6 — Thursday, January 25, 2018
Arts
The Michigan Daily — michigandaily.com
ACROSS
1 Apple Store
display
5 Centipede
developer
10 Farm digs
13 Tennis legend for
whom a
“Courage Award”
is named
14 French upper
house
15 Hershey bar
16 *Tony Hawk
legwear
18 Helps out
19 Unpretentious
20 Turned it down
22 Nadal’s
birthplace
23 Snatch, as a toy?
24 Composer Franck
26 Luggage
attachments
29 Soak up the sun
32 Blue Grotto
resort
34 Boy king
35 “That’s gross!”
36 *Stick in the
snow
38 Premier __: wine
designation
39 Word before
watch or window
40 Signs away
41 Israeli politician
Barak
42 Nurses, as a
drink
44 Chills out
47 “No harm done”
49 Waited
nervously,
perhaps
52 Wheat protein
53 Tree with durable
wood
55 Fellas
56 *Drawing needs
59 Inauguration
words
60 Dairy mascot
61 Canal completed
in 1825
62 Belly dance
muscles
63 Kennel cries
64 “Hairspray” mom
DOWN
1 British side
2 Words on a help
desk sign
3 Ring leader?
4 Reversal of
fortune
5 Trees of the
species Populus
tremula
6 “Eat Drink Man
Woman” drink
7 Former Texas
governor
Richards
8 “Midnight
Cowboy” con
man
9 Delivery room cry
10 *Medicated
dermal strip
11 Fuss
12 Cen.
components
15 1978 Peace
co-Nobelist
17 Tahari of fashion
21 Many a low-
budget flick
23 Decorator’s
choice
25 Corrosive liquid
27 Expert
28 Drywall support
29 Spill catchers
30 Smoothie berry
31 *Military
chaplains
33 Sit for a snap
36 Hurry along
37 Creator of
Randle
McMurphy and
Chief Bromden
41 Search dogs’
target ... and a
phonetic hint to
the answers to
starred clues
43 Flatten
45 Garage units
46 Dash dial
48 A high-top hides
it
50 Hallmark.com
choice
51 Bumped off
52 Snatch
54 On the Pacific
55 Showgirl’s
accessory
57 Course for intl.
students
58 Lead
By C.C. Burnikel
©2018 Tribune Content Agency, LLC
01/25/18
01/25/18
ANSWER TO PREVIOUS PUZZLE:
RELEASE DATE– Thursday, January 25, 2018
Los Angeles Times Daily Crossword Puzzle
Edited by Rich Norris and Joyce Nichols Lewis
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SUNDANCE REVIEW
There are worse problems
in the world, but I fear Keira
Knightley has been typecast.
Consider, for a minute, the
sheer
amount
of
British
period dramas she’s appeared
in (and yeah, “Pirates of the
Caribbean” counts). There’s
her
Joe
Wright
trilogy,
with
“Pride
&
Prejudice,”
“Atonement”
and
“Anna
Karenina.” There’s the David
Cronenberg film “A Dangerous
Method.” And her most recent
Oscar nomination came for
“The Imitation Game.” This
is no insult to Knightley, who
reliably fills her characters
with a vitality that brings
relevance
to
characters
otherwise faded from memory.
“Colette” marks Knightley’s
return
to
the
genre
and,
once again, she brings her
trademark vigor to the role.
Knightley
portrays
the
famous French writer of the
title
(real
name
Gabrielle
Colette) through a decade and
change as she develops her
writing with the publication
of the “Claudine” series of
somewhat-autobiographical
novels. Colette, a poor country
girl, marries the wealthier
Henry
Gauthier-Villars
(Dominic West, “The Square”),
who “writes” novels under the
pseudonym Willy, relying on
his employees to do the grunt
work while Willy markets the
novels. After frustrating his
laborers, he turns to Colette,
oftentimes locking her in a
room to force her to write. As
it turns out, Colette, whose
utterances themselves have
something of a beguiling ring,
is quite a talented writer, and
“Claudine at School” is a hit.
The
film’s
first
half,
depicting the couple’s ascent,
is rather dull, if not perfectly
delightful.
You’ll
like
this
section
if
you
enjoy
the
work of Tom Hooper or Joe
Wright,
who
consistently
churn out indelible British
period dramas, with a few
jokes sprinkled in to satisfy
a
“wholesome”
movie
experience.
