Classifieds

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

ACROSS
1 Bucks in the
woods
6 Ratted out the
bad guys
10 Dept. store stock
14 Condor’s condo?
15 Prefix with logical
16 Dry as a desert
17 Cold weather
groundswell that
can cause
pavement
damage
19 Go for the worm
20 Wind down or
wind up
21 Name in Cold
War news
22 Wright who
wondered,
“What’s another
word for
‘thesaurus’?”
24 Ball catcher
25 Needing wheels
26 Ancient siege
weapon
30 “Knock it off!”
31 Architectural
curve
32 L.A. NFLer
35 Tax-free govt.
bond
36 Good feller?
37 “One day only!”
event
38 Boomer that no
longer booms,
briefly
39 __ Valley:
Reagan Library
locale
41 Warring factions
43 Manufacturer’s
coming-out event
46 Woofer’s partner
48 Landed
49 Film boxer Rocky
50 Black, to a bard
51 Syst. for the deaf
54 Islamic branch
55 Reversions ... or
what 17-, 26- and
43-Across all
have?
58 Bard
59 Capital of
Belgium
60 Good-sized
wedding band
61 Kind of spot or
loser
62 Cong. meeting
63 Lawn spoilers

DOWN
1 Heist target
2 Beach bird
3 Five-time A.L.
home run champ,
familiarly
4 APO mail
addressees
5 Gem mount
6 Midday snooze
7 Some govt.
lawyers
8 Calif. neighbor
9 Loses one’s cool
10 Pre-1985
communications
nickname
11 Car’s engine-to-
wheels
connector
12 Surfers visit them
13 Paradises
18 Sub access
23 __-blue
24 View from
Molokai’s south
shore
25 Lab rat’s home
26 Radiation units
27 Taxing task
28 New England
capital
29 Needing a skull-
and-crossbones
label

33 Actor Baldwin
34 Screen door
material
36 Russia-China
border river
37 X-rated stuff
39 Explorer
Hernando de __
40 Conceptualizes
41 Permit
42 Post-shower
display
44 Mail-in incentive

45 They’re off-limits
46 Recipe amts.
47 “Yippee!”
50 Gets an “I’m
sorry” from Alex
Trebek, say
51 Entr’__
52 Short agenda?
53 Iwo Jima troop
carriers: Abbr.
56 Tint
57 Blackjack
component

By Pam Amick Klawitter
©2016 Tribune Content Agency, LLC
09/07/16

09/07/16

ANSWER TO PREVIOUS PUZZLE:

RELEASE DATE– Wednesday, September 7, 2016

Los Angeles Times Daily Crossword Puzzle

Edited by Rich Norris and Joyce Nichols Lewis

xwordeditor@aol.com

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734‑332‑6000

FOR RENT

HELP WANTED

Piety disrupted 
in WWII drama

By SYDNEY COHEN

For The Daily

World War II cinema often 

focuses on classic perpetrator-
victim tropes, with the same 
classes 
of 
people 

occupying the 
same 
roles. 

Yet 
“The 

Innocents” 
focuses in on 
the 
fringes 

of 
Poland, 

spotlighting 
the story of 
the marginalized, the forgotten 
and the abused.

“The 
Innocents,” 
set 
in 

immediate 
post-World 
War 

II Poland, tells the story of 
Mathilde 
(Lou 
de 
Laâge, 

“The Wait”), a French nurse 
volunteering 
with 
the 
Red 

Cross, who discovers and aids 
a convent of nuns dealing with 
multiple pregnancies caused by 
rape at the hands of invading 
Russian 
soldiers. 
The 
film 

focuses on the impact of the 
Russian invasion — a widely 

overlooked 
and 
forgotten 

section of history — specifically 
the innocent bystanders in 
Poland 
who 
suffered 
their 

own atrocities during World 
War II. Even more so, the 
film offers a view into a realm 
rarely discussed — it is a piece 
exclusively centered around the 
female experience.

