Alter USG Grows Up CAPITOL HILL HAS withstood Moratorium marches and even two Nix ?fl administrations. In the mid-1980's a Wzarre political trend has moved into Congress a band of young legislators, all former Penn State students, and all of 'vhom served on the Undergraduate Student Government Congress during ♦he 1969-70 year. At a joint session of Congress, and '« the temporary absence of Speaker Theodore Q. Thompson. Vice President 'lron “Spiro" Q. Arbittier presided, ■during some heated debate over the bating of Joey “the Greek” Myers, Ar- Mttier showed his usual tact, diplomacy vid all-around friendliness as he ad nonished Sen. Thomas Stilhtano to “shut the hell up or I’ll throw you out . . . bodily!” As the hall quieted, Sen. Teddy Itzkowitz rose from his chair, and, run ning his hand through his long, wavy gray hair, began to read every name in the metropolitan Washington D.C. telephone directory. “They're potential congressmen,” he explained. As he did this, rows of senators began filing from the chamber, paper cups of coke in their hands, grossly insulted by the action of Sen. Itzkowitz. WITH ALL THE legislators, spec tators and newsmen in the gallery in an unroar, Sen. Lvnne “Schoolmarm” Moeller took the floor and scolded the group for its childish behavior. She then marched up and down the rows of desks, slapping wrathfully with her ruler the wrists of some and washing out with soap the mouths of other legislators, whichever was appropriate for the particular offense. Indignancy Committee Chairman Sen. Robert “Straight Shooter” Shafer rose to his feet, patting former Sen. Myers on the head and saying, “There, there Joe,” and told Speaker Thompson, who just returned to the chamber, “f f , Mr. Chairman, the chair will not recognize the consensus of the congress, then, sir. this is one congressman who will, indeed, not recognize the chair. I mean, there are some black and white facts here.” As substitute Sen. David Harris spun around and glared, Sen. Shafer immediately blushed and said that he apologized to the chair for the un fortunate word choice. WHILE ALL THIS continued, and ushers and MRC visitors were sent downstairs for lemon blends and cherry cokes, Sen. Myers huddled with bar rister Donald Paule and Sen. Stillitano, pounding out another of their amazing parliamentary coups in order to reseat Sen. Myers. During the discussion, Myers apologized eight times for being ner vous, but Paule told him not to worry about it, and “after all, we’re your g APPEARING # NIGHTLY 8 Ann S $1 Sisson fi V Lilting and E. M® &Aaa, &vA Jffl FY Stott Collest, Pa. \gf Nightly Entertainment SJt BOILER MAKER BLUES 406? W 'i d M The Twenties and the Thir ties come roaring back with the banjos, brass, and brawling blues of today's new GREAT METROPOLI TAN STEAM BAND. Every night is party night with the rousing good-time music of THE GREAT METROPOLI TAN STEAM BAND. Dig It. INCREDIBLE NEW EXCITEMENT ON DECCA RECORDS Editorial Opinion friends, and if we can’t tell you about it, who can?” After a few hours, the tone of the debate turned toward Congress’ power in relation to the Supreme Court, whose decision had unseated Myers for his af filiation with a fraternal group which was supposedly a front for a bowling ball concern. TEARS POURING down her freckled face, Sen. Theresa Borio at tacked the court’s rigtit to void the certi fication of a congressman because of another affiliation. “I realize that my seat, too, is now in jeopardy,” she said. “After all, I am my neighborhood’s representative to the Greater Washington Association of Lady African Violet Raisers.” Congress fell silent as it realized the gravity of her point. In an eleventh hour move, Supreme Court Chief Justice Harry Hill bolted into the room, his black robes flowing, and threw his powdered wig to the floor. Still in a rage, he attempted to de fend the Bar against the forensic assault from Congress. SEN. BUTTONMAN, reputed to have interests in button and graffiti manufacturing ' firms in his home district, also took potshots at the ap parent discrepancy in the Constitutiton regarding the powers of the Court and the seating of Congressmen. As the tension mounted, Parliamen tarian Thomas Ritchey began paging frantically through the Constitution and his personalized