ACROSS
1 Spot for an
AirPod
4 Chowder morsel
8 Moscow currency
13 Slept like __
15 Color in a
Spanish rainbow
16 Religion of Basra
17 Corn Belt tower
18 Latin I verb
19 Riyadh resident
20 *Fictional road
material
23 Bookshelf
bracket shape
24 Of a battery
terminal
25 Necessity for a
game of Ultimate
27 History class
assignment
30 Elec. or water
31 __ a clue
34 Slangy pounds
36 Financial help
39 End __
40 Tomato product
41 Preference
indicator
42 Religious prefix
43 Grub
44 Brought about
45 Tenerife, por
ejemplo
47 Take the helm
49 Surface layers
52 Clogs from France
56 Neurologist’s
order, briefly
57 *Cola flavor
60 Pop-up foul-up
62 Stereotypical
family spoiler
63 Pulitzer-winning
novelist Jennifer
64 Renaissance
painter __ della
Francesca
65 Minute quantity
66 Fish __
67 Family car
68 __-Coburg:
former Bavarian
duchy
69 Homer’s neighbor

DOWN
1 Class requiring
little effort
2 Distant and then
some
3 Pal of Nancy, in
comics

4 Barely advances
5 Big name in
vision care
6 Slightly open
7 Recurring theme
8 Go out on a limb
9 Stars and Stripes
land: Abbr.
10 *One with noble
lineage
11 Crock-Pot server
12 French novelist
Zola
14 *Floral papal
ornament
21 Brewery kiln
22 Input for a
refinery
26 *Chard, by
another name
28 Marine shade
29 Portable
Mongolian
dwellings
31 Simple dwelling
32 Shade of gray
33 Angrily ignoring
the first half of
the answers to
starred clues?
35 Luck, pluck or
duck ending
37 Part of D.A.:
Abbr.

38 Prefix with con
40 Shade of gray
44 Jacob’s wife
before Rachel
46 James with three
NBA titles
48 Tunnel out,
maybe
49 Many future
presidents, as it
turned out
50 Like “Stranger
Things,” e.g.

51 Metaphorical
moments of 
time
53 Skin, but not
bones
54 Kind of evidence
55 Ecclesiastical
council
58 Word of amore
59 Fort with billions
in bullion
61 “... man __
mouse?”

By Jascha Smilack
©2017 Tribune Content Agency, LLC
02/22/17

02/22/17

ANSWER TO PREVIOUS PUZZLE:

RELEASE DATE– Wednesday, February 22, 2017

Los Angeles Times Daily Crossword Puzzle

Edited by Rich Norris and Joyce Nichols Lewis

xwordeditor@aol.com

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History, myth & ‘Neruda’

20TH CENTURY FOX

“I 
don’t 
smoke,” 
Jackie 

Kennedy 
whispers 
to 
the 

journalist writing a profile on 
her as she exhales a cool puff of 
smoke in Pablo Larraín’s “Jackie.” 
Larraín’s English-language debut 
examined Jackie Kennedy as both 
woman and image 
in the aftermath 
of her husband’s 
assassination. Her 
words 
here 
are 

an 
assertion 
of 

power, an attempt 
to control the story that will be 
crafted and the memory that will 
be perpetuated. Along with Jackie 
herself, Larraín’s film meditates 
on the methods by which history 
is made, by which men and 
women of flesh and blood become 
figures of paper and ink.

“Neruda,” Larraín’s feature 

about the Chilean poet and 
politician (Luis Gnecco, “Narcos”) 
is an unconventional biopic of an 
altogether different nature. And 
once again the focus is on the 
relationship 
between 
history 

and myth. It begins in 1948, as 
Chilean democracy descends into 
dictatorship and the conservative 
government cracks down on its 
communist opposition. Neruda 
is, of course, the most famous 
of Chile’s communists and the 
party’s most prominent figure in 
the Senate. Faced with jail, exile 
or hiding, he chooses the latter 

and leaves his upper-class life 
— far away, despite his rhetoric, 
from the trials of the workers — 
which consists of poetry during 
the day and parties at night.

