ET CETERA
University Daily Kansan, February 21, 1985
Page 6
The '40s
Course revives war-torn decade
By RICK ZAPOROWSKI Staff Reporter
Just when a generation establishes some sort of fashionable standard, it seems that someone comes along and finds a way to change it. But even the creative non-conformists of 1985 have trouble being completely original in their fads.
One way to recognize the 'makings' of a culture is to look back on the styles of precolonial cultures.
That decade contained many fads, fashion and ideologies that today's younger generations only read about in history books or hear about from relatives. They can, however, detect the contrasts and the similarities between the 1940s and the 1980s and even live through some recycled crazes and trends.
CHUCK BERG, ASSOCIATE professor of radio, television and film, teaches a class this semester called American Popular Culture of the 1940s that allows students to examine society in that decade. He brings to his class films and music from the '40s to illustrate how the media mirrored society's attitudes during the World War II era.
"The class is taking a look at an entire decade with so many cataclysmic events of one type or another," he said. "What we are looking at are the media of the popular culture and these would reflect and frame some point to the great events and issues of the day."
Berg said the public's political outlooks and social activities were affected strongly by World War II, particularly in movie
theaters, where the war theme pounded away at audiences.
"The film was propaganda in that it was an attempt to solidify those already supporting the interventionist position and to move isolatism们 to that position." he said.
BERG SAID ALFRED Hitchcock's 1940 film "Foreign Correspondent" was an example of a film designed to boost enthusiasm for and understanding of the war.
Berg said films became a popular tool of propaganda because they reached the masses, rather than a selected group. Some
media are always dealing in one way or another, with what's percolating out there."
Calder M. Pickett, Clyde M. Reed distinguished professor of journalism, said propaganda films continued to be made after the war, but were replaced with other types of film.
"The post-war period, beginning in 47 and 48, brought some very successful co-
missions."
Rickett said that after the war, people sought a completely new way of life. He said people tried to abandon the wartime turmoil and develop a simpler way of life.
'Mr. and Mrs. America during the 1940s supported the war wholeheartedly but entailed a lot of sacrifices. Americans now have been isolated from the terrors of war.'
Chuck Berg associate professor of radio, television
films attempted to help people understand our wartime allies, such as the Soviet Union, and others tried to help define the opposition.
"Our enemies are depicted in stereotypical manners, he said. "They hardly ever had a chance."
BERG SAID THE pro-American films continued after the war, and the patriotism carried through the second half of the decade.
"After the war, filmmakers still were dealing with social problems," he said. "Our
"IN THE POST-WAR period, people simply were trying to get themselves back to a routine life," he said. "This was certainly reflected on college campuses."
American culture today shows signs of patriotism existing during the American involvement in World War II. Berg said, and in part because of his experiences, the influence of their full-fledged support of the nation.
"The public patriotism we've seen in the political campaigning is somewhat of a renewal of the out-and-out patriotic extremes that were prevalent during the 1940s." Berg said.
"I if there is any parallel I see, it's back to the 1950s," Pickett said.
Pickett said he didn't see a great revival of the 1940s political and social values today, but that the 1980s carried characteristics of past decades.
BERSG SAID HE thought the intensity of the war made the people of the 480s much more dramatic about their support of the United States and its functions.
"Mr. and Mrs. America during the 1940s supported the war wholeheartedly but entailed a lot of sacrifices," he said. "Americans now have been isolated from the terrors of war. In the United States, it is still hard for us to let it all hang out, and this Bud's for you."
Berg said many of the social movements happening now got their start in the 1940s.
"I think World War II was the galvanizing event for the women's rights movement and the civil rights movement," he said. "World War II produced many important spin-offs that have had a continuing impact on the decades that followed."
WOMEN'S RIGHTS GAINED momentum when women had to go to work in factories and had to take more responsibility while the men were fighting overseas.
"Rosie the Riveter was the stereotypical character that came out of the domestic front." he said.
1904, he said.
In addition to the social enthusiasm and the political ideology that can be translated from the 1940s to the 1980s, Berg said some of the
fads and fashions today reflected the ones occurring 40 years ago.
"Maybe the start of the unisex clothing could be found in the styles of the 1940s," he said, "when women started wearing more masculine clothing."
The long hair of Lauren Bacall and the tough-guy image of Humphrey Bogart also are coming back. Berg said, and today's music videos feature clothing in '40s styles.
BERG SAID MUCH of the music popular 40 years ago had experienced a comeback. He said he thought interest was growing in the band and the ballads sung by Frank Sinatra.
"Performers such as Bette Midler and the Pointer Sisters do a lot of material coming directly out of the World War II period," he said. "There's been quite a lot of music recycled."
Pickett said the musical theatre experienced a dramatic change during the 1940s. Later, Hollywood transferred the musicians from the stage to film.
"The 1940s was an absolutely tremendous era in the musical theatre," he said. "‘Oklahoma!’ in 1943 changed the musical theatre. After that, show there were plots that involved real people and real situations."
Berg said he thought the people of the 1940s and the 1980s showed similar characteristics of conservativism and conformity. However, he said, each era had its share of young social rebels. In the '40s, the hecaps — a group of youths who latched on to unique music and fashion — emerged as the equivalent to today's punk culture.
'Club' provides food for thought
By DARREN SEXTRO Staff Reporter
"The Breakfast Club," starring Emilio Esteve, Anthony Michael Hall, Judd Nelson, Molly Ringwald, Alley Sheedy and Paul Gleason. Directed by John Hughes. Audience rating: R.
