Trinity College School - Record Yearbook (Port Hope, Ontario Canada)

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R, uisr on f UIIUID IV 'UCI utntd. , ACH IVAIAIOWMIUNG - DIIICIM G 'DI WAR Gill' PRIVILEGE F'AlLJl. eICJDJEiE5 ' eliilkfi E5P1F2Ih4F'1'CJPl ucwcoicr QANFQRTH nconutnuw AS ,,, ,,,, , ,,, M, Annu rnnnmnum' llear reader. the terrors of conformity are at hand, save yourself before you are enveloped in a tide of the mass, before you become slaves lu the will of men, before you are no longer able to think for yourself! There, in less than forty evangelical words. is the message that Privilege has to offer. lt is, however, served up in a slightly more subtle, if more astonishing, manner. To tell the plot of the story would remove all neosssity of seeing the film, and that would not hang well with the people who released the film. Suffice it to say that the moral of the story, as well as the way it is presented, easily over- comes a wooden performance by Jean Shrimpton tshe was ineffable until she opened her mouth and tried to aetl and joins with the superb acting of Paul Jones tdisregarding the few scenes where he appeared about to wet his pants with self-doubtp. The result is a genuine attempt to show the evils of our day. There can perhaps be only one major criticism of the movie. The director, in his rush to point out to us the failings of our society today, wedges into the framework of one film issues concerning the apathy of youth, the dis regard for the individual, the personality cult, and the fantastic conformity of our life today. By the end of the film, the viewer tends to be just a wee bit morally worn out from trying to assimilate all these ideas, each of which is a basis for a film in itself. However, if the viewer does not think too hard during the movie proper, he can be guaranteed a pleasant time. Another warning - if you plan on seeing 'Privilege' at the Odeon Carlton in Toronto, it is better to arrive late for the film than to arrive early and endure the torture of Colin Corbett at the organ. S J. K. Carsley The theatre was dumpyi the movie was in Russian, and I missed the first scene. But Shakesphere's Hamlet still came off with a bang. Perhaps it was the Bard's eternal freshness or Grigori Koztintsev's brilliant direction that made this version such a success. Or perhaps it was Shakespeare, devoid ofpoetry, relyingcompletely on action. One thing for sure, the Russians, like the Czechs, are no philistines. In a few short years they have become very, very good at making movies. Note how Koztintsev dealt with the Hamlet Problem . To us, Hamlet is a man who cannot make up his mind. He cannot act. He is too much a thinker, too introspective and notenough a doer. But the Russians have played down this aspect of Hamlet's personality. Here he is pic- tured as a young man caught up in the evil designs of Claudius, the King. His famous soliloquies are cut short, and his half-hearted attempt to kill the praying King is omitted al- together. Hamle-t's second problem was insanity. Was Hamlet really mad, or was his strangebehaviour just an antic-disposition ? It is up to the director to decide. Koztintsev portrayed Hamlet as rational in front of people in 'ordinary'situations but very emotional when emotion was called for. He could turn his temper on and off like a tap. A too pure performance by Anastasia Vert- inslaid as Ophelia, and some tedious shots of a seagull were the only flaws in an otherwise flawless production. And I learned something from this per- formance: Hamlet is what you want it to be. The play itself is so elastic and calls for so much freedom of characters that it is the director alone who indicates his own bias and inter- pretation. He can change things. As in Koztintsev's case, he can introduce the inev- itability of death, he can pose Polonius as a serious consul, or he can change the conclusion to suit his own taste. I won't say the Russian Hamlet will smash all box office records. It's 'classicness' will see to that. But I heartily recommend it, both as a movie, and a living example of Russia's tremendous growth in fifty short years. t - R.D. Ramsay MGMT Page 26

