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What does Marjoe do with <strong>the</strong> souls he<br />

by ANDY HURLEY<br />

Movies, good or bail ones,<br />

do something to <strong>the</strong> people that<br />

see <strong>the</strong>m. They push <strong>the</strong>m<br />

around visually and emotionally<br />

and morajjy and ideologically.<br />

In fact, <strong>the</strong> really avid<br />

movie- goer is willing to see<br />

bad movies, stupid movies,<br />

simply to be able to watch his<br />

own reactions to <strong>the</strong> clumsy<br />

attempts of <strong>the</strong> movie makers<br />

to manipulate <strong>the</strong> viewers. Like<br />

sex transformed into mechanics<br />

by a consciousness of style or<br />

<strong>the</strong> lack of it, consciousness of<br />

<strong>the</strong> participation in it, watching<br />

movies can be a very frustrating<br />

and unsatisfying enterprise,<br />

and one which chills<br />

ra<strong>the</strong>r than warms.<br />

"Marjoe," for example, is an<br />

ably-made film with a compel-<br />

ling personality to focus on and<br />

follow, an interesting counterpointed<br />

double life to fathom,<br />

and hordes of evangelist campfollowers<br />

to feel patronizingly<br />

smug toward. My audience<br />

over at <strong>the</strong> Alabama applauded<br />

<strong>the</strong> film. And I, sitting down<br />

front with an obstructed view<br />

of <strong>the</strong> ugliness physical and<br />

spiritual, <strong>the</strong> desperate eyes,<br />

<strong>the</strong> souls with warts to be removed<br />

by a laying-on of galvanizing<br />

hands and a speaking<br />

of glossolalic jabber, I was depressed<br />

and angered by <strong>the</strong><br />

film.<br />

Marjoe Gortner was a victim<br />

of his parents' manic and<br />

zealous evangelism/moneygrubbing.<br />

They worked <strong>the</strong><br />

four-year-old child like a gander<br />

who lured <strong>the</strong> <strong>the</strong> golden<br />

geese to <strong>the</strong> canvas tabernacles<br />

erected in towns across America.<br />

They made little Marjoe into<br />

a spiritual freak-show. They<br />

robbed him of knowledge<br />

of moral discriminations by<br />

conflating <strong>the</strong> good of caving<br />

souls through preaching gospel<br />

(a good I will not dispute<br />

<strong>the</strong> goodness of) with <strong>the</strong> evils<br />

of spiritual hypocrisy and<br />

preaching tainted with fraud<br />

and greed. And as Marjoe says,<br />

it is a part of his life he cannot<br />

be responsible for. He was<br />

<strong>the</strong> innocent tool of his mistaken<br />

if not actually bad parents.<br />

But as an adult, Marjoe<br />

should have more of everything<br />

good—especially if he has, as<br />

he continually wants us to believe,<br />

learned lots ot' lessons<br />

Books make a film and a joke<br />

H. DAVID DANGLO<br />

The human inhabitant of<br />

Tralfamadore is, has been and<br />

always will be, living on that<br />

planet 1 - <strong>the</strong> natives live in <strong>the</strong><br />

fourth dimension. What <strong>the</strong> natives<br />

do when <strong>the</strong>y're not observing<br />

<strong>the</strong> humans (in a sealed<br />

dome furnished by Sears and<br />

Roebuck) is unobservable, but<br />

what human Billy Pilgrim docs<br />

is - time-tripping. He jumps<br />

back and forth uncontrollably<br />

through <strong>the</strong> many events of his<br />

his life.<br />

SLAUGHTERHOUSE-F I V E<br />

could become a very epicurean<br />

philosophy of life. Billy begins<br />

his time-tripping after he is<br />

picked up by a Tralfamadorian<br />

light ship, shortly after his<br />

wife's fatal accident and <strong>the</strong><br />

plane.crash. He is. limited, however,<br />

to his own existence—his<br />

earthly life span-through which<br />

he hops back and forth as he<br />

spends eternity in outer space<br />

with his idol-mate, buxom starlet<br />

Montana Wildhack. Can you<br />

imagine being warned several<br />

years ahead of time, and <strong>the</strong>n<br />

cramming every activity imaginable<br />

into that time, knowing<br />

that you'd be reliving <strong>the</strong>m forever?<br />

Although I'm sure forever<br />

would soon become somewhat<br />

boring, at least you'd be<br />

doing yourself a service to insure<br />

<strong>the</strong> postponement of eternal<br />

ennui. Plus you would have<br />

more time to think about your<br />

choice of mate.<br />

Although <strong>the</strong> situation'is preposterous,<br />

