The Boston Globe from Boston, Massachusetts • 13

The Boston Globe Saturday, Decembor 1977 13j kkvikw W1J AT I.AHCK HOBF.UT TAYI.OK A sketchy sort of analysis According to a long and learned article by a psychology professor named Michael Selzer in last Sunday's New York Times magazine, five psycholo-. gists presented with the anonymous drawings of Adolf Eichmann imme wsthe WORLD'S VVi GREATEST i'd GAME fTh (AND IT J( fA SURE AIN'T V'Ci JrA FOOTBALL.) rtTSM IKM S.VS ft I diately discerned the work of a psychopath. A sixth psychologist characterized the artist as "an Adlai Stevenson type," but upon learning his identity, revised the analysis drastically and refused to be questioned. I have never known what constituted "an Adlai Stevenson type," and I am not sure now, but I am sure that in almost every field save 'Mermaids alluring MERMAIDS A play directed by Deborah Fort-son at the Erhlich Theater, Boston Center for the Arts, Thursday through Saturday at 8 p.m., Sunday matinee at 3 p.m. through Dec.

10. By Otile McManus Globe Staff The Theatre Company of Boston School Touring Company has temporarily moved into the Boston Center for the Arts with an original production entitled "Mermaids." And the troupe of teaching actors and Boston public high school students have worked hard to create an impressionistic fantasy focused on what it means to be a woman. Alluding to those creatures from medieval European folklore, half-womanhalf-fish, the production attempts to illustrate the double bind that is a women's lot. Like the mermaid who either brings destruction to the sailors whom she lures into treacherous waters or on herself by falling in love with one of them, woman is damned if she does and damned if she doesn't. I wish I could say that this production succeeds as well on this level as it does technically.

Constructed as a loosely strung and plotless montage of assorted female characters an old woman, mother and daughter, ladies' room attendant, streetwalker, jogger, seamstress and, yes, mermaid "Mermaids" emerges as a somewhat fragmented experience. But this is not to suggest that the production is without merit. The staging, costumes, sets even some of the individual characterizations are wonderful. And you get a real sense that the students participating in the School Touring Company, funded with state and private funds, are receiving a thorough grounding in theater skills. Even better than that, they are learning that there are other ways to say things, through the metaphorical language of music, drama and dance." I hope the production is performed at some of the city's high schools where students and teachers could talk about "Mermaids" A A A A A A A nmwim mm onzasoi is JILL CL.1YCUI1GK "ssm-fausa" United Artists psychological testing no Valeria Mairesse and Therese Liotard in 'One Sings, the Other SACK CHERI 1-2-3 50 DAITON OM SHf A TON BOSTON 536-7870 FRAMIMGHAM CINEMA 5HOPPEBVWLD 235-8020 SHOWCASE W0BURN 933-5330 RT.

128 NIAR 93 one would confuse him with Eichmann. And yet the tests (Bender Gestalt and House- Varda celebrates women Tree-Person) seem clinically useful. When they work, that is. INDIAN HEAD by Adolf Eichmann "The movie is of the highest quality excit-. ing, moving, carefully made, highly charged, intense, an example of filmmaking in high gear." IW Hruilnm.

I rm" V- lift ill nfti i Ll 1 REVIEW MOVIE logue and an instinct for economy in potentially bathetic situations. For instance, she's in favor of abortion but she resists the temptation to show one. Unfortunately, her instincts aren't always functioning. She provides a voice-over which is sometimes too explicit in explaining the significance of narrative episodes. "Apple" has a tendency to sing too many polemical pop songs something that comes through loud and clear in this film is that feminism in France in the mid-'70s in about where it was in the early 70s in this country.

The strength of the film, however, is in its projection of the strength of women, something many men are only beginning to appreciate, although it's been evident for quite awhile. Although "Apple" chooses a career, she has children and it is in the depiction of the growth of "Apple's" and Suzanne's children that Varda makes her most telling point: Liberation is inexorably ONE SINGS, THE OTHER DOESN'T A film written and directed by Agnes Varda. In French, with English subtitles. No rating. By Bruce McCabe Globe Staff "One Sings, the Other Doesn't" is a sensitive film about women and their relationships, to one another, to men and to children.

