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 2 BED. A V AIL. 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(906) 847‑7196. www.theisland‑ house.com FOR RENT SUMMER EMPLOYMENT SERVICES 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.