SLIAUGHTER-FIVE<br />

is a very enthralling film, and,<br />

if not :<strong>the</strong> best this year, at<br />

least <strong>the</strong> best combination of<br />

perfection and singularity. I<br />

have not read ..<strong>the</strong> book; <strong>the</strong>refore<br />

I cannot comment on <strong>the</strong><br />

skill of adaptation. To say "if<br />

<strong>the</strong> book is as good as <strong>the</strong> movie,<br />

it's worth reading" would<br />

sound ra<strong>the</strong>r ignorant — what<br />

can one say about a book which<br />

received rave reviews upon publication,<br />

boasts one of <strong>the</strong><br />

world's most renowned contemporary<br />

authors and is part of<br />

a cult? The unusually meticulous<br />

script seems to suggest<br />

that <strong>the</strong> original was followed<br />

faithfully, and <strong>the</strong> movie has<br />

plenty of assets on its own.<br />

The acting and photography<br />

are only adequate, overshadowed<br />

by a masterful control of<br />

movement and juxtaposition by<br />

<strong>the</strong> director, George Roy Hill<br />

(BUTCH CASSIDY AND THE<br />

SUNDANCE KID). Michael<br />

Sacks, aided by a fantastic<br />

makeup job that rivals <strong>the</strong> ag-<br />

ing process used on D u s t i n<br />

Hoffman in LITTLE BIG MAN<br />

provides a good Billy Pilgrim,<br />

and supporting performances<br />

by Valerie Perrine as Montana<br />

and Ron Leibman as <strong>the</strong> avenging<br />

Paul Lazzaro are very complementary.<br />

Sharon Gans as<br />

<strong>the</strong> "pleasingly plump" Valencia<br />

Merble (Billy's wife) and<br />

Holly Near as <strong>the</strong> prototype<br />

daughter Barbara ("<strong>the</strong>re's no<br />

such place as Trilafamiduke!")<br />

are also notable in <strong>the</strong>ir debuts.<br />

The invisible Tralfamadorians<br />

steal <strong>the</strong> show in this category,<br />

and <strong>the</strong>ir celebration of new human<br />

life when Montana gives<br />

birth truly makes <strong>the</strong> heart rejoice.<br />

George Roy Hill, however,<br />

has managed to direct an almost<br />

perfectly executed movie.<br />

His success as director of Butch<br />

Cassidy has clearly carried over<br />

to a remarkable rendition of a<br />

man "unstuck" in time. Although<br />

he has sacrificed good<br />

characterizations (possibly a<br />

fault of <strong>the</strong> original) and <strong>the</strong><br />

potential for better photography,<br />

he has taken a conceivably<br />

confusing concept and<br />

sorted it out visually for <strong>the</strong><br />

audience. SLAU G II T E R-<br />

HOUSE-FIVE is rarely confusing,<br />

and Hill sees to it that,<br />

despite <strong>the</strong> bumpy story line,<br />

<strong>the</strong> movie can be easily followed<br />

without too many jolts.<br />

SLAUGHTERHOUSE-FIVE—<br />

a philosophy, a celebration of<br />

life and a truly fine film. At<br />

<strong>the</strong> Gaylynn in Sharpstown.<br />

What are perverts? Do aphrodisiacs<br />

work? What is sodomy?<br />

What happens in <strong>the</strong> body<br />

during sexual intercourse? Dr.<br />

David 1 Reuben tried to answer<br />

<strong>the</strong>se questions in his best seller<br />

EVERYTHING YOU AL-<br />

WAYS WANTED TO KNOW<br />

ABOUT SEX BUT WERE<br />

AFRAID TO ASK, with varying<br />

feuccess.<br />

Woody Allen, in. his new film<br />

of tine same title, has managed<br />

to answer <strong>the</strong>m again in an<br />

equally ridiculous fashion; and<br />

at <strong>the</strong> same time he spoofs foreign<br />

films (in atrocious Italian),<br />

horror films (mad doctor sex<br />

tfiend[) and historical films (with<br />

<strong>the</strong>e and thou and words that<br />

rhyme with latch). I think I<br />

read <strong>the</strong> book at one time or<br />

ano<strong>the</strong>r, simply because I didn't<br />

think I' could just wait and see<br />

<strong>the</strong> movie, a previously successful<br />

ploy with such best sellers<br />

as THE GODFATHER and THE<br />

NEW CENTURIONS. I couldn't<br />

have been more correct in my<br />

tMhking.<br />

xhe book is <strong>the</strong> perfect material<br />

for Allen, and served only<br />

as a springboard for some very<br />

special and unique comedy. With<br />

seven sketches, Allen answers,<br />

seven of Reuben's basic questions,<br />

with as much plausibility<br />

as <strong>the</strong> original replies. Settings<br />

range from medieval castles to<br />

