8-QUUN-October
1
6-29,
1
970
Z
movie
with
a
purpose
By
Dee
Gibney
(PEAK)
extremes
disguised
as
law
and
order
in
the
Greek
exile,
vassilis
Vassilikos,
police
as
well
as
the
government.
with
the
political
assassination
A
rather
unusual
twist
prefaces
this
film:
government
deputy
and
professor
Any
resemblance
to
persons
living
or
dead
is
'Z'
originally
filmed
in
Algeria
in
French,
Gregorios
Lambrakis,
in
1963.
not
coincidental.
It
is
intentional,"
'Z'
then
and
directed
by
Greek
expatriate
Costa-Gavras,
strong
political
overtones,
obviously
has
a
purpose.
Its
atmosphere
has
is
a
French
-Algerian
co-production.
This
film
be
categorized
as
a
strictly
suggestions
of
Greece,
Algeria,
and
Spain
was
the
official
entry
for
France
at
the
1969
it
also
succeeds
in
holding
the
which
in
turn
suggest
the
terrorism
of
the
far
Cannes
Film
Festival
and
was
awarded
the
strong
emotional
grip.
This
right.
It
depicts
fascist
corruption
and
illegal
Jury
Prize.
It
is
based
on
the
novel
by
the
well
in
a
series
of
"THAT'S
LIFE,"
grimaces
Neil
Young,
of
'Crosby,
Stills,
Nash
&
Young'
pop
group
Apres
Deja
Vue
with
Young
.
.
.
By
J.
Raycroft
(Rolling
Stone)
After
the
Goldrush,
Neil
Young
(Reprise
6383)
Neil
Young
devotees
will
probably
spend
the
next
few
weeks
trying
desperately
to
convince
themselves
that
After
The
Gold
Rush
is
good
music.
But
they'll
be
kidding
themselves.
For
despite
the
fact
that
the
album
contains
some
potentially
first
rate
material,
none
of
the
songs
here
rise
above
the
uniformly
dull
surface.
In
my
listening,
the
problem
appears
to
be
that
most
of
this
music
was
simply
not
ready
to
be
recorded
at
the
time
of
the
sessions.
It
needed
time
to
mature.
On
the
album
the
band
never
really
gets
behind
the
songs
and
Young
himself
has
trouble
singing,
many
of
them.
Set
before
the
buying
public
before
it
was
done,
this
pie
is
only
half-baked.
"Southern
Man"
is
a
good
example.
As
a
composition,
it
is
possibly
one
of
the
best
things
Neil
Young
has
ever
written.
In
recent
appearances
with
Crosby,
Stills
and
Nash,
the
piece
has
had
an
overwhelmingly
powerful
impact
on
audiences.
But
the
recording
of
"Southern
Man"
on
After
The
Gold
Rush
fulfills
very
little
of
this
promise.
By
today's
standards,
the
ensemble
playing
is
sloppy
and
disconnected.
The
piano,
brass
and
drums
search
for
each
other
like
lovers
lost
in
the
sand
dunes,
but
although
they
see
each
others'
footprints
now
and
then,
they
never
really
come
together.
Young
tries
to
receover
the
dynamics
of
the
piece
with
his
voice
alone,
but
can't
quite
make
it:
On
this
and
the
other
really
interesting
tunes
on
the
album
Don't
Let
It
Bring
You
Dcwn,"
and
"I
Believe
In
You"
the
listener
hears
only
a
faint
whisper
of
what
the
song
will
become.
Another
disturbing
characteristic
of
the
record,
oddly
enough,
is
Young's
voice.
Apparently
no
one
bothered
to
tell
Neil
Young
that
he
was
singing
a
half
octave
above
his
highest
acceptable
range.
At
that
point
his
pathos
becomes
an
irritating
bathos,
I
can't
listen
to
it
at
all.
There
are
thousands
of
persons
in
this
country
who
will
buy
and
enjoy
this
record.
More
power
to
them,
I
suppose.
But
for
me
the
test
of
an
album
is
whether
or
not
its
quality
is
such
that
it
allows
you
to
grow
into
it
a
little
more
with
each
subsequent
listening.
And
I
find
none
of
that
quality
here.
To
those
who
would
be
in
total
range.
If
I
was
anything
but
100
delighted
with
Deja
Vu,
I
will
simply
say:
this
record
picks
up
where
Deja
Vu
leaves
off.
Langdon
Winner
SPRUCEUND
NEWS
Groceries,
tobacco
and
novelties
Open
Daily
and
Holidays
'til
Midnight
which
deals
of
the
pacifist
of
medicine,
Despite
its
however,
it
cannot
political
film,
for
audience
in
a
comes
across
extremely
scenes
which
skillfully
play
the
human
element
of
the
death
of
a
man,
against
the
mechanical
discussion
of
the
death
of
a
politican,
a
figure-head.
The
civil
authorities
refer
to
the
incident
of
the
attack
on
the
deputy
(Yves
Montand)
as
an
"unfortunate
accident"
and
proceed
to
organize
the
necessary
'evidence'
that
will
make
it
seem
so.
Upon
learning
that
the
victim
has
died
in
the
operating
room,
one
of
the
government
officials
hastily
goes
on
to
say
that
of
course
"this
will
not
change
the
material
evidence."
Meanwhile
we
have
juxtaposed
scenes
of
the
wife's
.(Irene
Papas)
anguish
as
her
husband
lies
on
the
borderline
between
life
and
death;
back
in
the
high-ceilinged
offices
of
the
bureaucrats,
methods
for
discrediting
the
deceased
deputy,
are
being
pondered;
then
we
are
with
Irene
Papas
again,
sharing
her
agony
and
helplessness
as
she
tries
to
cope
with
the
shock
of
her
husband's
death.
These
are
not
melodramatic
juxtaposed
flashes,
but
well
executed
scenes
in
which
the
full
overall
reality
of
what
has
occurred
and
its
implications
gradually
begin
to
take
root..
The
investigation
of
the
death
by
the
relentless
public
prosecutor,
Jean-Louis
Trintignanat
uncovers
the
network
of
crime
and
corrupt
politics
out
of
which
a
plot
for
a
military
coup
has
begun
to
take
shape.
The
momentum
that
the
movie
has
gathered
brings
events
to
a
dizzying
spin
as
Trintignant
proceeds
to-
indict
the
entire
power
structure
of
the
country
for
political
murder.
The
pieces
click
into
place
simultaneously
and
the
movie
comes
to
an
abrupt
end
with
a
quick
rundown
of
the
results
of
the
1967
coup.
On
the
whole,
however,
it
is
an
excellent
film.
The
ideologies
never
supercede
the
human
element,
and
as
a
result
the
incidents
come
that
much
closer
to
home,
A
man
had
to
be
ir-radicated
because
of
his
ideas,
his
philosophy.
But'still
his
ideas
flourish.
Z'
in
Greek
"stands
for
"He
lives,"
And
the
movie
does
just
that?
The
novel
may
have
been
banned
in
Greece
and
the
author
exiled,
but
the
spirit
of
Z
lives
on.
JOHN
SELODY
OF
Stene
RADIATORS
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Heat
Transfer
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564-5924
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