Classifieds
Call: #734-418-4115
Email: dailydisplay@gmail.com
ACROSS
1 Oodles and
oodles
6 Airport idlers
10 Poetic foot
14 Kemper of
“Unbreakable
Kimmy Schmidt”
15 Wintry coating
16 Tennis court
surface
17 Work with a loom
18 How some
sloganed T-shirts
should be washed
20 Toddler’s taboo
21 Ocho minus
cinco
22 More than rotund
23 Baltic Sea capital
25 RC or Pepsi
27 1998
Bullock/Kidman
film involving
witchcraft
33 Metal-rich
deposits
34 Chicken chow __
35 Catch
37 Dollar competitor
38 High in the sky
40 Flag Day month
41 Maiden name
intro
42 Clicker’s target
43 Not at all excited
44 Going to the
grocery store, the
bank, etc.
48 Word on a
shoppe sign
49 Data set average
50 “Gone With the
Wind” family
name
53 Uno card
55 Knight’s weapon
59 Unsportsmanlike
behavior
61 Divided island of
Southeast Asia
62 Twistable cookie
63 Ritz-Carlton rival
64 Scent
65 Chestnut horse
66 “And away __!”
67 Some speeches
open with them
... as do this
puzzle’s four
longest entries
DOWN
1 Mended using
stitches, with “up”
2 Elizabeth Taylor
role, informally
3 Economist
Greenspan
4 Acts like
Elizabeth Taylor?
5 “Understand?”
6 Former French
president
Jacques
7 Top-notch
8 Symbol for the
lower piano
music part
9 __ Lanka
10 Swelling reducer
11 Medicinal
houseplant
12 Rodent in a
German lab
13 Data unit
19 Ken or Daria of
financial
journalism
21 __ Friday’s
24 “__ all good”
26 Leave out
27 Word after floor
or flight
28 Mars explorer
29 “So long!” along
the Seine
30 In the middle of
31 Preserve, as
ashes
32 Did some
wickerwork
36 Hotel count
38 Corrosive liquid
39 In need of a
friend
40 Surrealist painter
from Barcelona
42 Subsurface
woodwork
decoration
43 Bikini top
45 Big name in
antivirus software
46 Estevez of “The
Breakfast Club”
47 Hollywood agent
50 Scent
51 “Big Hero 6” hero
52 Neck of the woods
54 Classic arcade
game Donkey __
56 Every which way
57 Obedience
school command
58 Historic periods
60 Comics punch
sound
61 __ Mahal
By Neville Fogarty
©2016 Tribune Content Agency, LLC
09/13/16
09/13/16
ANSWER TO PREVIOUS PUZZLE:
RELEASE DATE– Tuesday, September 13, 2016
Los Angeles Times Daily Crossword Puzzle
Edited by Rich Norris and Joyce Nichols Lewis
xwordeditor@aol.com
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6 — Tuesday, September 13, 2016
Arts
The Michigan Daily — michigandaily.com
‘Virginia Woolf’
a timeless classic
Youthful film based
on play rang in the
“New Hollywood”
movement
By DANIEL HENSEL
Daily Arts Writer
In “From the Vault,”Daily Arts
takes a new look at old films.
“Who’s Afraid of Virginia
Woolf?” was inevitable.
The play on which the film
is based, written by the young
playwright Edward Albee, a
frequent observer of modern
life, had won the Tony for Best
Play three years before. Its two
leading actors, Elizabeth Taylor
and Richard Burton (both in
“Cleopatra,” which was, at that
date, the most expensive film
ever), were frequently at the
center of a media circus that
followed their storied romance.
And the film’s director, Mike
Nichols, had just won two Tonys
for directing back-to-back, and
won a Grammy a few years before
for his riotously funny comedy
album with partner Elaine May.
1966, the film’s year of release,
also proved to be a bountiful year
for modern art, an exercise in
questioning and re-evaluating
the subjects and styles of our
artistic creations. It was the year
of “Revolver” and “Pet Sounds.”
