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Ey t 3 K-ITinn , runner of the current crop of films dealing
Tie IZaioa rrczram Council is scoria with Satan and the occult. However, none
u? a ILTawcen show with screens of cf the later Cms have matched its effec-
focr horror raovis flarics. tireness.
Tonight's program is a doubls feature of Written and directed by Roman Pohn-
Rosemzryi Dzby and Don't Look Now. usual mastery, the fffin stars
lia Farrow, John Cassavetes and Ruth
Rosemary Ecby (196S) was the fore- Gordon ia her Academy Award winning
role. PblanskTs study of paranoia and shot with beautiful control fci wintry Ven
horror ia mundane everyday surroundings
is unsurpassed for its chilling matterof
factness. The second feature is Nicholas Roeg's
Don't look Now, starring Julie Christie
and Donall Sutherland. Eased on a short
story by Daphne Du Maurier, the film is
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Photo couitssy of Patamount Ftctures
Mh Farrow threatens Sidney Haduser and Rath Gordon ia a scene firora Rosemary 's Baby.
ice.
Critic PauILne Kael cas the Cm a
masterpiece for its jarring techniques,
which lend the whole fn a profoundly
disturbing feeL The movie slzo opened
new frontiers for sex ia films between
major stars with its scene of Ourictk and
Sutherland making love.
Saturday night's double feature offers
two films that illustrate the range of the.
horror genre.
The Haunting (1965) is based on the
novel by Shirley Jackson. Vith meticu
lous direction by Robert Wise, the film
builds suspense through fine performances
by Julie Harris, Claire doom and Richard
Johnson.
A truly high-class horror flick, The
Haunting is a prime example of how Holly
wood can create memorable entertainment
under- the guidance of its best profess
ionals. .... :
In contrast, The Night of the Living
Dead (196S) is described by film critic
David Maltin as "the most horrifying,
stomach-churning charnel in the history of
horror".
Made on an extremely low budget, The
Night of the living Dead has acquired a
.strong cult following among genre experts,
who hail it as one of the greatest of all
horror films.
The double features begin tonight and -Saturday
at 7 pjn. in the Nebraska Union
Centennial Room. Seating is Fillmore
style. Admission is $2, which includes
popcorn.
By Micfisel Zsngsri
Bob Dylan has never been one to put his arm gently
around you and show you the errors of your ways,
whether it be about loves gone by or his own past.
He is about as subtle as a two-by-four to the fore
head, and twice as potent.
When Dylan sings, "... the idiot wind, blowing every
time you move your mouth ,w you get the impression
that he is less than thrilled with his lady.
Songs like "Dirge, with the classic lines "... I don't
recall a single thing you ever done for me, except pat me
on the back one time when I was on my knees . . . and
"Positively 4th Street, are so dripping with bL: that you
wonder why Dylan didnt pick up a rifle long ago and
open up in the nearest crowded subway. .
Obviously Dylan's lyrics go much deeper and into
different areas than just his "I hate myself for loving you
songs. .
His influences are varied, everything from the sureal-
after
midnight
istic poetry of Rimbauld to the late gangster Joey GaUo's
demise in a Little Italy restaurant.
Even if you don't like riirn, Dylan's influence on just
about everything of worth in popular music is something
at which one can't scoff.
Continued on p. 12
7. . .
t' j V; ( 1
yf4J s v f v
Air sculptures
felled by FAA
The sculpture launch was cancelled Thursday by
the Federal Aviation Mministration (FAA) because
of cloudy weather.
Howard Woody, a University of South Carolina
art professor, did not get his atmospheric sky sculp
tures launched because the FAA" requires 50 per
cent sky visibility. A higher percentage of cloudiness
would make the sculptures a hazard to aircraft, the
FAA said.
The sculpture flights have been rescheduled for
today at noon and 2 p jn. in the Sheldon Sculpture
Garden.
Set-up will begin an hour before the launch and
the public is invited to view the pre-Iaunch activities.
