The Scarlet at Black. Sept. 29, will—page ti

 

 

Hitchcock casts his shadow

by Michael Greenﬁeld

One can merely speculate, but it
would be my guess that virtually
nobody has seen Medea. one at this
weekend's two line films In fact,
when it was released in 1970, it was
only shown at 33 us. colleges,
licnce has remained a relatively
obscure movie

Motion, directed by Pier Paolo
Pasolini, stars operatic queen
Maria Callas in her film debut as a
goddess queen Callas radiates a
regal presence that Pasolini
enhances with pagan costumes of
great pomp and circumstance. She
was always the most dramatically
gifted of divas, and here she gives
a necessarily stylized but sensitive
perlormance.

iN THE OPENING screened
silence of the film (nearly half of it
is without sound except lor some
pentatonic music), Callas is placed
amid the majestic stretching
landscapes suited to the remote
dawn of a Greece still peopled by
mythological ﬁgures. Make-up
artists turned Callas into an
inhabitant oi her ancestral Greek
country; her pointed, strong-
]awed, archaic visage looks like a
profile on some primitive Greek
coin.

Although the Iilm is slow and
stately some of the time, some
marvelous moments prevent the
film from becoming one of those
educational, respectable and
boring movies designed to uplift
an audience. Medea ranks as one of
the bloodiest stories inherited li‘om
antiquity. Due to the presence of
Callas, the iilm contains acting oi a
supreme dramatic achievement,
and ranks as a rare work of
cinematographic art

ALFRED ilth‘iiCOC ‘
Silado“ or a Doubt ll943l inspires

KDlC opeclol

progrommlﬂg
Sitar featured

This Monday at 7:15 p m, KDIC
will broadcast the Ilrst half of last
week's sitar concert. The concerts
second hall will be broadcast next
week at the same time Due to the
unexpected closing ol Darby
gymnasium. KDIC was lorced to
suspend broadcasting over the
weekend and regrets any in
convenience this may have caused.
(See page 1.)

Other special
week include:

Saturday, Sept. .3 4:30 pm 7
Chicago Symphoi y Orctiestra.

12-3 8xﬂ1.7l\“dllight Special:
Best of Chicago.

Sunday, Oct. 1, 7:15-8:15 pm. 7
Pacifica: Consumer Law II.

Monday. Oct 5 3:15 p.||l.7
Ethnoniusicology Broadcast of
last week's Sitar concert.

Tuesday,0ct.3,7:i. 8:15p.ln.7
Jazl Alive!

Wednesday, Oct. 4.
p.m.—Proiessor Lee Cloud

Thursday. Oct. 5, 7:15-3:15
pun—Professor John Jensen.

Friday. Oct. 6. ll-NOon~Paci-
tic Zen and Creativity.

1-7::0 p,m,—Friday Night Rep»
art with Jeremiah Whitten and
Matthew Hussmann.

7:30-5 p.m.—BBC
Magazine.

lDW
WWW-tits

Grihhell, la.soll1
Ph. 216-3663

vi Block South at
Wilitahg-Pauisun

T Clint:
MEDICle
Ci'EST.

. . .WHERE IT COSTS LESS
TO KEEP HEALTHY ‘

programs this

Science

"‘Merl'y widow Waltz."

7:!5-8: 5'

in us a peculiar leeling which
borders on repulsion by suggesting
that the most ordinary Cir‘
cumstancc may reveal something
sinister, hitchcock threatens our
everyday world with the ”its
possible so alien in this movie that
in the end we are not really sure
about anything.

This feeling of ambiguity is
immediately introduced as the
accompanying music, the innocent
bmlds
toward a terrilying climax. The
main character, Joseph Cotten, is
seen wondering it two menacing
men are after him As Cottcn
slowly relaxes, leaves the house
and walks toward them, you expect
something catastrophic,

LATER. COTTEN TAKES his

questionable identity to Santa
Rosa, Caliiornia, to visit his sister
Emmy‘s tamily. Here he arouses
ieelings or adoration, hope, per
plexity, doubt, tear and terror in
Emmy's daughter (Theresa
Wright),

Hitchcock shows here that
seiisationalism is not necessary it
the details oi ordinary activity are
examined lor their lullest
suggestiyeness His most exs
pressive moments are the sudden
switches or emotion in midstride oi
an activity. an abrupt change in
the pace or a walk or the tone ol 3
voice, or the sudden hurrying oi
people into position. As a result at
this, l-litchcock consistently

produces suspenseiul lilms or the
highest quality.

Mountaineering’ﬁ

METHODOLOGY '

 

 

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PAPERS TyPEn: Protesstonal
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Note' want ads may be suhmliled
tree oi charge to the SEE mailbox in
the post othce or the sen oitice in
the naSEmEm‘ oi ins rorum. Deadline
is Tuesday night tor the tollowmg
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FOR SALE:

Lois and lots ol books Classbooks,
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Kittens need a home Please (all s
5205

 

 

' .

 

science and the am of or
(l.e., a qulckjaunt to yo

.I V . " V ‘Q .

Mountaineering, as all but the chronically
inking Busch‘ Beer. It begins by heading for the mountaans
ur favorite package emporium or a
wateringhole) and ends by downing the mountains (to
slow slaln'ng swallows of the brew that is Busch ),

‘11 However, between those two points lies a vast area

of personal peocadjlloes sometimes called technique

and sometimes called methodology (depending on

your major). Hence, this ad. 91 Sipping vs. chugging.

Both have their merits, of course, But generally speaks

ing, except for cases of extreme thirst or a leaking

glass, Sipping is the more prudent practice for serious,

sustained mountaineering, “H N the proper post»
, tlon. Some

swear by Stir

, standing. Suffice it to say that the most successful
mountaineers are ﬂexible, so you'll find

both sitters and standers.
(Except on New Year's Eve,
when it’s almost impossible

to find a Sitter.) clI Which
brings us to additives. Occa-
sionally a neophyte will
sprinkle salt in his Busch;
others mix in tomato Juice;
and a. few on the radical
fringe will even add egg.
While these manipulations
can't be prohlbited (this is, after all, a free country), they are
frowned upon. Please be advised that purity is a virtue, and the
natural refreshment of Busch is best uncompromised
‘11 Finally, there’s the issue of containers. Good taste dictates a
glass be used. But bad planning sometimes
find yourself forced to drink from the can, you should minimize
this breach of etiquette. Be formal. Simply let your little finger
stick out stiﬁly (’see Fig. 4 ), Happy Mountaineeringl

prevents that. If you

 

 

 

