Tuesday. June 18, 1968
Page 2
Summer Nebraskon
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On a sunny June afternoon the west lawn of Sheldon of f ers a pleasant
place to lie in the sun, (above) and enjoy the architectural mastery of Shel
don Art Gallery. To really appreciate Sheldon one must enter the Great
Hall of the museum and view the many works of art h o u s e d there. Two
young art critics were found contemplating art in the picture below.
v . . . .
: t '
' I! '
Poetry . .
silently charting
the waves
as they rise
from the concrete
each dawn.
quietly watching
the child
as she plays
here each noon
at the swings.
solemnly falling
past hands
as they lay
wrinkled up
in the dark.
Aurora bore a child named
Alice
Come to take us all away.
Never saw her father,
Helious.
Nearly gone from us today.
OUoYoYo
Boob
Views of Sheldon
V 1
"3
.by J. Kirk Brown
A WINTER SCENE
Frozen lancers prism pran
cers Down, spout out your crys
tal beams
Silver silvers, make me
shiver,
Quiver while the glossy
teems-
There's a little old man on
down the block
And his life depends on this
little black box.
"Smile, please " the old man
said
With an odd little wink of bis
bent balding head'
And if you smile well, who's
to care?
The old man's blind, and the
film isn't there.
SPECIAL SELECTION
Were Now
Up to 95' 19'
.95-M.50 39'
J1.50-$2.50 69'
52.50 & up 99'
In Spickd tab Room 2nd
iiiiiiiiiiiiiiiiiiiiiiniiiiiiiiiiiiiii iiiiiniini i.
:af'f an
Orion
looked down,
through the haze,
on a sign.
Caution
stood wounded.
Oozing rust
that fell
on the grass
that ran
cross the face
of U.S.
33
once more.
THE CLOCK RADIO
A hum and a crackle
And a calibrated circle
Will wake me in the morning
But won't make my coffee
purkle.
Rser
M -
i
yjcws ail( Reviews
Welles'
Effort
Offered
Orson Welles was once
referred to the "Wonder Boy
of Hollywood" after his many
successes, especially h i s
powerful "Citizen Cane."
But the critics began, to rap
Welles as his fame continued
to grow. Especially hacked by
the critics were Wellesian
adaptations of the plays of
William Shakespeare.
In the second of a series
of famous Shakespeare mo
tion pictures presented by
Sheldon Art Gallery and the
Nebraska Union, Orson
Welles "Othello" will be
shown at 7:30 p.m.
Again the critics castigated
Welles for rearranging the
Shakespearean construction.
Robert Bingham of The
Reporter magazine said: "the
total effect of the scene-shifting
and abridgements made
by Mr. Welles is to provide
almost a monopoly of the
screen to Mr. Welles the ac
tor." Some critics refused to
review the film, charging that
it was an inferior attempt and
didn't merit criticism.
Bingham concluded: "The
kindest thing that can be said
of the new film of Othello is
that all the actors, and
especially Mr. Welles, are too
good to be wasted on Mr.
Welles as a director."
But he did concede that the
movie had some high marks
and deserved to be seen.
Featured in the film are
Welles, Michael MacLimmoir,
Suzzane Cloutier, Robert
Coote, Michael Lawrence and
Fay Compton. The film will
be shown in the Sheldon
auditorium.
Up,
I j;.
n a up
i 1 iin
The University's City Campus is now challenging downtown Lincoln's skyline with the
addition of Oldfather Hall, NU's tallest building. This worm's eye view through a tempo
rary elevator shaft adds a new
SUMMER
NEBRASKAN
Editor tarry Erkholl
BnslneM Manarvr Mer Bmwn
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'Guess Who?' Comes From the Forties
By Lawrence Poston
NU English Department
Summer in Lincoln?
Well, to begin with, there
are the films. At the State
nnp Rvenine. mv wife and I
see "Guess Who's Coming to
Dinner?" Black boy and
white girl meet and fall in
love, and she takes him home
unannounced to meet her
parents. Father is a liberal
newspaper owner in San
Francisco whose house
overlooks the Bay. The
Negro's parents, not knowing
she's white, fly up from Los
Angeles to meet her. The
problem is how to make both
sets of parents, wealthy
liberal white and poor con
servative Negro, realize a
new day has dawned.
