Classifieds

Call: #734-418-4115
Email: dailydisplay@gmail.com

ACROSS
1 Pharmacy
purchase
5 Figure (out),
slangily
9 Early Yucatán
settlers
14 German “a”
15 Irish New Age
singer
16 Bite-the-bullet
type
17 400 athletes?
19 “Star Trek”
lieutenant
20 Trophy prized by
actors
21 Watermelon
eater’s discard
23 Austin-to-Baton
Rouge direction
24 Flat hat with a
pompom
26 40 polos?
28 Football club
based in
Lombardy
32 Many a casino
visitor
33 Bank offering
34 Kelly of morning
TV
37 Moral code
39 Texter’s
“Horrors!”
40 4 tire inserts?
42 Squeeze (out)
43 Local news hr.
45 Mix
46 ESPN analyst
Hershiser
47 Wife of Abraham
49 Chatty gathering
51 600 stand-ups?
54 Plea at sea,
briefly
55 “Sadly ...”
56 Pouty expression
58 Repetitive
musical piece
62 ACC team with a
turtle mascot
64 1,500
thermometer
units?
66 Gobbled up
67 Letter carrier’s
sackful
68 Starbucks order
69 Sound from an
angry dog
70 Sugar bowl
invaders
71 Battle of
Normandy town

DOWN
1 Geometric art
style
2 Frees (of)
3 Like the word
“waitress,” briefly
4 Gummy bear
ingredient
5 Susan of “L.A.
Law”
6 Small bills
7 Oven-safe brand
8 Stand in a
painting class
9 East Lansing
sch.
10 Nonreligious sort
11 Mall directory
words
12 Bombing
missions
13 Sings like Ella
18 Shrunken Asian
sea
22 Broadband
initials
25 Harry and __,
“Home Alone”
bad guys
27 Ground breakers
28 Plenty
29 Fesses up
30 Document sealed
by King John in
1215

31 Petty peeves
35 Salt (away)
36 “Not __ deal”
38 Boston NBAer
40 Islamic prayer
leader
41 Notable periods
44 Thrive
46 In some respects
48 That guy
50 Five-time
Wimbledon
champ Bjorn

51 Goes out with
52 Pause
punctuation
53 Khartoum’s land
57 Cut a line from,
say
59 Well-kept
60 Computer giant
61 Norway’s most
populous city
63 NBC comedy
staple
65 Some Bronx trains

By C.C. Burnikel
©2015 Tribune Content Agency, LLC
02/03/15

02/03/15

ANSWER TO PREVIOUS PUZZLE:

RELEASE DATE– Tuesday, February 3, 2015

Los Angeles Times Daily Crossword Puzzle

Edited by Rich Norris and Joyce Nichols Lewis

xwordeditor@aol.com

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6 — Tuesday, February 3, 2015
Arts
The Michigan Daily — michigandaily.com

Couture shows 
and high fashion

FILM NOTEBOOK

By JAMIE BIRCOLL

Senior Arts Editor

Warning: 
The 
following 

discussion of “American Sniper” 
contains mild plot spoilers.

This is a defense of “American 

Sniper.” 
But 
it’s 
also 
more 

than that. It’s an attempt at 
understanding 
the 
role 
of 

cinema in a society so politically 
inclined, so blinded by its own 
ideological trappings that it has 
ceased to examine cinema for 
its cinematic quality but for its 
realism. The loudest proponents 
and detractors of this film alike 
extract the same meaning from it: 
validation of their own political 
leanings. What people have failed 
to see is that “American Sniper” 
rises above politicization to give 
to the public a narrative. Not the 
narrative, mind you, but a single 
perspective: of one American 
soldier 
delegated 
immense 

power, and how that power takes 
its toll on him and his family.

As 
far 
as 
the 
media 
is 

concerned, 
there 
are 
two 

reactions that one ought to have 
after a viewing of the film: “Go 
America!” or “This is propaganda 
bullshit.” Of the former party, 

such subscribers include Blake 

Shelton and Charlie Daniels, 
and of the latter, Michael Moore 
and Seth Rogen. The Twitter-
sphere has tended to align with 
either of these opinions as well. 
If you walked out of the theater 
believing one of these two 
assertions, then one of two things 
has happened: you watched the 
wrong movie or you watched the 
movie the wrong way.

