The Michigan Daily — michigandaily.com
Arts
Monday, April 3, 2017 — 5A

Classifieds

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

ACROSS
1 Spiders’ fly
catchers
5 It forms over a
healing abrasion
9 Casual talk
13 Mine, to Marcel
14 Batted ball into
the dugout, say
15 Lane at the Daily
Planet
16 Awkward
situation
19 Mournful poem
20 IDs shown at
airports
21 Close tightly
again
23 Business suit 
go-with
24 Weekly
paycheck, e.g.
31 Pose a question
34 Actress Shire
35 Courtroom
hammer
36 Sheet music
symbol
38 Henry or Jane of
“On Golden
Pond”
40 Walrus feature
41 Vague
emanations
43 Gymnast
Comaneci
45 Live __: Taco
Bell slogan
46 Golf practice
facility
49 Bullring shout
50 Anatomical
sculpture
subjects
54 Signed, as a deal
59 Skin transplant,
e.g.
60 Start of a hopeful
rhyme about bad
weather, and a
hint to what the
first word of 16-,
24- and 46-
Across may
describe
62 Catcher’s glove
63 Swedish furniture
giant
64 Scrabble square
65 Hearty meal
66 Where Anna
danced with the
king
67 Doesn’t feel well

DOWN
1 Nilla product
2 Novelist Zola
3 What fillets lack
4 All-out attacks
5 Northern Cal.
airport
6 Monastic hood
7 Quattro
automaker
8 Political alliance
9 Genetic
duplication
10 Shelter adoptee
11 Helper
12 General __
chicken
17 High-end hotel
chain
18 Bigfoot cousin
22 Metaphorical new
thing to “turn
over”
25 As a companion
26 Iraqi money
27 When tripled,
“and so on”
28 Egg cell
29 Flat-topped
elevation
30 Lodge fellows
31 Many a prep sch.
32 Speak
indistinctly

33 Emmy nominee
Russell of “The
Americans”
37 Underdog’s
opposite
39 “__ Misbehavin’”
42 Feature of words
beginning with
“wr”
44 Disco era term
47 At no time, to
bards
48 List of mistakes

51 2005 slasher film
sequel
52 Considering
everyone
53 Eyelid maladies
54 Weapons
55 Trot or gallop
56 Orator’s platform
57 Polynesian
carving
58 Most eligible for
service
61 Pinup’s leg

By Brock Wilson
©2017 Tribune Content Agency, LLC
04/03/17

04/03/17

ANSWER TO PREVIOUS PUZZLE:

RELEASE DATE– Monday, April 3, 2017

Los Angeles Times Daily Crossword Puzzle

Edited by Rich Norris and Joyce Nichols Lewis

xwordeditor@aol.com
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NETFLIX

‘“Five Came Back” now streaming on Netflix
‘Came Back’ fascinates as 
meditation on war & film

Star-studded cast explores the travesties of wartime filmmaking

Sometimes, 
the 
greatest 

weapon to use in a war is 
not a gun, but a camera. By 
capturing 
the 
grittiness 

and travesties of battle, war 
documentarians 
have 
the 

power to shape the story 
they are telling, subsequently 
educating 
and 
influencing 

their audiences. This kind of 
tactic became essential during 
World War II, when five Old 
Hollywood 
filmmakers 
— 

John Ford (“The Searchers”), 
John Huston (“The Maltese 
Falcon”), George Stevens (“A 
Place in the Sun”), Frank Capra 
(“It’s a Wonderful Life”) and 
William 
Wyler 

(“Mrs. Miniver”) 
— enlisted into the 
army to document 
American efforts 
in 
fighting 
the 

menacing 
Axis 

Powers. 
The 

stories of these 
famous men, all 
of whom risked 
their 
lives 
and 

their 
status 
as 

top 
Hollywood 

directors 
during 
WWII, 

are 
given 
a 
documentary 

treatment of their own in 
Netflix’s beguiling three-part 
series “Five Came Back,” based 
on the book by film historian 
Mark Harris.

Firing 
on 
all 
cinematic 

cylinders, “Five Came Back” is 
enlightening and entertaining 
even for non-history buffs. 
The 
documentary 
operates 

as 
an 
absorbing 
take 
on 

1940s filmmaking, a complex 
exploration 
of 
American 

propaganda and a haunting 
depiction of post-war milieu.

