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

