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 STAYING IN ANN ARBOR THIS SUMMER? 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Please Contact colljobs@benzinga.com or 3137232000 AUTOMOTIVE FOR SALE SERVICES SUMMER EMPLOYMENT HELP WANTED FOR RENT 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