\1 Celebrate Halloween Night with \
11 RAIDERS OF TIME }
\ i Live! At the Hilton. Sat. 830 pm-1230 am. 1
'! NO COVER IF YOU’RE IN COSTUME
J1 (otherwise, just $1) )
PRIZES for best costume J
1st Place: A New Year’s Eve J
room package! \
Howling Drink Specials: '
$125 BEER $1.75 MIXED DRINKS
at the ’
9th and P HILTON 475-4011
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| Halloween Parly! |
□ WHERE: Grandmother’s at Sun Valley Q
0 WHEN: October 31st, 8-Midnight O
O WHO: Anyone who wants to have fun.
3 WHAT: Special drinks, fun times, y
3 $50 grand prize for the best costume. 0
time! B
I. . . .'The Coldest Beer" in town
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Zonm Asti Spumante750 ml.*4.99
Seagrams Wine Coolers4 pk.*2.79
Baileys Irish Cream 750 ml.*12.99
Retcher & Oakes Blush Sprite 4 pk.. *2.99
LeRoux Peach Schnapps t.7$.<8.99
<5 mail-in rebate makes net cost <8.99
... and much, much more through 11-4-87
Just North of 27th & Vine
477-7516
Movie reveals Vietnam conflict
with horrific but truthful images
By Kevin Cowan
Senior Reporter•
“In The Year Of The Pig,” Shel
don Film Theater, plays today at 7
p.m. and Saturday (no charge on
Saturday) at 3,7 and 9 p.m. U.S.A.,
1969,101 minutes.
i
| Movie Review
1 Emile de Antonio’s “In The Year
1 Of The Pig” further documents the
hell on earth created by the American
“police action” in Vietnam. Through
vivid militant montage, Antonio
shows the inhumane strong-arm tac
tics used to wrestle women, children
and men into non-human existence.
Antonio combines documentary form
with filmic aestheticism to create a
political horror.
“We must continue our bombing
until we destroy every work of man if
necessary,” said General Earle G.
Wheeler. And bomb they did. We all
know that. We all know five pounds
of shrapnel were dropped on every
square inch of Cambodia, as well as
Vietnam: consistently cruel punish
ment for crimes never committed.
The camera’s eye catches Viet
namese peasants on the natural turf,
bowing and pleading like well-trained
animals. The look of horror in their
eyes is worlds more powerful than the
shell-shock psychosis portrayed by
the American veteran. Why? Because
“our boys over there” were on the
killing end of things. The Vietnamese
were tortured, herded and killed.
Antonio utilizes combat newsreel
footage, authentic political commen
tary — the incredible amount of disin
formation spewed on the American
populace — and current interviews
with political theorists, war corre
spondents and Vietnam veterans to
relay the hideous barrage of war
crimes committed by the powers that
were.
American intervention in Vietnam
actually started in 1845, said a profes
sor of Vietnamese literature at Cor
nell. So it’s not one of those things that
merely started to boil in the early
1950s. Intervention stepped up in
1945 when Ho Chi Minh held the high
post in Vietnam. Paul Mus, professor
of Buddhism at Yale, acting as nego
tiator for the French president, De
Gaulle, was sent to contact Minh for
the first time.
Mus informed Minh that De Gaulle
wanted him to join the French Union.
Minh asked what the union was: a
circle or a square — a metaphor from
a Confucian proverb. A square, to
Confucius, was solidity, the earth; a
circle was more associated with
heaven and intelligence. Mus said he I
didn’t know which it was, and Minh <
reacted with surprise. His response to
De Gaulle’s request: 1
“I have no army (it’s not true now), i
I have no finance, I have no diplo- i
macy, I have no public institutions, I i
have just hatred. And I will not disarm I
it until you give me confidence in I
you.” I
“Ho trusted us,” Mus said, “and we
betrayed him.”
Broken trust and lies stand front
and center in Antonio’s work. He
continually juxtaposes what we were
told and what was actually happening.
Upon the initial screening of “In
The Year Of The Pig,” Antonio was
criticized for turning out a severely
slanted documentary, which he agrees
with wholeheartedly. But in the light
of the tainted information espoused by
the U.S. government, a bit of bias
towards the underdog seems insignifi
cant. To document all aspects of the
Vietnam incident in one film would be
futile — nothing short of a 48-hour
documentary. Actually, the incorpo
ration of aestheticism and angle are
refreshing from the normal set-cam
era, medium close-up shots that
plague so many documentaries.
There’s nothing wrong with making
the package visually pleasing. Con
sidering the enormously intense con
tent, within itself graphically disturb
ing, a little internalized creation
makes the viewing dramatically more
rewarding.
Shot after shot bounces back and
forth between clean-cut army gener
als and politic ians, repealing with glib
lies the humane manner with which
we are handling the Vietnam situ
ation; then on to a militia brutalizing
peasants into submission.
“The prisoners were executed in
our outfit as a standard policy,” said
David K. Tuck, former U.S. private in
Vietnam.
A bush rattles with convulsive
action, and the broken and maimed
body of a Vietnamese peasant falls to
the roadside.
We are so inundated with Ameri
can propaganda, it’s hard to believe
that such demonic treatment of other
human beings could go on, condoned,
for decades. This is not the case,
obviously, for the typical Vietnam
peasant or soldier. For centuries
they’ve been subject to aggressive
domination by political institutions
seeking power for their own good.
The physical destruction of their vil
lage does not mean the absence of
existence. If their village is destroyed,
the com m unal group remai ns together
and rebuilds it from scratch.
Antonio makes the point that the
internalized ability to survive is one of
the reasons Vietnam was a police
action that could never be won.
Antonio’s film is an abrasive mas
terpiece worthy of standing front run
ner in the Vietnam genre, striking a
much-needed blow to the U.S. system
of strong-arm domination. The time
has come for Americans to realize the
horror ever-present in so much of our
foreign policy.
Courtesy of Sheldon
A scene from “In the
Year of the Pig."
‘Laser Visions’at planetarium
Mueller Planetarium has added a
new series, “Laser Visions,” to its
regular schedule of laser light shows.
“Laser Gold” features music of the
1950s, ’60s and ’70s in a multimedia
extravaganza. On Nov. 15 Chuck
Berry, Elvis and other ’50s stars are
featured in “’50s Flashback.”
“Laser Rhapsody” (Sunday
through Nov. 22) illustrates favorite
artists such as Phil Collins; Crosby,
Stills and Nash; Kenney G; and Fleet
wood Mac.
“All Hits Laser Show” (Nov. 1 and
Nov. 29) rocks with the music of
Whitesnake, Bon Jovi, Huey Lewis
and the News, and others.
“Laser New Age” (Nov. 8 and Dee.
6) is a fusion of classical, jazz and pop,
such as Mannheim Steamroller, Paul
Winter, George Winston and Shadow
fax.
All "Laser Visions” shows start at
3:30 p.m. on Sundays and last about 50
minutes. Admission is $3.50 for
adults, S3 for high school and college
students, and $2 for children under 12.
Tickets for the shows will be sold at
See LASER on 16