But
otherwise,
patience may be required for
those
desiring
something
less risk-averse, since what
may have remained a stodgy
and
stuffy
chamber
piece
transforms into full-on erotic
drama by the second half, as
Colette explores her attraction
to women. Once Colette and
Willy find success, and the
luxuries of upper class life
are available to them, the
story opens up to a sometimes
bold
character
exploration,
especially
of
Colette.
One
scene, in which she flirts with
an American woman through
hair play, sparkles with sensual
tension. A montage depicting a
number of sexual encounters
including both Colette and
West is strangely charming.
Unfortunately,
West’s
character remains somewhat
enigmatic. The screenplay sets
up a series of contradicting
behaviors, abusing his wife
and professing his love as if it
were the most obvious fact in
the world to himself, her and
us, and West doesn’t do much
to elucidate his thoughts. And
while the screenplay is plagued
by
lifeless
and
expository
dialogue and relies much too
heavily on the tiresome tropes
of the genre — Knightley gets
her Oscar nomination clip
with one particularly powerful
monologue, a feat of acting but
embalmed by stale writing —
the film is bubbly and pleasant
enough to enjoy two hours
with.
***
There’s a line in the film
“Frances Ha” in which the
titular Frances, finally finding
an
opportunity
to
smoke
indoors rather than leaning
cautiously out the window,
says that she feels “like a
bad mother from 1957.” For
better or worse, I think we
all know what she’s talking
about: The archetypal mother,
frustrated by domesticity yet
without a Betty Friedan book
to articulate it, smoking and
neglecting her children.
Leave it to Carey Mulligan
(“Mudbound”)
to
breathe
glorious life into Frances’s
vision. In “Wildlife,” with
the
exceptionally
assured
directorial debut of Paul Dano
(“Okja”), she’s a mother in
1959, newly moved to Helena,
Montana. Jeanette’s husband,
SUNDANCE
‘Colette’ & ‘Wildlife’ hint
future Oscars at Sundance
Jerry
(Jake
Gyllenhaal,
“Stronger”), works at a golf
course and plays football with
his son, Joe (Ed Oxenbould,
“Better
Watch
Out”),
who
seems less enthused with the
rough sport. After he loses
his job, Jerry refuses to take
a job that a teenager would
do. He tries to reaffirm his
masculinity
by
leaving
the
family to fight a wildfire raging
nearby. Jeanette is devastated
and, beginning to consider
leaving her husband, starts
to clue in Joe to the couple’s
marital stresses.
“Wildlife,” adapted from a
1990 Richard Ford novel of the
same name, is a horror movie
cloaked in coming-of-age and
kitchen sink drama. Joe plays
witness
to
the
crumbling
foundation
of
his
family.
Oxenbould,
with
a
demure
and somewhat downtrodden
expression plastered on his
face, is excellent as Joe becomes
disillusioned
watching
his
mother’s life unravel. This is
Joe’s story, after all, and Dano
trains his focus on him — his
confusion, his friendship with a
classmate and his employment
at the local photography studio.
Dano
lets
his
characters
live
in
the
scene,
often
choosing to keep the camera
stationary,
highlighting
the
characters’ raw movements and
emotions. Oxenbould is a great
protagonist, a blank canvas
for
audience
participation,
while Mulligan and Bill Camp
(“Molly’s Game”), who plays
Jeanette’s lover, inhabit their
roles with audacity and passion.
Gyllenhaal,
who
disappears
for a large segment, seems too
young and boyish to play this
role, but at certain moments,
especially in a late scene in a
bar, his intensity matches the
others in the cast.
The word or phrase “wild
life” appears, by my count,
twice in the film: Once around
the middle, when Joe asks
Jeanette what happens to the
wildlife when a fire ravages
their habitat, and second when
Jerry, upon returning home,
castigates his wife for her
infidelity by exclaiming, only
half sarcastically, what a wild
life this is. That change — from
one word to two — is crucial,
because among the pastoral
and eerily quiet landscapes
of Montana, neither families
nor
the
environment
that
surrounds them can stay intact
for too long.