Pop art masters Roy Lichtenstein
and Andy Warhol were at the top
of their game and the Whitney
Museum, a modernist mecca,
opened in New York City. The
building was designed by Marcel
Breuer, a luminary figure in
modern architecture who had
developed an expertise in strange
forms
and
materials
before
many of his contemporaries had
even begun to dabble. Truman
Capote released “In Cold Blood,”
perhaps the Southern Gothic
literature legend’s most famous
work, which practically created
the True Crime genre.
The cups of the collective arts
were overflowing, except for
film. By contrast, studios were
desperately clutching onto the
big movie model, continuing to
rely on the old model of epic-
scale musicals and war films.
But as the baby boom generation
came of age in the mid-1960s
and their taste began to dictate
the future of art, film further
declined. Studio heads began
taking risks on unproven young
directors: Scorsese and Allen,
Spielberg and Friedkin.
The first of these directors
was Mike Nichols, who in the
summer of 1966 released his
debut film, “Who’s Afraid of
Virginia Woolf?” After a party
of academics and their partners
in a quiet college town, one such
couple,
Martha
and
George
(Taylor and Burton), invites a
younger couple, Nick (George
Segal, “A Touch of Class”) and
Honey (Sandy Dennis, “The Out-
of-Towners”), to their house in
the wee hours of the morning.
Unbeknownst
to
the
young
couple, George and Martha’s
marriage brings volatility to
the extreme, with each hurtling
abuse towards the other in an
epic power struggle that erupts
in front of their guests. George
is plagued with feelings of
insecurity, which Martha uses
like a twisting knife in his back.
George fights back, sometimes
with success, sometimes with
utter embarrassment. Rinse and
repeat.
Taylor and Burton achieve the
impossible by simultaneously
slipping into their respective
roles with an ease unmatched
in
film
history
while
still
maintaining
their
reputation
as two of the greatest actors of
their generation, if not all time.
It takes talent to switch from
grand-scale epics, in which the
camera’s bravura can replace any
acting deficiencies with elegant
screen presence, to an intimate
(and hardly flattering) character
study. Yet Taylor and Burton
don’t just succeed — they rewrite
the rules of acting.
The
dialogue
of
“Woolf,”
undoubtedly the film’s defining
feature,
crackles
with
the
same vivacity and anger at the
larger
sociopolitical
system
that afflicted much of the youth
in 1966, even though the film
centers on two adults. George
and Martha’s verbal crusades
against one another corrupt Nick
and Honey into questioning their
own marital vows.
That focus on the immature
“grown-ups” in the room, and
their
pernicious
influence
on the people around them,
is
precisely
what
defines
“Woolf” as the advent of New
Hollywood. Young directors
were dissecting cultural norms
— including the idea that
married people always love
each other — which provided
the foundation for the world in
which they grew up. I presume
nothing about the marital ties
between the parents of Mike
Nichols or Edward Albee, but
“Woolf,” despite the extremity
to which its characters take
their troubles, is more truth
than exaggeration.
“Who’s Afraid of Virginia
Woolf?” is as much a product of
its time — the film brims with
youthful doubt over its married
protagonists — as it is timeless.
Despite the film’s black and
white
cinematography
and
character close-ups that scream
“Old Hollywood,” it could be
released today and still be just
as affecting.
FROM THE VAULT
DuVernay’s ‘Sugar’ a
cinematic TV debut
By NABEEL CHOLLAMPAT
For the Daily
“Queen Sugar” understands
that there’s just something
about Louisiana. It might be the
lush
bayou
landscape, or
the
brightly
colored build-
ings populat-
ing the French
Quarter,
or
even the vast
expanse
of
green
farm-
land, but not
since “Treme”
or
“True
Detective’s”
first
season
has a series
utilized the unique topography
of this state so gorgeously. This
isn’t to say, as they often do,
that “Louisiana is its own char-
acter” in “Queen Sugar,” but
rather that it provides a visual
foundation for a show that is
decidedly, remarkably visual.