To 
have 
these 
kinds 
of 

opinions 
after 
leaving 
the 

“American Sniper” that I saw is 
to admit that you either went into 
the movie with your own opinion 
already formed or that you only 
selectively paid attention. If you 
went into “American Sniper” 
believing it was an affirmation 
of American military ideals and/
or the idealization of a trained 
killer, then it actually does make 
perfect sense to have that “go 
America” or “fuck war” attitude, 
depending 
on 
your 
political 

leaning. 

But to do so isn’t fair to the 

filmmaker or to yourself. Because 
“American Sniper” doesn’t make 
a single statement about war, 
about America, about Iraq or 
about politics. 

So what is “American Sniper”? 

It’s the single narrative view 
from the perspective of an 
American soldier, raised on a set 
of values, constantly trying to 
reconcile those values, his love 
for his family and his anger with 
the atrocities he commits. And 
director Clint Eastwood makes 
this perfectly clear in the first 
scene:

A sniper peering down his 

scope sees a young boy carrying 
what appears to be an anti-
tank grenade, running toward 
a group of soldiers. Oversight 
cannot confirm if the boy is in 
fact carrying a grenade. They 
defer to the sniper’s judgment. 
He hesitates. The boy prepares to 
throw the object. The sniper has 
his finger on the trigger … cut.

Watch 
the 
hesitation 
in 

Bradley Cooper’s eyes, how tense 
his face is; contrast that with the 
stillness of his body, the calm of 
his breathing. He is at once at 
peace and at war with himself. 
Above all else, this film is about 
internal conflict.

And the film itself captures that 

conflict in its structure. Shifting 
between scenes of intense action 
with apprehensive home life, the 
film, like Kyle himself, is never 
still. There’s always something 
stirring: an enemy militant, a 
lingering memory. These are 
equally legitimate forces that 
eat away at a man’s psyche, at 
Chris Kyle’s psyche. By the time 
Kyle has finished his four tours, 
he is but a vessel of his former 
energetic, amicable self.

Eastwood and screenwriter 

Jason Hall want you to know this. 
Sure, Kyle looks calm, he looks in 
control, but you, the viewer, know 

what he’s seen. You can sense the 
burning underneath his skin. You 
should fear Chris Kyle.

But it’s more complicated 

than that: A news clip of the 9/11 
attacks, the screams of a young 
boy getting his skull drilled in 
— what is one supposed to feel 
then? Do we not echo Kyle’s 
initial enthusiasm or feel his 
sense of duty, his urgency?

All of this goes back to that 

central idea: conflict. As you 
walk out of the theater, you 
should have not one idea, but 
multiple; you, like Kyle, should 
be trying to reconcile all of these 
contradictory 
emotions. 
You 

should sympathize with Kyle’s 
family, you should fear for them. 
Simply, you should think about 
the film you have just seen.

Part of the controversy, I 

feel, stems from one’s inability 
to differentiate between “Chris 
Kyle the man” and “Chris Kyle 
the character.” I have never liked 
the label “based on a true story” 
because, once reading it, the 
viewer can only associate a film 
based on its ability to stay true 
to history instead of evaluating 
it on its own cinematic merits. 
The fact is, I do not know what 
Chris Kyle the man was like. I 
do not know if Bradley Cooper’s 
portrayal of him is accurate. I do 
not know the degree of factuality 
of the events of the film.

What I do know is Cooper’s 

Chris Kyle is a haunted, imposing 
human 
who 
faced 
trauma, 

tragedy 
and 
suffering, 
who 

caused his family pain, who 
could never separate himself 
from the battlefield, who killed 
because he felt it was his duty, 
who killed women and children, 
could look them in the eye even 
if they couldn’t look back. It’s a 
testament to Cooper’s ability that 
he invigorates the film where the 
script is lacking and elevates the 
film above a standard character 
drama into a deep, thorough 
analysis of one man exposed to 
the harsh environment of war.

Cinema 
can 
certainly 
be 

political, but to immediately 
ascribe a film “conservative” 
or “liberal” without analyzing 
what makes the film tick is a 
disservice. “American Sniper” 
is not a political film. It’s a 
contemplative film, a tense film 
and a sad film, but it neither 
upholds nor denies any ideology.

I urge all to see it, not because 

it’s the best film of the year, not 
because of my personal leanings, 
but because it got me to think and 
reflect. Good art, really good art, 
doesn’t agree with you; it rebuffs 
you. It presents an entirely new 
way of looking at something once 
thought fully analyzed. It gets 
you to think, to question, check 
and re-check the facts, discuss, 
debate. 