Meryl 
Streep 
(“Florence 

Foster 
Jenkins”) 
narrates 

the background behind these 
efforts 
with 
natural 
poise 

and 
thoroughness, 
while 

five 
current 
Hollywood 

filmmakers — Francis Ford 
Coppola 
(“Apocalypse 

Now”), 
Steven 
Spielberg 

(“Bridge of Spies”), Lawrence 
Kasdan 
(“The 
Accidental 

Tourist”), 
Guillermo 
del 

Toro (“Pan’s Labyrinth”) and 
Paul 
Greengrass 
(“Captain 

Phillips”) 
— 
discuss 
the 

social impact of the films 
made before, during and after 
the war. But perhaps the 
strongest pillar of “Five Came 
Back” stems from the prolific 
backbone and perceptive eye 
of director Laurent Bouzereau 
(“Roman 
Polanski: 
A 
Film 

Memoir”), who has produced a 
plethora of behind-the-scenes 
documentaries for decades.

Though 
“Five 
Came 

Back” has some difficulty in 
structuring 
its 
formidable 

subject 
matter, 
Bouzereau 

unfolds 
enough 
compelling 

social context to reflect an 
entire half-decade of history 
into three hours. Tracing from 
the late 1930s to the late 1940s, 
“Five 
Came 
Back” 
tackles 

cinema’s importance during 

WWII-era America, using the 
work of Capra, Stevens, Huston, 
Ford and Wyler as examples. 
Along with being thematically 
engrossing, “Five Came Back” 
pleases aesthetically, as well. 
There’s 
an 
inventive 
title 

sequence, an epic horn-heavy 
score from composer Thomas 
Newman (“American Beauty”) 
and a gorgeous mix of color 
and black-and-white archival 
footage from the 1940s. 

With 
each 
blistering 

detail 
and 
newsreel, 
the 

documentary tracks how the 
styles and approaches of these 
five 
influential 
filmmakers 

ultimately shaped their outlook 
on the war. Capra and Wyler 
sensed the threatening rise 
of Hitler and Nazism before 

Hollywood did, 
while 
Ford, 

Huston 
and 

Stevens 
were 

simply 
looking 

for 
adventure 

when 
deciding 

to join in the 
war effort. The 
differences 
in 

incentives 
to 

enlist — personal 
histories versus 
patriotism 
— 

makes the documentary all 
the more enriching as the 
directors’ attitudes toward the 
war change over time.

We observe Capra and Wyler 

struggle 
under 
the 
weight 

of 
governmental 
pressure 

and box office failure with 
their propaganda films. We 
see Stevens, who was known 
for 
directing 
light-hearted 

comedies and musicals, grow 
hardened and alienated by the 
war when filming in Tunisia. 
We watch as Ford and Huston 
were subjected to immense 
scrutiny from the armed forces 
they worked with.

On 
the 
battlefront, 
the 

directors especially struggled 
much more in trying to combine 
their artistic vision with their 
real-war 
experiences. 
War 

propaganda may not have been 
the most ethical of decisions 
on 
Hollywood’s 
part, 
but 

“Five Came Back” shows the 
manipulation of World War 
II through film in all of its 
complexity.

Capra and Wyler initially 

abandoned and reassembled 
a film project titled “The 
Negro Soldier” with African-
American playwright Carlton 
Moss. 
By 
subverting 
the 

standard negative Hollywood 
portrayal of Black people, the 
film gave a realistic depiction 
of 
the 
Black 
American 

experience during WWII, as 
it garnered rave reviews and 
attracted 
Black 
Americans 

to join the war. At the same 
time, Capra had created war-
themed 
cartoons 
with 
Dr. 

Seuss and Walt Disney to 
amuse and motivate American 
soldiers, but at the expense 
of drawing racist caricatures 
of the Japanese. Such irony 
demonstrates 
the 
dynamics 

of race in WWII America and 
how film as a medium had a role 

in perpetuating perceptions of 
different racial groups.

To 
see 
these 
highly 

respected directors become 
grounded by the war is as 
gripping as it is troubling. 
As the war pushed these 
directors to their filmmaking 
limits, they each found ways to 
highlight the humanity within 
the 
inhumane 
atmosphere 

of war, all while taking an 
emotional and artistic toll by 
being on the battlefront.

If there’s anything to take 

away from “Five Came Back,” 
it’s that the power of film isn’t 
just in storytelling, but the 
emotional and social context 
behind 
the 
storytelling. 

Capra, Huston, Stevens, Ford 
and Wyler weren’t just great 
American filmmakers for their 
compelling movies; they were 
great because their movies, 
war-related or not, were deeply 
rooted in something that was 
authentic 
and 
devastating 

enough to move audiences.

