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February 24, 2016 - Image 6

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The Michigan Daily

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ACROSS
1 Lobsters’ sense
organs
6 Celebs
10 Flight from the
law
13 Poker declaration
14 “__ my guard
down”
15 Famille patriarch
16 Form by
combining
elements
18 One-piece
garments,
slangily
19 Rome-based
carrier
20 Toll road
timesaver
22 “Girls Just Want
to Have Fun”
singer
24 Performer’s
supporters
28 Guacamole, e.g.
29 Twisty letter
30 Diva delivery
31 Snoozed
33 Fictional voyager
40 Retired New York
senator Al D’__
41 Rational
42 DDE rival
45 Esteemed league
member
46 N, in Morse code
49 Sparkle
52 Currencies
53 Irrationality
58 Bravo preceder
59 Host of the 2015
MLB All-Star
Game
61 Not masc. or
fem.
62 Prod
63 Gold brick
64 Fashion
monogram
65 Jury member
66 Fluff, as hair

DOWN
1 Italian capital of
its own province
2 Kind of nitrite
3 Actress
Anderson
4 Golf stroke that
can be practiced
in a hallway
5 Cornell University
city

6 Brand that “gets
the red out”
7 Epic with a very
big horse
8 Refillable candy
9 Metal playing
marbles
10 Delaware Valley
tribe
11 Comes into view
12 Salutation
abbreviation
15 Bite-size Chinese
appetizer
17 Tarzan portrayer
Ron et al.
21 Mothers of
Invention
musician
23 Empty, as threats
24 Fourth notes
25 “Entourage”
agent Gold
26 Diarist Anaïs
27 Rum-soaked
cake
31 “The Affair” airer,
briefly
32 Morticia, to
Gomez
34 Peaceful
relations
35 Annual tennis
team event
36 Texting farewell

37 Chap
38 Lennon partner
39 On Soc. Sec.
42 The same
number
43 Places where
élèves study
44 Wicked ... and,
homophonically,
like five long
puzzle answers
46 One of the
reindeer

47 “The Bell of __”:
Longfellow
48 “Don’t need to
watch that movie
again”
50 Spiffy
51 Fencing attack
54 Celebrity chef
Burrell
55 Lengthy story
56 Nebraska natives
57 Evening, in ads
60 Anger

By Kenneth J. Berniker
©2016 Tribune Content Agency, LLC
02/24/16

02/24/16

ANSWER TO PREVIOUS PUZZLE:

RELEASE DATE– Wednesday, February 24, 2016

Los Angeles Times Daily Crossword Puzzle

Edited by Rich Norris and Joyce Nichols Lewis

xwordeditor@aol.com

FOLLOW US ON TWITTER

@michigandaily
NOW.

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FOR RENT

SUMMER EMPLOYMENT

When I asked my 16-year-old

sister if she wanted to see “Son
of Saul” last Friday night, she
expressed a great interest. She
had never heard of the film, but
had over-
heard me
talking
about
it

a
little,

so
she

knew
at

least that
it
was

a
Holo-

caust
film.
I

thought
it
only

fair
to

warn her
that this film a) was Europe-
an (therefore in subtitles and
highly character driven) and b)
takes the viewer into the heart
of a death camp; there would
be, in short, some disturbing
content. She was undeterred.

As we watched the film,

I repeatedly saw her shaken
expression, her hands often
covering her mouth in terror.
And when we left, she was
expressionless,
almost

catatonic, in her demeanor.
I never asked her what she
thought of the film as a
whole, but I know she found it
distressing.

I didn’t find the film so

shocking,
and
was
more

surprised by how little death I
actually saw given the setting.
For almost the entirety of the
film, the camera never leaves
the protagonist Saul’s face
or back as he navigates the
seemingly labyrinthine halls of
the death camp. In fact, almost
everything in the shot other
than Saul’s face or back remains
out of focus and distant. We are
maddeningly aware that there’s
more happening in the scene,
but we can’t actually see it —
like a flicker in the corner of
the eye, but with the turn of the
head, the apparition vanishes.