Roger Ebert, I think, summed 

it up best:

“We live in a box of space and 

time. Movies are windows in 
its walls. They allow us to enter 
other minds, not simply in the 
sense of identifying with the 
characters, although that is an 
important part of it, but by seeing 
the world as another person sees 
it.”

“American Sniper” isn’t taking 

sides. Good film doesn’t take 
sides. It enlightens. It shows the 
best and the worst of society, of 
people.

WARNER BROS

“I remember when you were just a fake plastic baby doll.”

Political cinema and 
‘American Sniper’

STYLE NOTEBOOK

By MARA MACLEAN

Daily Arts Writer

Designers showcase 

their most 

luxurious looks 

For those who may be slightly 

confused, not to worry: fashion 
month doesn’t actually begin 
until Feb. 12. So, what are all of 
the street style photographers, 
magazine heads and fashion 
houses posting runway videos 
of? 

Some houses decide to create 

couture or pre-fall lines that 
are shown a couple weeks 
before fashion month. Unlike 
the ready-to-wear collections 
that are displayed in New York, 
London, Paris and Milan, the 
couture shows are really only 
directed toward a select few. 

Without the public’s needs 

in mind, designers are free to 
create gowns and suits with 
no monetary restraints. The 
front rows are filled with 
those who can actually afford 
a custom Chanel gown, and the 
collections are a beacon of hope 
in a world that is dictated by 
sidewalk sensibility rather than 
designers’ artistry. Basically, it’s 
a time when Raf Simons of Dior 
can make an entire collection 
with thigh-high latex boots and 
it is considered amazing. 

To 
begin, 
Valentino 

did what it does best with 
serious 
embellishments 
and 

embroidery, 
this 
time 
with 

a Russian twist. Everything 
about the show was romantic, 
from golden bodices to dresses 
stamped with ‘Amore.’ A runway 
highlight was a sky blue velvet 
gown with a sheer high collar, 
which could have easily been a 
costume for Gwyneth Paltrow in 
“Shakespeare in Love.” 

As stated before, the Christian 

Dior show featured latex boots 
— lots of them. In addition to the 
multicolored rubber, there were 
geometric catsuits and painted 
raincoats. Heavily embellished 
minidresses and flouncy skirts 
were also in attendance. The real 
star of the show, the final piece 
— a black structured top, pleated 
embroidered ribbon skirt and 
a peek of colorful boots — 
showcased Simons’s modernist 
eye and ability to re-imagine. 

Amid a runway decorated 

with 
origami 
flowers, 
sock 

booties 
and 
elegant 
hats 

prevailed. 
The 
collection 

paralleled the set nicely — 
simple, well-constructed tweed 
suits with sudden bursts of 
flowers adorning tulle-ridden 
skirts. The show ended with a 
jaw-dropping wedding gowns 
that paired an entirely sequin-
embroidered short-sleeved top 
and a train that looked like a 
white bed of flowers. Lagerfeld 
showed just how effortlessly he 
can reinvent the Chanel woman.

Donatella 
Versace, 
in 
an 

effort to spotlight the woman’s 
curvy form, revealed a line of 
evening dresses with swirling 
insets of nude mesh. While 
the black, white, red and royal 
blue caused a whirlwind on the 
runway, the looks were not as 
exquisite as other collections. 
Striking, yes, as per usual with 
Versace, but, the line lacked 
the 
overwhelming 
aura 
of 

hopeful romance and superb 
craftsmanship found at Dior 
or Chanel. However, her vision 
and intention were showcased 
attractively, as can be seen in 
the white cutout jumpsuit that 
showcased Karlie Kloss’s form. 

Overall, 
the 
Spring 
2015 

Couture shows were entrancing 
spectacles. While you may not be 
able to pick out the latest trends 
or find new ways to wear your 
jeans and sweater, a quick glance 
through some photos from these 
bastions who defend the right 
of creativity and artistry is an 
absolute necessity.

These bastions 

who defend 
the right of 
creativity 

WANT TO WRITE FOR 

DAILY ARTS?

We’re looking for writers passionate about

Music, Community Culture, TV, Style and Film.

To request an application, email:

ADEPOLLO@UMICH.EDU
CHLOELIZ@UMICH.EDU

Good film 
doesn’t take 

sides. It 

enlightens.