This Stanley Kramer film
is right out of the 1940's:
blood-red sunsets, a dinner
u n d er-the-stars orchestral
score for emotional
underlining, and tears stan
ding in Katherine Hepburn's
eyes. Even the central pro
blem is right out of the
forties. There are a few "dir
ty words" for updating, and
one light-hearted reference to
Black Power. But the photo
of F.D.R. on Spencer Tracy's
desk more accurately dates
the movie's major premise:
that black and white can live
together amicably if only the
older generation will bend or
bow out
Furthermore, the premise
is reinforced by a basically
spurious situation. In tins
movie, Sidney Poitier is not
just any Negro. He is an
eminent medical man, high
up in the councils of the
World Health Organization, a
specialist in tropical diseases,
with an idealism that should
Up and Away
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get him the Nobel prize in
ten years. (He is also 37 years
old, the film is careful to
point out. and hence he is
presumably mature enough to
know his own mind.) Love,
it seems, will transcend racial
barriers, especially if the
Negro in question has done
a stint on the Johns Hopkins
medical faculty.
If it is impossible to buy
the gimmick of this lavish
film, it is easy to be taken
in yet once more by the
splendid old Hepburn-Tracy
duo. THEIR formula, at least,
still works. At one point
Katherine Hepburn
hesitatingly asks the daughter
how deeply John is in love
with her. To paraphrase: "Do
you mean," replies daughter
with cheerful matter-of-factness,
"have we gone to
bed together? Oh,
no anyway, John wouldn't."
Mother nods, and then a look
of Hepburnian consternation
comes over her face. It is
a small enough moment of
grace, but a saving one.
&
The next day I drive down
to the campus on Vine Street.
Perhaps the only benefit of
the recent widening ot vine,
doubtless not contemplated as
such by the traffic engineers,
is that it has stripped away
the facade of trees that once
nrnteeted us whites from the
discomfort of having to look
at T-Town. The snamDimg
frame houses are exposed in
their rather tentative
ugliness. Negro children and
a few older whites are visible,
and the heat is already
starting to shimmer up from
the sidewalks.
As one nears the campus,
just east of the tracks, the
landscape opens out into
. . .
IK
building.
'4
empty lots where the houses
once were. West of 23rd Street
a new and still-unoccupied
fraternity house has been
thrown up amidst the weeds.
It is a kind of overgrown
brick fourplex with an
unhappy effort at a Colonial
style front. Black people have
been moved out of the area
to make way for such things.
This edifice would be
obscene if it were not
r e a s s uringly diminutive.
Somehow it only testifies to
the irrelevance of the
fraternity system; all it needs
is a Confederate flag in front.
Another small saving grace,
of a kind.
fr ft
Home for lunch, I find
Congressman Robert Den
nev's latest ''Progress
Report" in my mail. Things
must be tough in Washington
over there at that air-conditioned
House Office Building,
what with all them riffraff,
a few blocks away cluttering
up the grassy acres by the
Reflecting Pool.
After a word about the late
Dr. King's contribution to
planning the March, the
Congressman points to the
violence that followed King's
death.
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"In such an atmosphere,
R e p r e s e ntative Denney
writes, "a massive '
demonstration, even one
which advocates non-violence,
is a . powder keg and
represents a clear threat to
the return of peace and tran
quility in the nation's
capital," But mark you how
he has gotten down to
business and attacked the
root causes of racial unrest:
"I co-sponsored legislation to
require a bond to be posted
by the march leaders to cover
additional expenses which
might be incurred by the
government during the
demonstration."
Good to know that we're not
isolated from the outside
world! Let's look at the Lin
coln Evening Journal for June
12th. Here on the local scene
Chief Joe Carroll is getting
at the roots of trouble too.
"If the Supreme Court would,
give the police back th
power it stripped from them,"
he is quoted as saying, "we
could question suspects,
search what and where we
wanted to, and maybe then
cut crime off at the core
before a gun was used."
Summer in Lincoln! All the
comforts of small town living.
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Lincoln, Nebr.
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