Based on Natalie Baszile’s
novel of the same name and
premiering two episodes over
the course of two days, “Queen
Sugar” is of the classic “Six
Feet Under” plot variety: the
three Bordelon siblings must
return to manage their child-
hood home, a plantation in
Louisiana, after their father
passes away. The series arrives
with clear prestige ambitions
and star power: it was created
and developed by the famously
Oscar-nomination-snubbed
Ava DuVernay (“Selma”) and
produced by Oprah Winfrey. It
airs on Oprah’s eponymous net-
work. Laudably, the adaptation
will also feature an all-female
directorial team for its 13-epi-
sode first season. But, above
all else, DuVernay proves to be
“Queen Sugar” ’s real star.
DuVernay, who wrote and
directed the pilot, possesses
an incredible eye for shot com-
position; she understands how
breathtaking the natural back-
ground and light of her setting
is, and doesn’t force the issue
when she doesn’t have to (look-
ing at you, “Mr. Robot”). It’s
also simply a clinic in shoot-
ing, framing and lighting Black
actors: the first shot of the
series opens on Nova’s (Rutina
Wesley, “True Blood”) dread-
locked hair, then takes its time
photographing her body as she
wakes up in the just-barely-
there light of New Orleans at
dawn. It’s a gorgeous and pow-
erful opening statement for a
series that operates primarily in
the spaces between lines of dia-
logue, in those moments when
both nothing and everything is
said all at once.
There
are,
unfortunately,
some missteps here and there.
The writing does not often live
up to the direction, with some
generously
served
melodra-
matic clichés; a clumsily staged
scene at a basketball game in
the pilot doesn’t hit quite as
hard as it should have, and
there are an unfortunate num-
ber of distracting musical cues.
For a show seemingly invested
in silence and visual storytell-
ing, the errant, “Friday Night
Lights”-esque twang of a guitar
or a poorly judged soundtrack
choice undermines the poten-
tial raw power of a scene’s
intent.
The show’s three principals,
however, are considerably top-
notch. Wesley shows off her
formidable chops as Nova, the
ostensibly strong sibling with a
few secrets that might just ruin
her projected emotional for-
titude. Dawn-Lyen Gardner’s
(“Heroes”) Charley is the fam-
ily’s black sheep, the wealthy,
successful wife of a Los Ange-
les basketball star who also
hasn’t visited her family in
years. Charley’s plot details
are the most melodramatic,
but her story contains snippets
of interesting and potentially
fascinating ideas: specifically,
at the story’s beginning, her
conversation with some other
players’ wives about whether
they should star in a “Real
Housewives”-type
reality
series or not portends some the-
matic promise. Kofi Siriboe
(“Awkward”) stars as Ralph
Angel, a name that couldn’t be
better. His understated perfor-
mance of a character that, in
another creator’s hands, would
have been destined to become a
trope, is quietly heartbreaking.
DuVernay, as mentioned before,
finds interesting and excit-
ing ways of shooting her three
leads, an impressive techni-
cal achievement that should be
noticed. And, of course, there’s
an adorable toddler, which is a
net positive for any show.
“Queen Sugar” will most
often be compared to other
family dramas like “Parent-
hood” or “Friday Night Lights,”
but its unique vision and scope
will hopefully coax it out from
under their towering shadows.
“FNL,” too, used its camera in
interesting, if sometimes jar-
ring, ways, but “Queen Sugar” ’s
cinematography is currently the
most impressive thing about it.
Underwhelming writing aside,
its merits are too abundant
to ignore completely. “Queen
Sugar” shows great potential to
mature into something refresh-
ing, something cinematic —
something great.
1966 was a
year of new,
revolutionary
modern art.
B
Queen
Sugar
Series Premiere
(2 episodes
reviewed)
Tuesdays
at 8 p.m.
OWN
OWN
Sugar, we’re going down.
TV REVIEW
There’s just
something
about Louisiana.
THERE WON’T BE ANY FREE
FOOD.
BUT THERE WILL BE PLENTY OF
FREE LOVE.
COME TO MASS MEETINGS AT 420
MAYNARD!
SUNDAY, SEPT. 18 AT 7 P.M.
THURSDAY, SEPT. 22 AT 7 P.M.
Email ajtheis@umich.edu and katjacq@umich.edu
for information on applying to Daily Arts!