In flight from the government 

police, Neruda strides across 
Chile like a Colossus, and the 
detective Oscar Peluchonneau 
(Gael Garcia Bernal, “Mozart in 
the Jungle”) scurries after him, 

like a mouse at his 
feet. Peluchonneau 
narrates 
the 

action 
of 
the 

film, 
frequently 

castigating Neruda 
for his bourgeois 

excesses yet admiring his poetic 
gifts. The chase covers over a 
year, during which Neruda writes 
his epic poem “Canto General,” 
the early drafts of which are 
clandestinely 
distributed 

throughout the world.

Whereas Jackie is the center of 

her film’s universe, Neruda shares 
the spotlight with Peluchonneau. 
Indeed, the tension between the 
two provides all of the drama. At 
every hiding spot, Neruda leaves 
a potboiler detective novel for 
Peluchonneau to pick up, at once 
teasing him and encouraging his 
hunt. The investigator seems to 
be a character plucked out of one 
of these books, a man hapless 
and 
delusional, 
who 
stakes 

professional glory on a case that 
he hasn’t the skill to complete.

The film is less a rumination on 

Neruda’s place in Chilean history 
than a political thriller that prods 

and ironizes his aggrandization 
by both himself and others. As 
the film goes on, Peluchonneau 
realizes that he will not capture 
Neruda but mythologize him, that 
he is an invention made for this 
very purpose. As Neruda’s wife 
Delia del Carril (Mercedes Morán, 
“Motorcycle Diaries”) tells him, 
he is just a supporting character 
in the life of the great poet.

Yet the film is never this simple. 

Larraín’s Neruda is hardly a 
gilded monument. He is, without 
a doubt, a man: Impetuous, loving, 
charming, arrogant, stubborn. He 
has no reservations about drinking 
or adultery, spending a not 
insignificant amount of time, even 
in hiding, at a brothel. He is tender 
and cruel, self-aggrandizing and 
a man of the people. He’s packed 
with contradictions.

Eventually, 
after 
months 

of 
running, 
Neruda 
and 

Peluchonneau 
meet 
in 
the 

southern Andes. Peluchonneau 
lies dying, after being hit in the 
head with a large tree branch by 
the employees of the landowner 
who housed Neruda for a night. 
His blood glazes the bright snow. 
The infamous man meets the 
forgotten. And the film seems to 
wonder: Who has made who?

Larraín’s film doesn’t have 

any easy answers. Rather than 
explain the meaning of Neruda’s 
legacy, it prods the complexities 
of how history is created and 
proliferated, and the result is, 
once again, a film as strange and 
compelling as its subject.

KARL WILLIAMS

Daily Arts Writer

‘Doubt’ on uncertain start

CBS

The premise behind CBS’s 

newest series, “Doubt,” is an 
interesting 
concept, 
but 
one 

without passion or conviction. The 
series follows renowned lawyers 
Sadie (Katherine Heigl, “Grey’s 
Anatomy”) and Albert (Dulé 
Hill, “Psych”) as they work to 
prove that pediatric 
neurosurgeon 
(Steven 
Pasquale, 

“Rescue 
Me”) 
is, 

beyond a reasonable 
doubt, 
completely 

innocent of a crime 
committed 25 years 
prior. 
However, 

pathos clashes with 
professionalism when Sadie finds 
herself falling for the convicted, a 
fact that is especially chilling when 
she admits a startling truth — her 
lack of certainty that Billy did not 
commit the crime with which he 
stands accused.

