(Sur)really good flick
“Montenegro"
Susan Anspach
Bijou Theatre
Rated R
The 37-year old fur-wrapped housewife walks
slowly to the end of the dock. The sun glistens on the
water. A huge, expensive house looms in the back
ground. She halts at the end of the dock. There’s no
place left to go.
Marilyn Jordan (Anspach) is a transplanted American
housewife who feels trapped by her luxurious lifestyle
and her upper class family, and lost in the Swedish
culture she's emigrated into. She’s struggling to hang
onto her sanity in the face of incredible pressures, and it
shows clearly in her bizarre behavior.
She pours milk and a small bottle of clear liquid into
the dog's dish. "I know you're a wise animal." she says.
“Wise animals must be able to make decisions. Now,
I’m going to put poison into your milk. You must decide
whether to drink it or not. It’s your choice, and you have
to live with your decision."
The dog sniffs tee milk, walks away, returns, and
looks up at her.
’’Well, it’s not my decision. But if you want my
advice, don't drink it.”
Jordan is on the brink of a major breakdown, and it
shows. She teaches her daughter how to cook Schnit
zel for the family's dinner, then eats the whole plateful
One night after sex, she playfully sets fire to the bed
(and her husband’s rear) with her cigarette. If her life
doesn’t change soon, it’ll be the end of the line for
Jordan.
Her life changes A lot. Through a series of cir
cumstances beyond her control, she finds herself in
ZanziBar, the seediest, craziest dive imaginable She is
immediately welcomed by the patrons of the bar.
immigrants who, like Jordan, feel alienated by the
Swedish culture
ZanziBar is an absurd world where violence is
commonplace, sex is uninhibited, and outside rules
have no meaning. Alcohol lubricates the spirits of the
patrons, who are in a state of constant celebration.
The decaying world of ZanziBar, with its weather
ing walls, animal sexuality and total abandon, is a far cry
from the pink and purple velvet world of Jordan's
women's club She soon adapts to the new environ
ment, and finds the freedom she so desperately desired.
This is the setting of "Montenegro," Yugoslavian
writer/director Ousan Makavejev's 1981 surreal
comedy. Surrealists often deal with irrational behavior,
dream-like images, the liberation from social
restrictions and the pursuit of personal and sexual
freedom, and Makavejev seems to fit the bill.
Unlike the heavy, sometimes unfathomable images
of earlier surrealists, Makavejev blends comedy and a
light form of surrealism with the flair of an artist. In an
introduction to the film, Makavejev writes. "Looking for
Marityn Jordan's secret face, a composite image of
Disney's Pluto and (Luis) Bunuel's Chien Andalou
appeared." Makavejev strikes a perfect balance
between the two extremes of humor and surrealism,
and it is upon this point of balance that the whole film
pivots.
‘Montenegro’ is a bridge between
Hollywood narratives and European
experimentals.
The acting in the film seems intentionally one
dimensional The characters become too horrible to be
likeable, and the emotions are so shallow that we are
removed from the action of the film to a point where we
can better examine what's happening Despite this
intentional shallowness. Anspach is good as the be
sieged housewife, and Svetozar Cvetkovic is excellent
r
as her lover, the mysterious Mr Montenegro (kind of a
strong, silent Bruce Springsteen).
What really makes the movie, however, are the
visual images Cinematographer Tomislav Pinter, art
director Radu Borusescu and set designer Eric L.son
Johnson have created a number of stirring shots that
illustrate Makavejev's script perfectly
The combination of the visual images and Ma
kaveiev's delicate balance between light surrealism and
comedy make "Montenegro” sail Although its frequent
violence and raw sexuality may offend some, "Mon
tenegro'' is particularly accessible to American
audiences not used to the heavy surrealism of other
European filmmakers Makavejev provides a bridge
between Hollywood narratives and European exper
imental that will be surprisingly palatable to both types
of audiences
by matt meyer
1
Portland’s world class dance workshop.
Be there. You owe it to yourself.
Ninth Annual
Sommer Dance
Workshop at
Reed College
Jane 28 to
July 30
* World famous teachers from
New York and Europe.
• Instruction in jazz, ballet and
modem
* Beginning through advanced
levels.
• Convenient times—evening
and day classes.
• No experience necessary for
beginners.
* Great facilities—showers,
sauna and pool.
Classes filling up fast.
Call 227-1927 for information.
Re^ster at Northwest Dance Center, 918 S.W Yamhill, 2nd floor Visa and Mastercard accepted
-.
WORKING WORLD SCHOOL
Bill Dugan
FRESHMAN
V_)
Congratulations!
You're a freshman
again.
You’ve worked hard the past four years to
become a senior. Now, in just a few short
weeks, you’re going to be a freshman all
over again at the largest school of all.... the
working world.
The rewards will be great, but it takes a lot
of hard work and experience to make the
grades. The Peace Corps will help. Spend
two years “studying” with us.
Find out more by calling 686-3235, or
visiting the Peace Corps in room 246 Susan
Campbell Hall. At the Peace Corps, we’ll
make your freshman year in the working
world a little less traumatic.
Invest in your future today
by giving one to others
...in the Peace Corps