modern testicles; subjects range<br />

from chastity belts to monster<br />

breasts (captured in a size 4000,<br />

X-cup bra); situations range<br />

from infatuation with a sheep<br />

to gangbanging by a troop of<br />

crazed Boy Scouts.<br />

With EVERYTHING YOU<br />

HAVE ALWAYS WANTED TO<br />

KNOW ABOUT SEX BUT<br />

WERE AFRAID TO ASK<br />

Woody Allen has branded pornography<br />

with his low-key humor,<br />

but <strong>the</strong> effort is about as<br />

significant as o<strong>the</strong>r such comedic<br />

trivia as THE OWL AND<br />

THE PUSSYCAT and hardly<br />

more worthwhile. Little more<br />

than a "hard-core" LOVE<br />

AMERICAN STYLE has been<br />

developed.<br />

Every character in <strong>the</strong> movie<br />

is feature perfect, and I just<br />

have'to praise Allen's sense of<br />

direction and characterization<br />

despite my discontent with <strong>the</strong><br />

total concept. His humor trademark<br />

is still clear—<strong>the</strong> unchanging<br />

straight-faced, anti-serious<br />

comedy unmatched by o<strong>the</strong>r<br />

comedians or directors of comedy.<br />

I never thought that this<br />

could be <strong>the</strong> least bit obnoxious,<br />

but it finally happened with<br />

EVERYTHING. Woody Allen<br />

really ought to find better<br />

things to do with his time.<br />

through his cold-blooded exploitation<br />

of <strong>the</strong> offering plate<br />

to his own gain. He should have<br />

more sense of responsibility to<br />

those people—however ugly,<br />

however much hicks, however<br />

naive ai\d unconscious of urban<br />

vices <strong>the</strong>y are—who believe in<br />

him and his powers to show<br />

<strong>the</strong>m how to do good. He should<br />

have sympathy for <strong>the</strong>m. He<br />

mustn't let us have fun at <strong>the</strong>ir<br />

innocent expense. And he should<br />

have respect for us. His appeal<br />

is great—he's a combination of<br />

David Frye and Mick Jagger<br />

physically—and yet he uses it<br />

to swindle not only those poor<br />

arthritic old folks but us, whom<br />

he seems to be enlightening.<br />

The shell game, played with<br />

celluloid.<br />

Marjoe wants to seem cold,<br />

calculating, and .evil — one<br />

knows this when he says, "I'm<br />

not evil; I'm bad, and <strong>the</strong>re's<br />

a difference," so that you know<br />

he's lying, like <strong>the</strong> used-car<br />

salesman who wants to be a<br />

Marjomioso. He winds up seeming<br />

not cold or calculating or<br />

evil but sad, self-deluded, and<br />

bad. It would be great to be<br />

evil—Miek Jagger is evil, and<br />

he's <strong>the</strong> closest thing to a hero<br />

that we have nowadays. But<br />

is evil manque, not heroic but<br />

disgusting, not amoral and<br />

grand and vital but immoral<br />

and petty and sick. Marjoe is<br />

a cheap shyster, and his victims<br />

are pitiable and legion.<br />

"Marjoe" is a vicious, grasping - ,<br />

mercenary movie; its victims<br />

are us, if we applaud or are<br />

angered or if any of it caters<br />

to our sense of our superiority<br />

to <strong>the</strong> victims we see Marjoe<br />

ripping off.<br />

But <strong>the</strong> movie is very well<br />

done, very ingratiating, very<br />

sli<strong>the</strong>ring and reptilian and<br />

quick and razzle-dazzle. It is<br />

a doozey and I'm very happy<br />

finally to have escaped it by<br />

writing this review. Don't let<br />

it sell you salvation by showing<br />

you that you're elect''"already.<br />

That's a hard temptation<br />

to resist, <strong>the</strong> appeal to<br />

vanity, but do it, do resist, or<br />

you lose your soul to Marjoe.<br />

V<br />

I A WILD VIEW OF THE WORLP IN THE Wll-P<br />

p PAIR'S HI-FLYING FOOTGEAR, BAGS V&ELTC<br />

ft FOR HE ySHE. (M THE GALtEtUA.<br />

ft HERE,TWO TREE-TOPPFRS ON STACK V STILT<br />

X > HEELS. HI-RISE NANNV IN BURGUNDY,<br />

I) (MUSTARD ^ &LUE. §30. HE-TIE, NAVY/<br />

I VRE£> FIRING OR &R0WM/MUSTARD PIPING.<br />

^ I §34. BanhAmericard V Master Charge.<br />

lea<strong>the</strong>r<br />

ALL THE WAY!<br />

he<br />

The <strong>Rice</strong> Program Council<br />

Presents:<br />

J O E<br />

Starring<br />

PETER BOYLE AND<br />

DENNIS PATRICK<br />

Saturday,,. Sept. 16, -<br />

7:30 a>pd 11:00 pm<br />

IIAMMAN HALL<br />

$1 at <strong>the</strong> door<br />

<strong>the</strong> <strong>rice</strong> <strong>thresher</strong>, September 14, 1972—page 7

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