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'fool' art
By Val McPhenon
Webster': Seventh New Collegiate
Dictionary lists seven definitions for a tool.
The first definition calls a fool "a person
lacking in judgment or prudence." Webster's
last definition calls a fool "a dessert made of
pulped fruit covered with a custard and
cream." Perhaps the dictionary will add an
eighth definition, because now there is a new
kind of fool.
This new fool-and there are at least four
of them in Lincoln-is opening an art gallery
at 1031 "Q" St. The gallery is called A
Company of Fools and opens today.
A Company of Fools was created when
four people, who want to be known only as
fools, each put up $20. Said one fool, "An
awful lot of our friends paint beautifully and
have to work as a farmer or in a brick yard.
A Company of Fools will be a place where
anybody can put in anything they have
made to sell it"
The gallery will display anyone's work for
30 days. Each artist sets his own price. If the
piece is sold, A Company of Fools will keep
10 per cent. After 30 days on display, the
gallery will hold un:old work for another 30
days until the artist can pick it up.
"We need a lot of reasonably priced stuff;
that's the important thing," said another
fool. "We need a place wheie people can buy
stuff for $2, $3 ot $5, not S100 or $200."
I he gallery especially would like to help
those people who might need a little extra
Christmas money, by displaying their arts
and crafts, one fool said.
A Company of Fools will be run solely by
volunteers. Anyone who would like to
donate their time should drop by and talk to
one of the fools. Green Fingers plant shop
has donated some plants, and the fools
would appreciate any ideas on how they
should design their gallery.
When the store opens, there already wiil
be several works on display for sale. They
include some paintings, sketches, hard wood
pipes and lithographs by Greg Scott. A
Company of Fools also will offer a limited
edition of their own advertisement poster.
The gallery's hours will be from noon till
7 or 8 p.m. Monday through Friday A
Company of Fools stays open on Thursday
nights until 9 p.m., and on Saturdays you
can drop by between 9 and 5. There's a sign
on the door that reads "enter at your own
risk but if you're foolish, that shouldn't
intimidate you.
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'Visions' examines
drama of Olympiad
Visions of Eight begins with a written preface stating that
while many people have seen sunflowers every day, only a few
could have seen them like Van Gogh.
Thus, we know from the start that this film will be a
close-up, behind-the-scene and slow-motion view of the 1972
Olympic Games in Munich. It uses every imaginable cinematic
device to capture things the human eye and the TV camera
could not have done justice to.
In order to sell his product, producer David Wolper enlisted
eight (originally 10) internationally renowned directors to
record their personal views of the various aspects of the 20th
Olympiad.
Russian director Juri Ozerov starts things off with a tightly
done section called "The Beginning." It describes the tense
atmosphere and individual idiosyncrasies that were seen as
contestants nervously awaited the start of each event.
Swedith director Mai Zetterling prefaces her segment on
"The Strongest" by saying that she is not interested in sports
but is interested in obsessions.
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Her look at the obsessions of mammoth weightlifters is well
done. But most of our interest here stems simply from
watching these amazing, huge, even gross figures straining
themselves as they try for success.
Arthur Penn continues with one of the film's most
fascinating sections a close-up look at pole vaulters, zeroing in
especially on the final showdown between America's Bob
Seagren and Germany's Wolfgang IMordwig.
It uses out-of-focus shots a bit too heavily but is an
elegantly stylized piece of filming. Penn's use of sound also is
well-handled. He fades various crowd reactions in and out of
conjunction with the rise and fall of the gravity-defying
vaulters.
Michael Pfleghar's section on women in the Games is
probably the film's most shallow sequence, regardless of the
slow-motion routine on the uneven parallel bars by a young
Russian gymnast.
Milos Forman's look at the decathlon is one of the best in
Visions of Eight, not because of his focus on that event, but
because of the irony he creates by surrounding it with various
outside events.
Comically-used fast motion, a sleeping green-uniformed
judge and Bavarian yodelers, bell ringers and horn blowers
oom-pah-pahing themselves silly are all interwoven with the
decathlon members collapsing from exhaustion after the 1,500
meter run.
French director Claude Lelouch provides an interesting
look at the agony of defeat. He uses longer cuts in showing the
downfall of wrestlers, equestrians, bicyclists and boxers,
whether it is an Iranian wrestler finally succumbing to a leg
injury or a young Spanish boxer stubbornly refusing to
acknowledge defeat.
Bri lion's John Schlesinger finishes off with the movie's
longest and, I believe, best section. He uses a British runner in
the grueling 2G-mile marathon as his focus but also includes a
look at the closing festivities of the games and the film's only
handling of the tragedy surrounding the 11 slain Israelis, to
whom the movie is dedicated.
Schlesinger's portion seems the most complete and
well-balanced. At least in part, it makes up for one of the
film's major drawbacks-a lack of an accurate overall
perspective of the Games.
Still, the repetitive looks at "the human drama of athletic
competition" becomes tiresome after a while. One starts
wishing he could pull the camera away from all the faces, legs
and muscles and see more of the massive long shots and
coherent form like that found in what is probably the best
film of this kind ever made, Leni Riefenstahl's account of the
193G Games, Olympiad.
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