A cast of female characters 

allows us multiple perspectives 
on the situation of unwanted 
pregnancy 
in 
a 
chaste 

community, 
with 
complex 

emotions 
and 
questions 
of 

morality 
being 
discussed 

through characterization. De 
Laâge’s Mathilde is the skilled, 
determined and compassionate 
nurse who transitions from 
the invasive foreigner to the 
trusted 
savior 
through 
her 

tireless determination to help 
the nuns. Her altruism is only 
muddled by a perpetual mask 
of stoicism, which works to add 
complexity to her character. 
Agata Buzek (“Redemption”) 
plays Maria, the woman who 
enlisted Mathilde’s help and 
tries to hold together the 

falling pieces of the nuns’ lives. 
Maria embodies strength and 
perseverance, with an added 
layer of intrigue accorded to 
her with hints at a promiscuous 
former 
life. 
Finally, 
Agata 

Kulesza (“Ida”) plays the Abbess, 
a woman struggling to do what 
she believes is best for her 
convent while sacrificing herself 
in the process. The brilliance of 
the characterization is that no 
woman is one-dimensional in her 
motivations or actions; instead, 
each 
woman 
is 
individual 

and compelling. The acting is 
genuine and convincing, as each 
woman portrays her own fear in 
nuanced yet powerful ways.

The 
film 
is 
not 
entirely 

without men. The male voice 
is Samuel (Vincent Macaigne, 
“Sunday 
Lunch”), 
the 
head 

doctor at the Red Cross. While he 
helps deliver some of the babies, 
his male perspective seems 
superfluous, and he doesn’t do 
much besides mimic Mathilde’s 
work and try to get her into bed. 
As a film portraying the 1940s, 
it is important to keep in mind 
that while it focuses on the 

MUSIC BOX FILMS

FW16 never looked so chaste.

FILM REVIEW

lives of women, it’s ultimately 
a film set in a male-dominated 
world (for example, Mathilde 
can only practice medicine as a 
doctor when in an environment 
absent of men). This calls into 
question the necessity of a male 
role in a film about the female 
experience: 
Is 
it 
necessary 

because 
it’s 
historically 

accurate, or does it undermine 
its feminist nature?

In regards to cinematography, 

the movie is dark, disturbing 
and 
raw. 
Director 
Anne 

Fontaine 
(“Adore”) 
makes 

brilliant 
aesthetic 
decisions; 

the shots are cold and dark, 

oscillating 
between 
barren 

winter landscapes and empty 
stone corridors. Devoid of color 
or comfort, the design enhances 
the emotional impact of the 
movie. In terms of its conflicts, 
the film deals with the issues of 
rape and unwanted pregnancy 
with austerity. One scene, in 
which Mathilde is almost raped 
herself by Russian soldiers, is 
bone-chilling and traumatizing, 
emphasizing the powerlessness 
of herself, the convent and 
women in general. Later, we see 
the Abbess leaving a newborn to 
die of exposure and the baby’s 
mother committing suicide soon 

after, 
highlighting 
questions 

of 
whether 
good 
intentions 

justify morally ambiguous acts. 
Religion works as a central 
motif, as the women’s faith in 
Christianity, and even humanity, 
is continually tested.

“The Innocents” is a movie 

about the female experience, 
the 
hardships 
endured 
by 

marginalized 
women 
of 
a 

desolate war-torn country, and 
the love and support they gave 
each other. While it rips you to 
shreds for two hours, the film 
ends on a satisfying, if fragile, 
note of hope. It is an important 
lesson on history and humanity. 

A

The Innocents

Michigan 
Theater

Music Box Films

HBO

Pass the self-loathing.

TV NOTEBOOK

What is TV without 
 

HBO’s stronghold?

By ALEX INTNER

Daily Arts Writer

We’re used to hearing about 

HBO as being the standard-
bearer of television. For years 
now, it’s the network that has 
been the most Emmy nominated 
(mainly because of the variety 
and 
quality 
of 
content 
it 

produces). It’s the network that 
the likes of Netflix, Showtime 
and Starz try to emulate in 
their everyday programming 
decisions.