DANIEL HENSEL
Daily Arts Writer
Books that Built
Us: ‘The Glass
Castle’’s legacy
In the spirit of honesty,
writing this scares the shit out
of me. Sometimes, a story hits
so hard it knocks the wind out
of you. There’s never going to
be a right way to verbalize the
feeling, but you blunder on
anyway. So it goes.
“The Glass Castle” (2005)
is a memoir by Jeannette
Walls in which she details
her experiences growing up.
It’s frighteningly poignant,
and it reads as a series of
memories, giving a face to
human fortitude and finding
love in the trenches of broken
promises.
Jeannette’s
upbringing
was unconventional, to say
the least. Constantly moving
her and her three siblings
around
the
country,
her
parents couldn’t afford to
stay in one place for too long,
so they made every spot on
the map an adventure. Rex,
her father, was a visionary,
an entrepreneur, a romantic.
He was also an alcoholic,
spending the little money
they had on booze. He would
disappear for days until finally
arriving home, bruised and
enraged. Rose Mary Walls,
Jeannette’s mother, was an
artist. Her art was passionate,
and she loved it like a child.
She was also self-indulgent
and sometimes reckless with
her energy, spending it on her
paintings rather than feeding
her children.
This book took me a whole
summer to read because I kept
having to put it down. At every
shout, every manipulation,
every door-slam, I had to
put the story to bed — partly
because it hit too close to
home, and partly because I
felt guilty for thinking that it
did.
Walls — whose world never
ceased to disappoint her and
whose hero never ceased to
fail her — forgives. She seeks
out love, and she’s ready for
it when it comes, in whatever
form it may take. My world
has been terribly charmed,
and
my
hero
was
never
supposed to be perfect — but
I can’t open myself the way
Walls opens herself. I don’t
know how to.
It didn’t take me long to
figure out that my heroes
are human like the rest of
us.
Reading
Jeannette’s
memories, where this truth
glimmers throughout, forced
me to revisit every moment
that led to this revelation. It
took me to the raging letter
— tucked away in my sock
drawer — that I never had
the guts, or the heart, to read
aloud. It took me to the top
of the steps, where I’d perch
myself, waiting for the other
shoe but never hearing it drop.
It took me through the anger,
through the pain, and shot me
into the most confusing part:
the love.
Unconditional
love
is
complicated and exhausting
and, more than anything,
it hurts. The moment you
realize that the person you
treasure most in the world
— the one on your highest
pedestal, who’s never going
to hurt you, never going to
let you down — isn’t perfect
is the moment that leaves the
biggest hole in your heart. But
you love them nonetheless.
Near the beginning of the
memoir, Jeannette recounts
a Christmas when her family
had no money. Her dad takes
her and her siblings out under
the stars, telling them to
pick their favorite. Jeannette
writes, “We laughed about all
the kids who believed in the
Santa myth and got nothing
for Christmas but a bunch
of cheap plastic toys. ‘Years
from now, when all the junk
they got is broken and long
forgotten,’ Dad said, ‘you’ll
still have your stars.’”
Rex shattered every piece
of her, but when Jeannette
finally
put
herself
back
together again, she found
herself loving him, still. Years
later, she still has her star,
and it’s because of this feeling
— this inexplicable, messy
intangibility in clutching on
to someone so tightly that
you can’t imagine a life in
which you ever let them go.
Her story, regardless of how
far she strayed from it or
how abstract the connection
became,
always
revolved
around her relationship with
her father: learning to loathe
him, learning to leave him
and learning to live without
him.
Jeannette
Walls
doesn’t
want your pity. She doesn’t
want people to villainize her
parents or place blame for
how she grew up. Everyone
has a story, and I think she
wanted
us
to
recognize
flickers of ours in hers. I
did, and it propelled me in a
way that nothing else has.
Romantic for a second and
hard for years, the Walls’s life
together was dazzling. They
were unbreakable, even when
they broke each other.
I’ve never encountered a
story in which the resiliency
of the human spirit shines as
clearly, and as profoundly, as
it does in this one. I’ll go back
and re-read pieces of it, and,
every time, the only feeling
I’m left to dance with is love.
ARYA NAIDU
Senior Arts Editor
BOOKS
Books that Built us is a Daily series that
examines the lasting effect of literature
This book took me
a whole summer
to read because I
kept having to put
it down
I’ve never
encountered a
story in which
the resiliency of
the human spirit
shines as clearly,
and as profoundly,
as it does in this
one