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About Oregon daily emerald. (Eugene, Or.) 1920-2012 | View Entire Issue (June 1, 1978)
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Mon.-Thurs., 11-8 Friday 11-9 Saturday 12-8 46 East 11th Ave. Phone 343-3454 Parking in the rear in the evening r O J CHINA BLUE RESTAURANT featuring for dinner: Pineapple Sweet and Sour Chicken Sliced breast of chicken, seasoned with spices and toasted to a golden brown, topped with pineapple and coconut sauce. Diversion, mystery mark generally entertaining work Celine and Julie Go Boating is a film that seems to defy categoriza tion. Composed of almost equal parts Alice In Wonderland comedy/fantasy, aesthetic dis course, and parodied Gothic pulp, the film dabbles in psychology, magic, and mystery. Even with all these elements, though, and a running time of over three hours, Celine is generally entertaining, particularly as it communicates the delight the title characters take in unraveling the mystery they encounter. The film’s first long sequence, done almost without dialogue, in troduces Celine and Julie as they meet, as it were, through a looking glass. Their kinship is not so much developed as discovered in a series of odd, partially unex plained situations. Gradually, the fabrics of their lives interlock until they even trade identities in two funny sequences wherein a creepy lover and a pair of seedy entertainment agents get the brushoff. The balance of the film revolves around a magical/mysterious series of hallucinations of an endlessly-unfolding melodrama. Celine, a magician, and Julie, a librarian, find themselves puzzled, bloodied spectators at a dimly remembered murder. Finally, with the aid of a magic potion, they col laboratively unravel the story. But it is not the story so much as its telling that makes Celine so in teresting and diverting. This'is most apparent in the contagious exuberance of the central acting performances by Juliet Berto (Celine) and Dominique Labourier (Julie). The film is built on the contrasts between the spontaneous, casual, improvised world the two r Gradually, the rigidity or tne form and the action it contains be come running jokes; Celine and Julie trade places within a scene, or even forget their lines or ac tions, and the rest of the cast goes on without seeming to notice or care. By DAVID COURSEN Celine and Julie Go Boating women create for themselves with plenty of room for loose ends and ambiguity — and the rigid, or dered patterns of the world that surrounds them, from the club where Celine works, to the past an old lover of Julie's wants to re create for her. The central contrast within the film, though, is between Celine and Julie and the people in the film’s mystery. That story, built on the rivalry, not the friendship, be tween two women, is a glossy, hackneyed melodrama, complete with a cast of relatively big-name French stars. Ultimately, all its mysteries are solvable, all its pieces fit together seamlessly. The self-conscious, wrist-on-the forehead acting style, the stilted dialogue, the contrived situation, and the endless repetitions of scenes, all define the story as sterile, packaged entertainment. Celine's director, Jacques Rivette, began making feature films in France during the New Wave of the early Sixties. While most of his contemporaries have succumbed to the temptations of commerce (in some cases even making films not unlike those Celine parodies) or the impera tives of politics, Rivette has re mained committed td examinng and attempting to redefine the na ture of the narrative film. Celine and Julie's experiments with time and narrative/ psychological structure have been hailed as revolutionary. But perhaps what is most heartening about the film is its success in jus tifying its formal innovations by using them to make a film capable of communicating with, entertain ing, and even charming a thought ful, perceptive audience. Strong money awareness analyzed In essay collection By Ivan lllich Pantheon Books, ©1977 Hardback, 143 pages $7.95 The next time you buy a ham burger at McDonald’s, or gas from class. He likens professionals such as doctors, lawyers, educators, administrators, etc. to a modem secular clergy which maintains a priest-like control over the knowledge respective to each field. By BRUCE CAMPBELL Toward A History of Needs Standard Oil, or a leisure suit from Montgomery Ward’s, or an educa tion from some university, you might ask yourself if you are acting on your own free will — or if you are acting out a pathetic depen dence on certain corporate in terests. Austrian-born Ivan lllich (Deschooling Society, Medical Nemesis) feels that the “standar dization of human action” is al ready a degrading reality for most human beings. He considers this standardization as a world-wide trend, one which afflicts Russia, Cuba and China as well as the US. In Toward A History Of Needs, lllich presents five essays which, for the most part, are a trenchant synopsis and analysis of the prob lems currently haunting govern ment, education, energy policy, transportation and related con cerns. He is deeply critical of the money-consciousness which dominates all areas of human de velopment. As lllich says, “Money devalues what it cannot meas ure.” The author is even more critical over the rise of the “professional” Illich also feels that profession als should not be entrusted to en forcing human rights. “In reality," he says, “as society gives profes sionals the legitimacy to define rights, citizen freedoms evapo rate.” Quite idealistically, Illich envi sions a society in which super market chains are replaced by food co-ops; big utility companies by locally owned and operated solar power stations; automobiles by bicycles and public transpor tation; the great universities and other knowledge factories by self-reliant and self-motivated in dividuals. Illich is not always easy to read; his ideas must be digested in small bits. At times, he writes as if English is still a new language to him; at others, he writes with the lucidity of an accountant explain ing tax laws. But his writing can be vigorous and direct. In looking back to the present age from his yet-to-be utopia, the author waxes prophetic: “It will be remembered as the Age of Schooling, when people for one-third of their lives were trained to accumulate needs on prescription and for the other two thirds were clients of prestigious pushers who managed their habits. It will be remembered as the age when ... intimacy meant training by Masters and Johnson; when formed opinion was a replay of last night’s talk-show, and vot ing, an endorsement to a sales man for more of the same.” Illich wants individuals to be more responsible for their own lives. He sees such individual re sponsibility as an antidote to cor porate or government control. But as in so many works of this kind, the author doesn’t provide a plaus ible manifesto for changing the es tablished order. Rather, he an chors his criticism in a smug op timism that the system will destroy itself. But as George Orwell showed us in 1984, such optimism doesn’t always pan out. Lurking between the lines of lllich's prose is a very real fear that many people don’t care if they are manipulated, as long as some body guarantees them meat on the table every night.. ,, Thursday, June 1, 1678