One of the downsides of 

“Doubt” is the obvious struggle 
that Hill and Heigl face when it 
comes to falling out of old habits. 
Albert (Dulé Hill, “Psych”) is 
overly serious, to the point that 
his humor feels forced and out of 
context — highly reminiscent of 
his time on long-running comedy 
series “Psych.” It seems like 
Heigl struggles with breaking 
the mold as well, pushing her 
“Grey’s Anatomy” character to 
the forefront of her performance. 
In her role as a surgical resident, 
Heigl played up the flawed and 
emotional doctor, unable to make 
it through an episode without 
letting her emotions overtake 
her priorities as a professional. 
As a lawyer, she owes the public 
and family of the victim closure, 
something that is done in a 

professional manner — however, 
justice doesn’t hold a place for 
emotional connections between 
the convicted and their defenders. 
Adding in a jailed mother, and 
Sadie is mirror image of Heigl’s 
previous role, in both mannerisms 
and inflections alike. Heigl still 
commands a scene, not in the 
conventional manner, but instead 
with 
over-the 
top 
emotional 

context, reminding viewers in a 

recurring 
and 

uncomfortable 
manner of her 
humanity. This is 
quite unfortunate 
for 
“Doubt,” 

which has created 
a 
character 

who, 
perhaps 

developed for a 

specific role, comes off as flat and 
unoriginal.

The development of a unique 

personality is not the only thing 
that “Doubt” struggles with in 
separating itself from series of 
a similar nature. Though there 
are not many facets of Sadie’s 
personality that are standoutish 
— a young, independent woman 
who is eco-conscious and friends 
with her co-workers — the minor 
characters of “Doubt” are truly 
generic. In fact, it often feels 
as though, in developing an 
overstuffed plot and focusing 
too heavily on introductions, 
the writers neglected to award 
a personality to these members 
of the cast. For a more obvious 
example of this neglect, one should 
look no further than resident 
dumb blonde Tiffany (Dreama 
Walker, “Don’t Trust the B---- in 
Apartment 23”), who continuously 
reminds viewers that just because 
she’s from Iowa doesn’t mean 
she milks cows all day. Even boss 
Isaiah (Elliott Gould, “Mash”) is 
given less than stellar dialogue 

to work with, his lines often 
bordering on the obscene and 
soapy. Like many of the characters 
on “Doubt,” an interesting plotline 
is disregarded for cheesy one-
liners and a lineup of stars who feel 
as if they cannot pull themselves 
out of their comfort zones.

Despite a cast with overly 

dramatized background stories, 
Laverne Cox (“Orange is the New 
Black”) is open regarding her 
sexuality, but in a subtle manner 
which feels more natural and fits 
comfortably into the dynamic 
of the series. As someone who 
has faced injustice firsthand, her 
choices as a lawyer are much 
more structured and passionate. 
In the few times that Cox takes 
over the scene, she commands 
the screen with the conviction 
with which the remainder of the 
cast struggles. That being said, 
Cox is also given limited screen 
time, and though she shines in the 
courtroom, the transition between 
lawyer and bar patron is a sudden 
shift that doesn’t sit well with Cox 
and dulls her overall performance 
in the series.

However interesting the plot of 

“Doubt” sounds on paper, there 
is a haunting presence of “Law & 
Order” and performances of series 
past that holds “Doubt” back from 
reaching its intended potential. 
Though the narrative has aspects 
which could be compelling, the 
line delivery is less than stellar 
and an issue that does not sit 
comfortably with the series. I’ve 
yet to watch the remainder of the 
season, but if “Doubt” can clear 
up some of the standout issues 
experienced in the pilot episode, it 
may live up to the status of “Law & 
Order.” Then again, with so many 
similar series currently airing 
under the same premise, “Doubt” 
is an easily forgettable addition to 
this season’s lineup.

MEGAN MITCHELL

Daily Arts Writer

“Neruda”

Michigan Theater

20th Century Fox

“Doubt”

Series Premiere

CBS

Wednesdays at 

10:00 pm

FROM THE VAULT
‘Allegiance’ sheds light

In 
remembrance 
of 
FDR’s 

Executive Order 9066 authorizing 
Japanese American internment on 
February 19, 1942, Rave Cinemas 
screened the movie version of the 
Broadway musical “Allegiance,” 
which tackles like in the camps.