Director John Hughes knows that teenagers have something worthwhile to say, and he gives them a chance to say it in "The Breakfast Club."
When the five students in this film aren't falling through ceilings, experimenting with drugs or playing jokes on their teacher, "The Breakfast Club" is a delight. It's also
embarrassing for current or former high school students who recognize themselves in the characters.
THE MEETING OF THE five isn't a chance encounter. Each has broken some rule and must spend a Saturday in the school library.
the most dramatically different social groups?
This movie is a teen-ager's dream. The parents and teachers — anyone who represents authority — are the enemies. And "The Breakfast Club" should be fun viewing for psychology majors. The possibilities for one-on-one and group analysis, with five distraught kids from diverse backgrounds, become great.
When not being lectured by their militaristic supervisor (Paul Gleason — who does a fine job in a role that is little more than a parody of all teachers), they pass the time by alternately annoying and discovering each other.
What they discover is that, despite their varied histories, they have one thing in common: rotten parents.
HUGHES, WHO ALSO wrote "The Breakfast Club," is the king of generalizations. But that's OK, because high school is like that. He brings together a beauty, a brain, a jock, an artistic recluse and a criminal and bounces their psychies off each other.
The premise for "The Breakfast Club" is so obvious that the audience might wonder why it hasn't been done before. Since school represents such a fascinating cross section of society, why not choose five embodiments of
However, it's too bad that we see so much of Judd Nelson as the criminal. He serves as the trigger to the emotions of the others. But of all the characters, he's the most stereotypical and most boring. Nelson's is a case of overacting and of an overwritten role.
EMILIO ESTEVEZ' S JOCK also pales beside more interesting performances by Anthony Michael Hall, Mily Ringwald and Todd Goulin, the brain, beauty and recluse, respectively.
Hall is so believable. He gives the most emotionally charged speech in the film and delivers it without the slightest hint of bias. The best portraitival is everything that Nelson isn't.
Ringwald also performs her character honestly. Unfortunately, she too often must act opposite Nelson, numbing the effectiveness of her scenes.
Sheedy rescues the comical but anemically written role of the social outcast. She fleshes out her character and never fails to draw a laugh.
Students undertake miserly roles in University theatre production
By RICK ZAPOROWSKI Staff Reporter
Many KU students must spend time outside the classroom pursuing activities related to their majors. Some activities involve field trips or a day, yet students still become involved.
Theatre students devote much of their time rehearsing for plays and constructing sets and costumes. The productions take place on the stage, and turn many students into time-missers.
One such production is the University of Kansas Theatre's adaptation of Moliere's classic comedy "The Miser." The play will be staged at 8 p.m. tomorrow and Saturday in the Crafton-Preyer Theatre in Murphy Hall. The play also will be presented Feb. 28 and March 1 and 2.
TICKETS CAN BE purchased at the Murphy Hall box office and are half-price for KU students.
The cast members of "The Miser" have been rehearsing for more than four weeks. The actors rehearse nightly, usually for three or four hours.
Bryan Burke, Leavard senior, portrays Harpage, the play's leading character. Burke said he had to make some allowances for the time commitment.
"It's a very time-consuming thing," he said. "Everyone thinks that theatre classes are very easy. They are, because it's the time commitment that's difficult."
Burke said cast members knew about
the heavy rehearsal schedule when they auditioned, so the long hours on stage every night came as no surprise. The long hours will be reflected in a successful production, he said.
Tim Hutchings, Shawnee junior, and Harpagton's son in the play, said that his class work didn't suffer, but that he had to cut down on some recreational activities.
"I THINK THE show's going to be pretty good," he said, "so that tells you about my grades."
"You lose out on a little sleep." he said,
"but you can keep up pretty much on school work."
The KU production of "The Miser" is an adaptation of Molière's original version. Ron Wills, director of theatre and director Rayley, adapted and arranged the new version.
Willis said he modified the script and altered characters' lines without changing the story. He also added one character and changed another.
ALTHOUGH THE DIALOGUE is cor-
respondence still takes place in
the 17th century.
As fortune has it, the woman Harpagon
"It's a farce, but in contemporary Midwestern English language," Burke said. "It's still a classic, but updated a little."
The story centers on Harpagon, the miser, who arranges a second marriage after the recent death of his first wife. He also plans marriages for his two children — marriages that will bring more money into the family.
plans to marry, Marianne, is the lover of Harpagon's son, Cleante, played by Hutchings. Cleante doesn't know his father plans to marry Marianne, and Marianne doesn't realize Cleante and Harpagon are related.
CLEANTE CONCOCTS A complicated scheme so that he can keep Marianne. His desires conflict with Harpagon's plans to fulfill his misery needs.
Hutchings said, "Both of Harpagon's children sort of sneak around behind his back to get what they want. They're conniving."
Susan Murphy, Olathe senior, plays Harpagon a 87-year old student. She says the plot thickens as people carry out their plans for pleasure.
"it's really complicated," she said,
"like a soap opera."
Murphy said that someone reading the play's script might not recognize the humor right away, but that the staging helped make it more humorous.
"When you first read 'The Miser,' hard to see to the comedy right away," she said. "It needs the stage. There's a lot of physical work. The lines are quick and glib and are accompanied by a lot of physical action."
Hutchings said that the age of the play didn't detract from the humor.
"It could be funny by contemporary standards," he said. "Some people might come to the show expecting to have to hold back the yawns. But if they come open-minded and with a clean slate, I think they'll really enjoy the show."