Films
»
Campus films
relieve local
cinema slump
So you want to go to a movie,
and the only films playing down
town are mutilated prints of the
summer's hits and exploita
tion films like Teenage Jailbait
Babysitter Stewardess. The new
fall releases will be arriving soon;
until then, the best bets for movie
goers will be found on campus.
Several organizations are spon
soring film series that will run
throughout the term. Some series
consist merely of 16 mm prints of
last year's hits, but others are put
together so that the individual
films elucidate common themes or
genres.
One such series is the English
Graduate Students' Shake
I
spearean Film Festival, which
opens tonight and plays through
next Wednesday. Tonight's film,
like most of those in this group, is
best judged not on its cinematic
merits but on its success in inter
preting Shakespeare's plays.
The Hamlet that stars Nicol Wil
liamson is powerful because of
the neurotic energy he invests in
the prince of Denmark. Neither
intellectual nor very likeable, this
Hamlet struts and frets his way
across the screen in quite the
most engaging interpretation I
have seen in several years.
Other highlights of the series in
clude Roman Polanski’s
Macbeth, the most visually acute
film of the group; two lush and re
latively empty Franco Zeffirelli
films, Romeo and Juliet and The
Taming of the Shrew, a stolid
1970 version of Julius Caesar that
is not nearly as interesting as
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Joseph Mankiewicz’ 1953 film
starring Marlon Brando as Marc
Antony; and Peter Brooks King
Lear, reknowned for its unique
staging and Paul Schofield's
magnificent performance.
The Cultural Forum has already
managed to bring those tired old
chestnuts, Butch Cassidy, The
Graduate and King of Hearts to
campus, and we can at least be
grateful that they are presumably
over with for this term. Most of the
rest of the Cultural Forum lineup is
equally imaginative, but hidden
among the swine are a few pearls
that should not be missed.
A series-within-a-series will
spotlight women in American
films, and while some of them, like
Mae West’s She Done Him
Wrong, are not very good movies,
they are all excellent entertain
ment. On Oct. 8, Howard Hawk’s
classic of jazz age journalism, His
Girl Friday, starring Rosalind
Russell and Cary Grant plays, fol
lowed later in the month by those
old warhorses Mildred Pierce and
Sunset Boulevard.
In November you’ll be able to
see Marlene Dietrich in Destry
Rides Again, Bette Davis in
Davis in All About Eve and Greta
Garbo in Camille.
Also scattered among Cultural
Forum's more prosaic choices are
Nicholas Roeg’s superb thriller
Don't Look Now, in which
Julie Christie, Donald Suther
land and Venice never looked
lovelier — a dwarf cloaked in red
never looked more ominous —
and Woody Allen’s futurist fantasy
Sleeper, possibly his funniest film.
The lineup also includes another
chance to look at such recent and
estimable hits as The Omen, The
Turning Point and Looking for Mr.
Goodbar.
The Ananda Marga Society’s
list includes such incompetent,
recent films as The Last Remake
of Beau Geste, Rocky, The Front
and Coming Home alongside
such treats as Bound for Glory,
American Graffiti, Little Big Man
and the wonderful and rarely seen
Thief of Baghdad, Alexander
Korda’s colorful Arabian Nights
fantasy.
The Department of Landscape
Architecture is bringing at least
two excellent films to campus this
term: Anthony Mann’s Send of the
River, the best western ever made
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Now Comes Miller Time
DUFFY’S
THURSDAY SEPT. 28th
7:00 pm Pitcher Sale
8:30 pm FREE Miller’s Duffy’s T-Shirts
to first 300 people
9*00 pm Disco Nite
Friday Sept. 29th Pitcher Sale 4-6
Live Music 5-6
Friday & Saturday Dance to Abacus 9-2
Get your act together for Duffy’s Amazing Gong Show, Thurs. Oct 5.
about the settlement of Oregon,
and Werner Herzog's desert epic
Fata Morgana.
The most interesting program
available to campus moviegoers
this term comes from the Iris (for
merly University) Film Society.
Each term this year the Society
will present films of a particular
genre. Next term it’s the western,
but this fall brings the opportunity
to view some classic gangster and
detective movies you haven’t
seen in years.
Highlights of the series are
Howard Hawks’ film version of
Raymond Chandler’s The Big
Sleep, playing this Saturday night;
John Huston’s The Maltese Fal
con on Oct. 14;Sam Fuller’sDeacf
Pigeon on Beethoven Street and
Underworld U.S.A. Oct. 21 and
again Dec. 9; Carol Reed’s The
Third Man starring Orson Welles
on Nov. 4; and Jacques
Tourneur’s magnificent Out of the
Past, a rarely seen 1947 thriller
starring a young and sexy Robert
Mitchum, on Oct. 28.
So you’re not so dependent on
the whims of downtown film pro
gramming after all. Check posters
around campus and Emerald
classifieds for dates, times and lo
cations, and spend the whole fall
watching movies when you should
be studying. By Bill Lingle
roofs Die
(Continued from Page 9B)
In Godfather a major tenet was
that organized crime and big busi
ness operate upon the same rules
and neither is as loathsome as we
would make them out to be. There
are fundamental rules in this world |
and it’s just too bad they have no
thing to do with morality. In Fools,
Puzo makes his case for a similar
observation about the worlds of
gambling, movies and literature.
These three worlds, where
everyone is hustling for himself,
worlds without allegiance to family
or corporation, in fact suffer more
under Puzo’s crap-detecting gaze
than did the worlds of crime or bus
iness in Godfather.
It’s to Puzo's credit that while
he’s showboating for the literary
establishment, he takes a candid
view of it as well. It’s also to his
credit that even the autobio
graphically drawn Merlyn indulges
in bribe taking at one point and in
an adulterous affair at another.
Merlyn wants to have it both
ways — wants a faithful wife and a
faithful mistress. The contradic
tion is of course unworkable, and
his affair fails ultimately when his
lover sleeps with Osano. Puzo,
the novelist, wants Fools to be
both a mammoth bestseller and a
literary masterpiece.
“You have to have heavy bones
in your work when you write a
novel,” says Osano. This book
has heavy bestseller bones and
light literary ones. It is deformed
and barely survives, hobbles
along, the victim of its creator's
greed for commercial and critical
success. By William Kogut
A note from
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