It ought to be seen although, while watching it, I'm not always sure why. The reason is that Varda's politics, intelligent and perceptive as they are, sometimes work against her talents as a filmmaker. Underlying the film is a sensibility that will sacrifice narrative facility if it conflicts with the necessity of making a political point. The irony is that when Varda pays particular attention to pace, her film is quite affecting. She's elicited good performances from Valerie Mairesse, who plays a pop singer nicknamed "Apple," and Therese Liotard, who plays a mother named Suzanne.

Varda also has a flair for imagery, an ear for ironic dia- IFOl If If? mmm jR "iU' No Passes Accepted at the Cinema HACK CINEMA 57 JOO JAI! imw MIR tO CHESTNUT HILL CINEMA NT 9 HAMMOND SI 277-2500 HHOWC'AhK W0BURN 933-4330 RT 139 V3 Selzer's article constitutes a refutation of Hannah Arendt's "banality of evil" thesis. He contends that instead of being "normal" persons impelled to perpetrate monstrous crimes through social circumstances in which criminal behavior is legitimized by the state, the Nazis were basically deviant personalities. As psychopathic thugs controlling the regime, they were "easily able to coerce the vast majority into terrified submission." His argument is persuasive, and one would go along with him, except for three factors. First, I believe the Nazis were gangsters, essentially, but I doubt they coerced the Germans into "terrified the psychopaths at the top had the enthusiastic support of the populace. Second, drawings, however therapeutic, are uncertain metaphors of emotional life.

Third, Eichmann's drawings are too like my own feeble representational efforts indeed the efforts of almost every ungifted and untrained artist for comfort. All drawings, of course, do reveal a glimpse of the artist as a person, insights into character, sometimes philosophy. And art teachers are overly familiar with the student who makes diligent drawings avoiding responses to the expressive possibilities of a subject. When psychologists depart from clinical experience, however, and start relying on personal intuition, then, as Selzer admits, the subjective skill of the interpreter is the operative factor. Eichmann, for example, asked to draw "anything you like," sketched the profile head of an Indian wearing a war bonnet.

The Indian's nose and chin jut outward, prompting one interpreter to find aggression, but the expression of the Indian is "depleted," supposedly the expression of a brave who has buried the hatchet. This analysis seems highly speculative. For the past century the visual arts have often rebelled against "the tyranny of the anecdote" narrative implications the artist never intended. The art critic examining Eichmann's Indian would be more inclined, perhaps, to note evidence of someone more interested in the smaller forms that comprise a larger volume than in the volume proper. A fussy bureaucrat mired in detail and a mass murderer, at the very least.

The "banality of evil" thesis appears more or less reinforced by the drawings. On the other hand, I suppose we may regard the Indian anecdotally. What do you have to do to get elected President of the United States? Maybe it is Adlai Stevenson in a Sioux headdress. 'Kmmmmit'W Dalton opp Sheraton Bos 536-2870 FILM TIMES lAlPocinois vtjri.Blri..ii.ifewi' r9fca C4LENDJR Saturday, Dec. 3 Evening of Absurd Comedy Three one-acters presented by Actors Workshop, at 656 Beacon at 8 p.m.

Free. Bluegrass Concert At the and Coffeehouse, Unitarian Church, Massachusetts avenue, Arlington Center, at 8:15 p.m. $2 "GUNGA 8t Grant.Victor McLaglen. Douglas Fairbanks Jr EXETER "The Lacemaker," 1, 3:10, 5:20. 7:30, 9:40 GALERIA "The Lacemaker." 1, 3:10, 5:20, 7:30.

"Allergro Non Troppo." midnight GARY "Starship Invasions," 1, 2:45, 4:30. 6:15, 8. 9 45 HARVARD and Death," 1, 5:25. 9 55; "Everything About Sex." 2:30, "Bananas." 4. 8:30: "Man Who Fell to Earth." midnight ORSON WELLES Sings.

The Other Doesn't." 2. 4. 6, 8, 10; "Touch of Evil," midnight ORSON WELLES 2. 4, 5 50. 7:45.

