2BThe Daily Tar Heel Tuesday, August 28, 1984
ArtSchool reviewing exhibits
The ArtSchool is now reviewing art
exhibits for display in its galleries.
The ArtSchool maintains two out
reach galleries, one at the Savoy
Restaurant in University Square and
one at the Duke Power Building on
Homestead Road, in addition to the
gallery housed at the Art School's Can
Mill Mall headquarters.
Artists interested in showing their
work are asked to submit slides of their
work to:
Gallery Director
ArtSchool
Carr Mill
Carrboro, N.C. 275 10
Because the galleries operate year
round,, there is no deadline for sub
mission of work for consideration. For
more information, call the ArtSchool
at 942-2041.
Fellini's 'Ship' leaves neo-realism behind
Poets Exchange needs six more to read
The ArtSchool is seeking six poets to
read their work with established writers
as part of the 1984-85 Poets Exchange,
a series of Sunday readings.
To enter works for consideration,
writers should submit five typewritten
pages of original poetry accompanied by
a 3 by 5 index card with the entrant's .
name, address and telephone number and
titles of work being submitted.
Manuscripts will not be returned. The
deadline for entries is Sept. 15. Writers
should address their submissions to:
New Voices
ArtSchool
Carr Mill
Carrboro, N.C. 27510
For more information, call the Art
School at 942-204 1 .
By STEVE CARR
Staff Writer
Federico Fellini has never been a neo-realist. While
the movement's effect on him has been more than
acknowledged and Fellini himself played a large part
in the development of the Italian cinema after World'
War II, And the Ship Sails On marks Fellini another
notch further from neo-realism.
While the film incoporates two distinct elements of
the movement, the picaresque, disjointed manner of
storytelling and a strong social conscience, it totally
abandons the grainy pungency of original neo-realist
films and instead opts for a glossy, deliberately phony
exterior.
Back in the '40s and '50s, Italian directors like de Sica,
Rosselini and Visconti struggled to finance their projects.
They had to opt for on-locatioft shooting, stock that
was rough and abrasive, and non-professional actors to
fit major roles.
Now it is 1984 and Fellini is a bankable name. He
has lavished And the Ship Sails On with millions of
dollars so that arty, indoor sets can be mounted (at one
point a character remarks how the sun looks so beautiful,
as if it had been painted), a truly astonishing subtle color
change from black-and-white sepia-tone to color can
occur, and a rhinoceros can be hoisted aboard a ship
all this on shimmering styrofoam seas.
And the Ship Sails On has plenty of the typical Fellini
indigencies, yet it is probably his least personal film.
While such masterpieces as 8V2 and La Dolce Vita have
strong autobiographical threads running through them,
this film seems more attuned to ideas than people.
The story takes place at the outbreak of World War
I. As a last request, an opera luminary has asked that
she be cremated, and given a burial at sea. Her will
also requests a number of noted personalities to attend
the funeral, and these personalities become the basis for
the various disjointed vignettes forming the film's plot.
Some of these vignettes are truly amazing, such as
an aria contest in a boiler room between star tenors
and divas, a chicken being lulled to sleep by a basso
profundo, and a glass harmonica ensemble performing
in the galley.
, At the base of these vignettes, however, is an extreme
dislike for the main characters, and it is this dislike which
keeps the audience from identifying with any one of them.
The other opera singer are portrayed as competitive
and petty, a fat German prince as stupid, and his blind,
emaciated sister as, cunning. Fellini probably expects the,
HELP FIGHT .
BIRTH DEFECTS
(b) March of Dimes
Wake up to a cup of coffee and The Daily Tar Heel
O-BOY
audience to identify with a reporter covering the event,
but the character is really too bland for such an
identification to occur.
What results from this melange of characterizations
is really nothing more than the typical Fellini potshots
at prententiousness, art and life. Many vignettes are
punctuated with the director's interesting, somewhat
subversive perceptions on the human condition, but how
much water can they carry if the humans are in reality
just as phony as the sets?
This marks Fellini's departure from the realm of neo
realism and perhaps from that of greatness: concerning
himself with a statement rather than the feeling. His last
two films. City of Women and Orchestra Rehearsal, have
also shown this unfortunate trend.
Of Fellini's latest works, only the brilliant, bawdy
Amarcord attests to the director's genius by combining
nostalgia, fantasy and politics into a lovingly realistic
whole.
And the Ship Sails On at least has more heart than
Fellini's last two films, hut it is sad to see such an intensely
personal and expressive artist spend so much energy on
cardboard characters and their dilemmas.
from page 1
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113 N. Columbia St
Chapl Hill, NC
942-3162
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Durham, NC
288-2222
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Raleigh, NC
832-0557