We
therefore
experience

the entirety of the death camp
through Saul, and there is no
shortage of horror to be found;
we are with him when he leans
against the metal door of the
gas chamber and hears the
desperate screams of hundreds,
only for the noise to suddenly
cease; we are with him at the
pits as Jews are led like lambs
to the slaughter, one by one
lined up, pushed to the edge
of the pit and executed with a
bullet to the head; we are with
him as he fires the scorching
ovens.

And yet I was not disturbed,

nor was I moved by Saul’s lack
of perspective as he searches
for a rabbi to provide a proper
burial for a boy he believes,
though is probably not, his
illegitimate son, rather than
commit himself to the final
preparations for a prisoner
uprising. Some might call my
stoicism inhuman.

I don’t believe I’m inhuman,

but I have been desensitized.
I’ve seen many, many Holocaust
films, and, having been raised
in a Jewish home and having
gone to Jewish day school for
nine years, I have no shortage
of vivid images of Holocaust-
related material and memory.
After a while, these images
and horrors stopped being
horrifying — they just became
facts, cold and nonjudgmental.

Of course, “Son of Saul”

wasn’t made solely for me. But
I ask myself why I so desire to
see films like these, films that
display human suffering in all
its terror, where there is only
one possible ending — death
— and I am rather unmoved by
it. Indeed, “Son of Saul” seems
to offer no lessons, no reason
to exist beyond portraying
a more personal take on the
otherwise grander scale that is
most other Holocaust films —
human suffering through one
viewpoint, one angle, rather
than many.

Is that enough of a reason for

a film to exist? Is guilt over the
Holocaust so high that any film
that explores the subject gets
an automatic pass for a dearth
of content? If I want a film that
depicts mass death, why can’t
I cut out all Holocaust-related
material and go see “Deadpool”
instead? At least then I can
laugh at the absurdity of it
all, rather than sitting with
resignation.

In
fact,
I
did
go
see

“Deadpool,” 17 hours after I
saw “Son of Saul,” and, to my
surprise, I found similarities
in their stories. At their cores,
both are stories of an individual
coping with trauma: one seeks
distraction from the horror of

his daily life, the other seeks
full-scale,
bloody
revenge

— both seem to me highly
irresponsible courses of action.
And as its cocksure, self-aware
attitude reiterates over and
over again, “Deadpool” also
has no reason to exist. It is
the product of a moneymaking
Hollywood machine: no more,
no less.

But “Deadpool” is escapism

where “Son of Saul” grounds
itself in reality, a past reality
but reality nonetheless. There
are
no
alternate
timelines

and no reset buttons for “Son
of Saul” and the Holocaust
genre
as
a
whole
(unless

you’re “Inglourious Basterds,”
but
that’s
another
story

altogether). It is, ultimately,
just a horrid chapter among the
other many horrid chapters of a
long human history.

Perhaps it is guilt that

drives our fascination with
the Holocaust (particularly in
Europe), perhaps it’s a function
of the “never forget” ideology
passed
down
through
the

generations. Perhaps we cling
to the glimmers of hope and
escape, as one might do with
the case of Saul, in an otherwise
dark
and
twisted
world.

Or perhaps it’s that human
suffering is itself fascinating,
and the Holocaust represents
the apex of that suffering.

I do not know the answer but

I do know this: for as much as
we research it, write about it,
create films related to/about it,
the Holocaust is out of our reach
of understanding. The only
ones that really understand it
are those that suffered through
it, and even they may not have
come to terms with it. And for
as many films and stories as
there are about a hero, a savior,
a
do-gooder,
those
stories

comprise a small minority that
can never hope to relate the
experience.

I
think,
therefore,
“Son

of Saul” is the best type of
Holocaust film, the one that
says nothing, that seems to
have no reason to exist. In its
silence, its frustratingly close
camera angles, its out of focus
middle and backgrounds, we
are forced to accept that the
Holocaust is beyond us.

The point, then, is not

necessarily to feel or to relate,
because we simply cannot feel
and relate to this chapter of
history in a way that would
ever prove satisfactory. The
point is to go to the theater, to
submit yourself to more death
without purpose, to know that
you could go see “Deadpool”
instead.
Sometimes,
it’s

acceptable to just watch and be
present and to know that what
you’re watching is a Holocaust
film. In the end, that’s all we
can really do.

