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. 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SERVICES HELP WANTED 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