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