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. JAY K. DONNA!! IRISINTI RHVI T i n S ,l ' , F' 5 A X-X L :A accompanied by ALLA RAKHA, nbll. MASSEY HALL TOIIUIIT IIN MI. S350 3.30 4.50 Manly Ihl IN Vldodl Shu! i I 4 5 :WI ,W pf. If . f '1 I W , Il, , 0 'if A 4 lui l C! . A W sw . 'Wil is 204, If I . W - . 7237 qt 'f f 2 f l jill 7 I C: Un Saturday, St-ptcmhcr ISU, the gn-:tt classical Indian sitarist, ltztvi Sliankcr, perlortm-il at Massey llall, liastcrn Music, as you may or may not know, has ht-en gradually inhltraililig into thc sounds of thc 'Now' generation and even into the jazz idiom. This is the idea thrcc thousand people had when they attended this concert. The three Indians entered separately and seated tlieinsclvcs on zi low rugvcovered dais in the centre of the slitgc. One of Mr.Sl1ankar's accompanists was Alla Rakha, playing tabla, a two piece drum. The other was Kamala Chalcravarty who played tamboura, or five-stringed instrument tuned to the raga. This produced an ever-present hypnotic drone and provided the raga with tonic quality. Each piece moved generally from slow im- provisation through added rhythmic elcmentand innumerable melodic counterweavings. through seemingly effortless ornamentation, through turns and slides and sitar tabla dialogue. This con- tinued until the climax was reached at the top of the most rapid improvisation imaginable. Shankar's numbers could communicate in- numerable feelings to the audience. The audience sensed the changing of his moods. Shankar could put the audience in a mood of greatde- pression and then bring them up to a feeling of wondrous joy. He could bring about a pious feeling and then bring in a romanticism just by the sounds coming from the tabla and sitar. The concluding piece was the highlight of the night. It consisted of a series of ragas. many based on folk tunes, ending with a sitar tabla dialogue. Shankar and Rakha exchanged phrases freely. Music flowed back and fourth. The stresses of the climax camequicker and in unison. bringing the audience, as well as the performers. to a breaking point. As the final note echoed through the hall, three thousand frenzied minds were freed as the audience jumped to its feet and gave the three performers a standing ovation. 4 CC. Crrlccbrerzrl

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Chicogoflhe Blues Today L'hicagof'l'he l5lnes, l'oday is a three volume set of long playing records featuring Aint-rica's first and very original kind of music. Some- times overlooked by music critics because of its simplicity, blues nevertheless reaches beyond the limits of mere popular music and acquires the status of the classicals. lt has its followers much as classicial music has its connoisseurs and this set of three long playing records amply records and reproduces the blues from Chicago today. To understand the significance of Chicago as the home of the blues some background information is necessary. Chicago has not always been the home of the blues, before Chicago it was New Orleans and before New Orleans, Memphis. But the same factor is present in all and this is the poor negro in a big city with no place to work and nothing to do. This is the negro who lives in his ghetto in the poor side of town, attracted to the big city by work, but finding that it is alla mirage. There is no work and the negro is stranded in the big city. This has been the case with all three homes of the blues, for the negro ghetto spawns unhappines, and unhappiness spawns the blues. Chicago then is the home of the modern- day blues, the blues that came from the ghetto on the south side where there is no work and nothing to do. But what is the blues, this unique music which so poignantly reflects the modern- day negro, torn by racial conflict and beseiged by problems ? ChicagofThe BluesfToday answers this question in a set of thirty-six recordings by nine artists, The Blues are astonishingly well documented illustrating all the styles of the Chicago blues, whether it be 'down home , 'bottle neck , or the new. expensive drive of the younger negro bands. From these blues recordings a broader view of the world of music is afforded. One realizes that music need not be symphonic or published, but that it can also be improvised, the work of individual artists expressing themselves in a specified framework. Because emphasis is placed on the feeling and outpouring of emotion, the blues must be heard not only through recordings but also through live performances. As everyone knows, a recorded musical piece lacks the pre- sence and life of a live performance. Nowhere is this more evident than in the field of blues. To experience the life ofa 'live' blues band. F this writer went down to the ltiver lloat t'ott-ge House on Yorl-tvllle Street in 'l'oroiito. llie pci' formers were the Junior lN'ell's liand, ti-atnrt-d on one of the longplaying records. The ctinimunication and excitement which this formidable band developed was something to behold: my expectations were more than fulfilled as the evening wore on and the hand established an even greater rapport with it- audience. By listening to this set of recordings. one may learn much about the negro. Steinmingfrom the rather basic association with blues. is the idea of civil rights. One begins tu understand the negro mind better. and one cannot help but think that perhaps blues might he of some use to Governor Wallace of Alabama or lo anyone else who wishes to understand the negro. t'..-l ti. .ll1'C'llHot'fi