Bircoll is dealing with Woody

Allen-esque post-WWII anxiety.

To give him some consolation,

email jbircoll@umich.edu.

FILM COLUMN

Holocaust film

malaise

JAMIE

BIRCOLL

I don’t believe
I’m inhuman,
but I have been
desensitized.

Mellow ‘Life of
Pause’ easy listen

Wild Nothing’s

fourth studio album
is soft and surreal.

By SHIMA SADAGHIYANI

Daily Arts Writer

Imagine looking into a kalei-

doscope — a bright whirlwind
of color and ambiguous designs,
always
trans-

forming
into

new
patterns.

It’s intense but
soothing
and

the
undulat-

ing movements
of
light
are

entrancing; you
could
spend

forever
with

one eye pressed against that
small cylinder.

Listening to Wild Nothing’s

new album, Life of Pause, is a
similar experience.

With four complete albums

already behind them, you would
think Wild Nothing would put
their years of experimenting
with hazy vocals and varying
electronic backgrounds behind
to settle down for something
more structured and simple.
Fortunately, Wild Nothing con-
tinued to explore with albums
like Empty Estate and Golden

Haze which set the groundwork
for (and produced a chromatic,
subtly psychedelic adventure in)
Life of Pause.

The album opens with “Reich-

pop” and the soft, Zen-like
melody of the first few min-
utes transitions smoothly into a
bright, upbeat tempo that pushes
the song from something that
you would use to meditate to
something that deserves its own
light show. By the time “I am the
silent son / I am the only one /
staying home today” is added to
the mix, “Reichpop” is perfectly
layered with nebulous vocals on
top of a bouncing rhythm on top
of the serene melody heard indi-
vidually in the beginning of the
song. It’s five minutes of a beauti-
ful catastrophe, and the fun only
continues throughout the rest
of the album. Title track “Life
of Pause” is a mess of contradic-
tions as the buoyant beat over-
powers the sorrowful “how come
we were in love?” while “Adore”
is a compilation of introspective
guitar chords and haunting piano
melodies that perfectly capture
the essence of heartache.

The songs in Life of Pause sew

the album together like a patch-
work quilt — the edges meld
smoothly together but each sec-
tion is different, which is the
reason why this album is so
interesting. Each song is its own
composition. The only elements

tying the entire album together
are the muted vocals and ambi-
ent rhythm. The song “Japanese
Alice” is fast-paced and bewil-
dering in its twirling tempo,
completely
contrasting
the

creeping and leisurely “Alien.”
The tracks would have been too
conflicting to be listened to in
the same album if not for the
uniting vocals making each song,
no matter what the beat, seem
remote and indefinite.

And this dissonance in each

song fits for most of the album
because Wild Nothing usually
knows how to push their surreal
sound without being in your face
about it. However, the groovy,
harmonious vibe of songs like
“To Know You” and “TV Queen”
falls flat in the two weakest
tracks of the album, “Lady Blue”
and “A Woman’s Wisdom.” In
both songs, the uniformity of
the vocals and the beat creates a
dreariness that stands out from
the rest of the album’s bursting
vitality. But these are just two
songs in the entire 11-track album
and actually help to provide a bit
of a break from the other dizzying
compositions.

Overall, Life of Pause is a mind-

blowing dream; a perfect mix of
gauzy afternoon jams and retro
tunes taken straight from your
wildest daydreams and ready for
you to explore on a day that is just
a little too monotonous.

CAPTURED TRACKS

This is not a screenshot from the upcoming season of Workaholics.

A-

Life of
Pause

Wild Nothing

Captured Tracks

EVER WONDER

WHAT OUR VOICES

SOUND LIKE?

CHECK OUT OUR

PODCAST.

SEARCH “PAUL MCCARTNEY

IS DEAD” IN THE ITUNES

PODCAST APP OR

SOUNDCLOUD.

ALBUM REVIEW

6A — Wednesday, February 24, 2016
Arts
The Michigan Daily — michigandaily.com

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