"Harder They Come," midnight ORSON WELLES III "Juvenile Court," "Outrageous," 4, 5:40. 7:30, "Lady Vanishes." midnight PI ALLEY "First Love." 1, 2:45. 4:30, 6:15, 8. 9:45 PUSSYCAT-'TaKing of Christina," 10, 11:48, 1:36, 3:24, 5:12, 7, 8-48. 10:36 SAVOY I "Piece of the Action," 1.

3:20, 5:40, 8. 10:15 8AVOV 1. 3 15. 530. 7:45, 10 8AXON "Short Eyes." 1:30.

3:30, 5:45. 8, 10 WEST END PUSSYCAT-'Sylvia," 10, 11:48, 1:36. 3:24, 5:12, 7, 8:48, 10:36 Movie schedules Are subject to unexpected changes. ALLSTON I -Effi Briest." 1:45. 4:25.

7, 9:45 ALLSTON II "American 2, 4:30. 7, 9:15 BEACON HILL "Heroes," 1. 3:15, 5:30. 7:45. 10 BRATTLE "My Uncle Antoine." 5:45, 9:30: "400 Blows," 4, 7:45 CHARLES I "Star Wars," 1:15, 3:30.

5:45. 8. 10 CHARLES II Another Man, Another Chance." 1. 3:15, 5:30. 7:45.

10 CHARLES III "Kentucky Fried Movie," 1,2:45. 4:30. 6:15. 8. 9:45 2, 5, 7:30, 10 CHERI "Semi-Tough," 1:30, 3:20, 5:45.

8. 10:05 CHERI "Julia," 1, 3:15, 5:30, 7:45. 10 CHESTNUT HILL "Looking lor Mr. Goodbar." 1:30, 4:25, 7:20, 9:50 CHESTNUT God." 1, 3:20. 5:25, 7:35.

9:40 CINEMA 57-1 "Looking for Mr. Goodbar," 12. 2:30. 5. 7:30, 10 CINEMA 57-11 "Bobby Deerfield," 12:15, 2:45, 5:15, 7:45.

10:15 CINEMA 733-Spy Who Loved Me." 2 55, "Alice's Restaurant," 1, 5:05. 9:15 CIRCLE I "Star Wars," 2, 4:30, 7:30. 10 CIRCLE II "Heroes," 2, 4:40, 7:20. 9:50 CIRCLE III "Bobby Deerlield," 1:50, 4:20. 7:10, 9 40 COOLIDGE CORNER "Rescuers," 1.

2 50, 4:45. 6:40. 8 35 with Eduardo Ciannelli and Sam Jar 1 CIRCLE CINEMA ns 1 CINEMA 57 I' 1MCMHTOUIMKIIKI WilVlHlmmWIHa ClIWUANDCIKLl "pQ 1) GllOUICt SUGGrS'lD aoiTow Mi-mi 566-4040 1 fRMH wss srnANri at.t SHOfwus wio so SHoal PiAZA 933-S330 sw-im 73S-SO70 jl 848-1070 1 n.milim I TMlmau I Feature 1939 Fox Movietone News and short subject are new punts made especially tor txiese shows ADMISSION 100 CENTS sJ'i: rOOOF THE GREATEST MOVIE CLASSICS Dalton epp Sheraton Bos 536-2870 All the Pomp I and Pageantry of the QUEEN'S "Jane Fonda and Vanessa Redgrave are close to perfection." Nttwswxek Mdgiizine ffltr Think JUBILEE YEAR is coming to BOSTON GARDEN i JU'. I li)i ISTOffW BOSTO HISTORIC SALEM RESTAl RATS caniisii-k nk'isiiis'N A rURMAN-FOSl LK COMPANY PRODUCTION "FIRST LOVE" pCCC 1 nVCTCD UDIICC 143 Wash Sl Salem 150 0I Renovated Build-DLLr a UI0II.I1 nUUOt ing Fresh Sealoods-Ribs-Steaks 2nd floor 2 Shows and Dancing Nitely Banquets Welcomed Lunch. Dinner.

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