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the screen



Autumn Afternoon. 1963. Directed by Yasujiro Ozu, his 53rd and final film. A profoundly simple film about an aged widower hanging on to an only daughter who has reached marriageable age. The old Japanese culture of tradition and ceremony is giving way before the Japan of its sons caught up in a scramble for things--golf clubs, refrigerators, hand-bags. It is a fully realized testament to the Ozu art; the still camera hugs the floor, the rhythmed sound and patterned surfaces give to his subjects the dignity due them. Harvard Square Cinema.

Personna. One of Bergman's greatest if not his most difficult films. The theme of doubling is played out formally, and as a psychological crisis of being between two women. The film defies meaning. At bottom it is an exploration into how deeply something can be known, and an assertion that total knowing in the end means self-destruction. The personnae, to survive, need to preserve the integrity of their masks. Because on the other side of the masks lies absolute cruelty. Brattle Theatre.

O Lucky Man. Directed by Lindsay Anderson, and starring Malcolm McDowell who is credited with coming up with the gem idea for this movie. Bet he got it making Clockwork Orange. Anderson, who claims he hasn't seen a movie in five years, certainly would never know the difference. And his movie barely acknowledges one. A pretentious effort at a mod Pilgrim's Progress with a moral any child could draw. An empty, empty movie. Cinema 57. 10-10, every three hours.

Harold and Maude. About a romance between an adolescent boy and a spinster ready to kick off. It proselytizes for the "free" life; the message is as old and faded as a hippie's blue jeans. Abbey II. 8, 10.

Klute. A thriller about a call girl beseiged by a crazy breather. Starring Jane Fonda and Donald Sutherland. Fonda has never been tougher, and she is tough. Watch her hands talk when she visits her psychoanalyst--it is eloquence in action. Garden Cinema. 8.

King of Hearts. The only reason for writing this clip is to tell you--if you are still debating whether or not you want to find out what all the fuss in Central Square has been about every Saturday night for who knows how long--not to bother. Central Cinema I. 6:30, 9:45.

State of Siege. Costa-Gavras's latest political drama (following Z and The Confession) written by Franco Solinas who scripted The Battle of Algiers. Yves Montand has the sort of impeccably cool, unimpeachable face which is perfect for the part he plays. His role is recognizably based on the life and death of assassinated AID official Dan Mitrione, who was trained in the U.S. to operate in close undercover conjunction with the repressive policy in Brazil and Uruguay. Montand is perfect because this dream of a family man, whose actions are propelled by a pure form of bourgeois liberalism, is so unconscious an oppressor. Charles West. 2:30, 5, 7:45, 10.

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