SAM ROSENBERG

Daily Arts Writer

“Five Came 

Back”

Series Premiere 

(2 episodes 
watched)

Netflix

Dive into Tei Shi’s ‘Space’ 
of indie experimentalism 

It’s hard to directly capture the 

essence of Argentinian singer-
songwriter Tei Shi’s newest 
album, Crawl Space. A patchwork 
quilt of sounds: echoing melodies 
dissolve into bold synth-pop 
harmonies, 
discombobulated 

beats peeter off into steady 
instrumental 
backgrounds. 

Crawl 
Space 
almost 
seems 

unfinished, a scrapbook of odd 
bits and pieces; as you rifle 
through its mismatching pages, 
you are plunged into Tei Shi’s 
dreamscape, her most intimate 
moments, her darkest fears.

While this album is more 

complex than any of Tei Shi’s 
previous 
EPs, 
incorporating 

more elements and drawing 
from a wider variety of musical 
genres, it is infinitely more 
private 
than 
anything 
she 

has created in the past. Crawl 
Space is an exorcism: Tei Shi 
confronting her demons one 
angelic note at a time.

Tei Shi’s style has significantly 

matured 
since 
the 
release 

of her very first EP Saudade 
in 2013. However, there are 
certain components that have 
remained constant. The simple 
combination 
of 
airy 
vocals 

and 
dynamic 
background, 

most 
prominently 
found 
in 

songs “Keep Running” and 
“Creep,” directly parallels songs 
“Basically” and “Nevermind the 
End” from previous albums. But 

while these past releases were 
heavily minimalist, not allowing 
songs to evolve into greater 
complexity, Crawl Space dives 
into the unknown with verve. 
Its songs are varying, relying 
less on vocals and allowing 
background rhythms to take a 
more prominent role in creating 
dynamism. 

For instance, in “Baby,” the 

smooth blend of electronic and 
instrumental components help 
bolster Tei Shi’s 
croon 
of 
“Oh, 

baby 
love” 
and 

turn the fourth 
track 
of 
Crawl 

Space 
into 
an 

otherworldly blur. 
Contrastingly, “Justify” is all 
sharp edges, honed beats daring 
anyone listening to “justify me, 
now.” The final song, “Sleepy” 
takes an entirely new direction 
altogether, with soft piano chords 
forming a lullaby-esque eulogy. 

Tei 
Shi’s 
music 
is 
an 

adventure. Like an antiquated 
mansion, Crawl Space is a maze 
of winding corridors and hidden 
rooms, every turn of the corner 
revealing a new surprise. Layers 
upon ghostly layers, the tracks 
in Crawl Space consistently work 
to uncover fresh perspectives on 
Tei Shi.

For example, “Como Si” stands 

out as the only track sung in Tei 
Shi’s native language, Spanish. 
It offers a glimpse into an aspect 
of Tei Shi that had never been 
significantly 
explored 
within 

her 
music. 
The 
song 
itself 

is 
achingly 
vulnerable: 
The 

muted atmospheric background 
conceding the beauty of the 
language itself to encompass 
a majority of the song. Even if 
you can’t directly translate the 
lyrics, the caring devotion in Tei 
Shi’s soft utterances makes the 
significance of “Como Si” clear.

Though long, Crawl Space 

is enticing. Each song hints at 
something you can almost see, but 
not quite. Largely abstract, what 
helps ground this constantly-

evolving 
album 

are 
the 
brief 

interjections 
of 
spoken 
word 

recordings. Songs 
“way to record,” 
“bad singer” and 

“bad girl” feature solely the 
bold voice of a little girl. These 
fleeting 
moments 
of 
clarity 

help structure and ground the 
sprawling album. They also 
help construct a narrative; the 
unflinching declarations of “I’m 
a bad singer / I can’t do anything 
well” and “I’m the baddest singer 
/ I confess it” found in “bad 
singer” and “bad girl” provide 
insight into Tei Shi’s fears, 
perhaps displaying the voices 
she has to overcome whenever 
producing a new album.

Crawl Space shines a spotlight 

on the skeletons in Tei Shi’s 
closet. Every track is unique, 
forming an album that shines 
with creativity, ingenuity and, 
most importantly, honesty. With 
it, Tei Shi stands bare, facing 
the dark expanse of covert fears 
and insecurities with dauntless 
confidence. 

SHIMA SADAGHIYANI

Daily Arts Writer

Tei Shi is mature and dreamy on innovative “Crawl Space”

Crawl Space

Tei Shi 

Downtown 

TV REVIEW
MUSIC REVIEW

DOWNTOWN