The musical was created by 

“Star Trek” actor George Takei, 
inspired by his own experience 
growing up in an internment camp. 
It follows the Kimuras, a three-
generation family of Japanese 
immigrants, as their wishes for the 
future are stamped out once they 
are uprooted from their homes and 
transported to Heart Mountain 
camp in Wyoming. George Takei 
plays an elderly Sammy Kimura, 
encouraged by the ghost of his 
sister, Keiko to go “back to a time 
that no one speak of” and reflect 
on the painful and lasting family 
divide that internment caused.

When the Loyalty Questionnaire 

is 
distributed, 
with 
infamous 

questions 27 and 28 asking Japanese 
to sign their willingness to fight in 
the US military and forswear all 
allegiance to the emperor of Japan, 
each character takes a different 
strategy for resistance.

Sammy Kimura hopes to fight 

in the American military to prove 
that the Japanese are loyal citizens. 
On the other hand, Frankie Suzuki 
refuses to join the war effort, on 
the grounds that he is unwilling 

to fight for a country that treats 
his family like the enemy. This 
causes tensions within the family, 
and Keiko, who loves them both, 
attempts to bridge the gap.

A repeated refrain is the word 

gaman, which means to carry 
on. The families band together 
to start a baseball league and 
organize dances to make life in 
camp bearable. They fold the 
Loyalty questionnaire into an 
origami flower. Oji-chan nurtures 
a vegetable garden in the rocky 
mountain terrain, creating beauty 
and strength in a hopeless place.

Hannah, 
a 
white 
military 

nurse, who trusted that America’s 
government would act to keep the 
best interests of citizens in mind, 
feels torn once she falls in love 
with Sammy and realizes that the 
Japanese Americans are not enemy 
people. She sings: “I follow the 
rules, but should I?” The question 
echoes multiple times through the 
air, forcing the audience to question 
whether the legal system can be 
trusted to protect the rights of all 
citizens.

Because “Allegiance” tells an 

often overlooked part of American 
history, some Japanese Americans 
are concerned that that audiences 
will 
assume 
the 
musical’s 

interpretation of historical events 
is the ultimate truth, without 
knowing enough about the nuances 
of the time.

Some 
Japanese 
American 

organizations expressed concern 
over the portrayal of the JACL 

leadership and the 442nd combat 
team as a “suicide mission” without 
acknowledging 
the 
soldiers’ 

honorable 
contributions 
and 

progress it made. Others are also 
concerned that “Allegiance” passes 
unfair judgment on those who did 
not resist internment, because 
with the safety of loved ones at 
risk, balancing protection and 
justice was an incredibly difficult 
predicament.

On the other hand, actor Greg 

Watanabe, whose own family 
was interned at Heart Mountain, 
defended his portrayal of Mike 
Masaoka, saying: “It’s possible to 
be historically factual, and still 
express an opinion.”

Even with mixed reactions, 

“Allegiance” is groundbreaking 
for Japanese and Asian Americans 
because it paves the way for more 
dialogue to enter mainstream 
media. Not only is it the first major 
piece of media centered around 
internment, “Allegiance” is the 
first Broadway musical created 
by Asian Americans, directed 
by Asian Americans, with a 
predominantly Asian American 
cast.

The ending sequence reveals 

that 
almost 
120,000 
people 

watched “Allegiance” during its 
run on Broadway — the same 
number of Japanese that were 
interned. 
“Allegiance” 
opens 

up the conversation about a 
rarely discussed civil injustice, 
educating audiences to ensure 
that history doesn’t repeat itself.

VANESSA WONG

Daily Arts Writer

FILM REVIEW

TV REVIEW

6A — Wednesday, February 22, 2017
Arts
The Michigan Daily — michigandaily.com

