8
Monday. November 1. 1971
University Daily Kansan
Mia's Performance A Boost to 'Evil'
By KATHY TWOGOOD
For those who enjoy suspense and chills without a substantial story line that answers the whys and the why's, *The Shadow* is no Evil! It is an excellent movie.
The script is poor in that it leaves too many questions unanswered. there is no character development or character development to tell the viewer why some guy with silver stars on his boots would murder someone.
The movie begins with a shot of those boots with the silver stars. A Mercedes drives by and splashes some water on the boots, the wearer irately stands up, and the car, then moves out of the way.
THE CAR PROCEEDS to a mansion in the country. Mia Farrow, who is blind, has just returned from the hospital to live with her aunt, niece and cousin. They accustom themselves to the house.
The viewer again sees the boots the next day at the mansion. Mia, as Sarah, is off riding horses with her parents. She comes home, the house is
strangely quiet. Her cousin has been murdered in her bed, her uncle is dead in the bathhug, and her aunt has been shot while she was sleeping.
THE DIRECTION of "See No Evil" is excellent. The photography adds much to the emotional resonance of this book, in the forest with the swirling autumn leaves as Sarah and Steve are riding arousers aesthetic, romantic and playful, even at the clay pits窒 pity.
But she is blind and doesn't discover the bodies until the next week. She learns that the murderer has left a silver bracelet on the floor and has to retrieve it before she becomes really tense as the viewer wonders how this blind man was able to commit the murders.
The suspense is carefully built. The viewer does not see the face of the wearer of the silver-starbed boots until the end. Throughout the film the viewer has a driving urge to see this face. There is also an opening in her head to find the bodies, although the resulting shock is horrifying.
MIA FARROW does a superior
'Ice Wolf' Reveals Contempt for Young
"Ie Wool," the latest production at the University Theatre, was a terrible waste of time and solitude with such illuminating the wrong-headedness of Children's Theatre in this country, although it may also have been revealing of the contempt we have for our very
The script was highly publicized for local audiences as a new breakthrough in children's literature, but it's still stuff trying to breathe life in a different environment, this time in an Eskimo in the north of Canada.
The story is about an Eskimo girl, Anatou, whose birth is hailed with suspicion and hostility by the superstitious natives because her skin is Cuscanian-pale, her hair is Shetlander. She is not like the other Eskimos who fear and respect finally drive her from the village.
Anatou seeks shelter in the wilderness forest, domain of the awesome Wood God, to whose assistance he can relief. Her wish to be changed into a wolf is granted, and against the entreaties of the Wood God and other forest animals, she came to the aid by killing many of the villagers.
ONCE, FLEEING from a hunting party, she encounters her childhood friend, Tartio, caught in the heat of overcomes her need for vengeance instead of killing her. The man is killed by an Eskimo's arrow. In death his spirit will teach the meaning of love and forgiveness.
The script makes clear to a children's audience that the theatre is really another Sunday play. A large, unconvincing platitudes about love, hate, brotherhood and so forth—all those nonsensical large concepts that have never been learned from preachers.
Still, there is a mediocre potential in this script, which was unrealized forever in the KU hage stage needed modification to come in closer to an audience of children. Instead it was made available by action too often played at middle and rear stage, and the added intervention of a cavernous or rooftop stage should have been extended.
THE ACTORS and acting were not simply uninspired, they were aggressively disinterested. There was no humor in their performances, no concern about creating an authentic voice for children, no concern about memorable one. Actors' voices—when one infrequently unintentional what was being emerged from the speech—no attempt was made to use dialect or exotic flavor. I wanted them to be more idea to expose our children too much to foreign parts. And besides, trying to simulate a language would require more study and rehearsal. Enough that we let the noisy little ones at the Eskimo costume looks like.
Janet Kolman as Anatou showed some excellence as an actress, but she should move away from drawing-room dramatics. In her wolf's role, she is moved with sensuous animal grace but lacked any project of animal savagery or violence.
Doug Huff as the Wood God played strongly in his early lines, but soon fell lower than the other girls. He had an interesting rear-end wiggle that was more comfortable than a mink than theermine she played.
The PACING of the play was erratic. It was slow where it needed faster movement; it needed more speed, speech where deliberation, pause and accent were required. Group movements were competent, but the lighting and background were gratuitous, often distracting.
Apart from the poor quality of
the KU production, "Ice Wolf" indicates the alling condition of Children's Theatre. Much of this sickness is the result of an active role for children in playwrights and actors to continue training children for middle-class life and values, which too often means inhibiting them from real-world situations. Or to put this all another way. Children's Theatre attempts to be "safe" for the kiddies, but most importantly, trying to keep children from threatening to adults.
Good drama is good art, making available imaginative and honest experience that adds a touch of already known. But we continue to learn from our experiences with our young people by subordinating the artistic passions to vague public pleasures of people. We desperately fear the humanity and love of which children are the guardians, but how can we help them come our fear and help that humanity and love to emerge.
acting job. Her blindness is extremely convincing, and the viewer laughs, suffers and stares in disbelief. It is a one woman show as all the
other actors are secondary to her. The plot revolves around her and the boots, but not much is required from a pair of boots.
Assistant Professor of English
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