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