
"The Skin of our Teeth" and a
student-written play by James
Harvey, '53, "The Clugstone In-
Other members of the cast, from
both the speech department and
the school of music, include Wil-
liam Cole, Grad., Thomas Tipton,
'55 SM, Daniel Pressley, '56 SM,
Dolores Lowry, G r a d., Laura
Smith, '55, Priscilla Bickford, '55,
Mariam Tinkham, Grad., Joan
Rossi, Grad., June Howe; '55, Mary
Mattfield, '56, and Lois Bruce,
A special opening night rate for
all three plays of $1.50 as well as
season tickets for $1.90, $2.60 and
$3.25 may be ordered. by mail
through the Lydia Mendelssohn
box office.
The box office will be open be-
ginning Feb. 21
Prices for the opera are $1, $1.40
and $1.75.
Ford Experiment
To Feature Art
"Looking at Modern Art, a new
experiment in museum art educa-
tion sponsored by the Ford Foun-
dation's Fund for Adult Education,
will begin on March 4 at the De-
troit Institute of Arts.
Preliminary application for the
11-week discussion series must be
made in writing. The class will
meet from 7:30 to 9:30 p.m. on
Fridays in the Institute's confer-
ence room.
William E. Woolfenden, Curator
in Charge of Education, will con-
duct the Detroit group which is
one of ten such groups in the mid-

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