Yet, HBO finds itself in a 

precarious position for the 
first time in several years. 
While there’s no denying the 
massive success of “Game of 
Thrones,” the drama will only 
have two more seasons on the 
air. Outside of “Thrones,” the 
network has very few other 
established 
dramas. 
“The 

Leftovers” is its only other 
drama existing past its first 
season, and that will end with 
its third airing in 2017. Their 
last big attempt at a drama hit, 
“Vinyl,” was unceremoniously 
unrenewed after it realized the 
dramatic retooling the show’s 
second season would require 
wasn’t worth the investment. 
They’re 
even 
considering 

reviving the “True Detective” 
franchise after its critically 
panned second season without 
showrunner Nic Pizzolatto.

That means that, if nothing 

else succeeds, HBO will find 
itself with zero established 

dramas on the network. To 
combat this, they’re going to 
be putting a heavy emphasis 
on new programming. This 
starts this fall with the launch 
of “Westworld.” The network 
has invested substantial time 
and money into the series. A 
pilot was first ordered back in 
2013, and in 2014 it was picked 
up to series with a targeted 
2015 premiere date. However, 
production stoppages and other 
delays forced the show off that 
date, and it finally makes its 
debut in October. The network 
also has upcoming shows from 
familiar creators already picked 
up to series. David Simon (“The 
Wire”) will be making a series 
about the porn industry in New 
York City in the ’70s called “The 
Deuce” and Alan Ball (“True 
Blood”) will be returning to his 
roots in family drama, though 
the show does not yet have a 
title.

Still, none of these shows 

are guaranteed surefire hits. 
A 
development 
process 
as 

tumultuous 
as 
“Westworld” 

’s does not usually inspire 
confidence. And, though Simon 
has created what are considered 
to be two of the network’s most 
acclaimed series in “The Wire” 
and “Treme,” they never had 
huge audiences at the level of a 
“The Sopranos” or a “Game of 
Thrones.”

All 
these 
problems 
are 

compounded 
by 
the 
recent 

regime change at the network. 

Michael Lombardo recently left 
his position as president of the 
network and was replaced by 
one of his key deputies Casey 
Bloys to replace him. Usually it 
takes a new leader a few years 
to establish their presence at 
the network and develop shows 
in their own voice, but HBO 
doesn’t have time to lose. It 
needs to work on developing 
hits fast. HBO’s development 
process is notoriously slow, as 
exhibited by “Westworld.” They 
don’t have the years it takes to 
slowly nurture something out 
of the gate right now. They need 
to get a hit drama on the air in 
the next year, or they risk being 
without one at all.

However, HBO has been 

in this position before. “The 
Sopranos” went off the air in 
2007 and was immediately 
followed up by the flop “John 
from Cincinnati” and “Tell 
Me You Love Me,” which was 
renewed for a second season 
and cancelled several months 
later when they couldn’t figure 
out what a second season would 
be. Still, a year later, “True 
Blood” premiered. The vampire 
drama quickly grew into the 
network’s biggest hit since the 
famous mob drama, giving them 
a building block they could 
used to sure up their schedule. 
It meant they could maintain 
their reputation as the home for 
quality, buzzworthy TV. After 
all, what’s the TV landscape 
without a strong HBO?

INTERESTED IN WRITING FOR 

DAILY ARTS? 

COME TO A MASS MEETING!

SEPT. 8, 12, 18 AND 22 AT 7 P.M. IN THE MICHIGAN 

DAILY NEWSROOM

420 MAYNARD STREET

BE THERE OR BE SOMEWHERE ELSE, BUT YOU 

SHOULD BE THERE.

E-mail ajtheis@umich.edu and katjacqu@umich.edu for more 

information on applying to Daily Arts.

6A — Wednesday, September 7, 2016
Arts
The Michigan Daily — michigandaily.com