There will be a slide-lecture in the Nebraska
Union Main Lounge today at 11 ajn. describing the
helium-filled sculptures.
F&ato caurtssf of t&ur Lina Csnssre
Geze?eve Cili esd KITe Lestiri fcsve csa cf tldr tsjj!a xncnssrts b till
scene frsa KGzxnzzsZz. ,
Vio!!in:oa:fs co:
thtzl Czech vloliist Josef Suk hss
cnccM a concert tour of the United
Elates. This incliiss a coccert.schedulid
far Sunday nhi at Kiznbal Recital IZiIL
Suk has dixontnued his tour because
cf poor health.
Ran Cowlin, UNL perfornung arts
cccrdinitor, . saM the csnctllatbn was
iribrtunate and came too lata to schedule
arytiir; ia Suk's place.
Ealji sail many pjopb bought Suk
tlcts, and a fu3 refund wO be avsiLble
for tiim, or the price of the tickets can be
aj'pld to the purch of ticktts to
Isass eia concert lsndiEt.-
Stem is repbtsd to be the wedTs foie-
znost
a- wO vx a d-ount ca the ticket Frfce. .
Thsie stJ are a Lniirl nulr cf
tkkcts to the Stem conceit for c!i to the
fern iW4wt yW"MW
If ssatins becomes tiv.t for the perfor
rnance, Eoulla saii he has Stern's per
rrisdoa to seat peopla on the stas.
EamoyrasK
Review by Vi3 Huffman
Kemoupsska (Hollywood and Vine) is
an epic love story, told with an intense and
beautiful style.
The film is the work of French-Canadian
director Claude Jutra, and the stunn
ing locations in Quebec are used to maxi
mum effect.
Genevieve Eujold gives a magnificent
performance as the young heroine around
whom the passions swirL She is forced by
her family at an early age, to marry a rich
but vile neighbor and returns to her home.
. The young woman's passionate nature
attaches itself to the local doctor (Richard
Jordan) and the films spells out this violent
triansle to its violent conclusion.
The recreation of the French Canada of
the last century is beautifuSy done ia the
Cm. The settings have the look and feel of
total authenticity and the attention to
various period detaf a is meticulous.
Jutra uses a slow, dalierate style to
espbre the characters. Kctzoltzz
erpedaHy reward for the discerning
vlr.ver ha lacks for psychological com-
&s!ft beauty is expbited by Jutra ia
such a manner that there is little difficul
ty understanding the intense fselln-s of
is stunning
whose drunken ess and irresponsibility are
set in stark contrast to the intense doctor
(Jordan) who ministers to the needs of the
local poor.
Seasonal changes are employed to give
the film its measured and deliberate pacing.
The lush summer is beautifully counter
pointed by a harsh Canadian winter, and
both are photographed with equally
dazzling clarity.
The winter scenes are especially notable.
Jutra and his cinematographer have colla
borated on some stunning snowscapes.
The background plays an integral part in
Kamoursshs, but it never intrudes on the
development of the powerfully romantic
triangle.
The passions of Kemoursska are intense
ly consuming and reach their logically vio
lent conclusion with the bloody confron
tation of Leotarde and Jordan. Th
violence of this sequence is shacking and
graphic, but it is entirely tustiTt? h
FhIL7pe Leotarde (as Eujold's brutal
husband) will be remembered by foreign
fa audhnces for his excellent work ia
Akin Tanner's IIHI cf tte ft'oril la
JTcna.7ss.t2, Leotard displays his range
and creates a totally despicable character
context of the destructive forces nrt.
ing between the characters.
Kszwmzi'b disrate but i-.t
SWeen with rvrnCl
insicht. - u
OrigiaaHy released h French, the vtr
sart screening at the Hollywood and Vine
is dubbed ia Engsh, with the actors do
ing their own voices for the film. As a re
sua, audiences weal have to endure th
lmtatfons of subtitle and the force of
t-e : onga&l diabgue comes throu-h ia the
readings cf the original cast.