editions o f “Roberts Rules of Order” and “Hoyle’s Book of Game Rules: With Directions and Explanations for Indoor Games of Skill and Chance, With a Device on Skillful Play.” Sen. Nina Comly then leaped on her desk top, and swinging her rhetorical machete, said, “Mr. Speaker, Congress is apparently turning against you. There’s nothing personal in this, but you did stand one of mv best friends up for a date on a really big weekend two vears ago. I mean, some things are right and some are wrong, and Senators Shafer, Moeller and Myers will agree with me.” As debate became more mucky, Speaker Thompson discarded his tie and sportcoat and, working at his “I visited New York City” cufflinks, clear ly feared the meeting would last all night. Sen. Itzkowitz inadvertently came to the rescue when, although h was only up to the “D's”, he discarded the telephone book and began reading from the television listings. When the Congressmen heard that “The Bobbsey Twins Go to Cape May” was on the Late Show that night, they quickly moved, seconded and passed an adjournment motion and sprinted from the chambers. Senior Women Applications for La Vie Belles are now avail able at the HUB Desk and will be due by Monday, Nov. 10 at the HUB Desk. Applicants will be judged on activities, beauty poise, personality and scholastic achievement. 3 DAY INVENTORY REDUCTION SALE TODAY MONDAY TUESDAY On Selected Groups Of Coats Suits Costumes Dresses & Sportswear KALIN’S DRESS SHOP 130 SO. ALLEN ST. ■ f‘ n 0.--’ —■-.& —-.0 Q-- —-.p 2yL Cla ~ssnnouncei the Aaifing. oj? llie (a^ueen Iflovemier cli^hlfr IS THAT ALL W'KE GOINS TO SMI YOU'RE NO FUN TO SEAT CHARLIE BROWN..'.SEATING YOU IS LIKE KATINS NOTHING! I CAN'T EVEN LOSE RIGHT.,. /js\ • i •> \ t Life Paper Requests Faculty Writers University faculty are in vited to submit articles to Col legian’s “Faculty Forum.” Commns of opinion from all members of the faculty are welcome. The articles should be type written and triple-spaced and should not exceed 75 lines in length. Interested faculty should bring their articles to Collegian office* 20 Sackett Building. 63 Years of Editorial Freedom Slip lath} (ttflUeniatt Successor to The Free Lance, est. 1887 Published Tuesday through Saturday during the Fall* Winter and Spring Terms* and Thursday during the Summer T*rm. by students of The Penn sylvania State Universlly. Second class postage paid at State College* Pa. UB6l. Circulation: 12,500. Mail Subscription Price: 512.00 a year Mailing Address Box 457, State College, Pa. 15101 Editorial and Business Office Basement of Sackett (North End) Phone 865-2531 Business office hours: Monday through Friday, 7:30 Member of The Associated Press JAMES R. DORRIS "PAUL S. BATES Editor Business Manager Board of~Editors: - Managing Editor, Glenn - Kraniley; Editorial Editor, Allan Yoder; City Editor, David Nestor; Assistant City Editors, Marc Klein, Pat Gurosky; Copy Editors, Sandy Baionis, Sara Herter, Pat Dyblie; Feature Editor, Marge Cohen; Sports Editor, Don McKee; Assistant Sports Editor, Dan Donovan; Senior Reporters, Rob McHugh and Denise Bowman; Weather Reporter, Billy Williams. Following is a list of the executive officers of Collegian, Inc., the publisher of The Oaily Collegian: Gerald G. Eggert, Pres. Teresa A. Borio, Vice Pres. 110 sparks Bldg. 405 Packer Hall University Park, Pa. University Park, Pa. Mrs. Donna S. Clemson, Exec. Sec. 20 Sackett Bidg. University Park, Pa. PAGE~TWO SATURDAY, NOVEMBER 8, 1969 Tired of bucking the crowd! If you’d like to relax in your room and play some music but want something delicious to eat just give us a call. We GUARANTEE de livery of HOT PIZZA so you’ll never feel like you’re getting the last pie at the bottom of the truck (you know the cold, tasteless one).- Our delivery service is fast making a name forit self. Order a pie . . . you’ll soon see why! HI-WAY PIZZA 238-1755 ‘Stolen Kisses’ Flimsy Romance By PAUL SEYDOR Collegian Film Critic Francois Truffaut’s “Stolen Kisses” (now at Twclvetrces) is a flimsy farcical romance that wouldn’t be worth discuss ing if it didn’t afford the opportunity of reconsidering a career that began with a couple of blinding flashes of genius but thereafter could hardly generate a few sparks. An inquiry into the why and how might be instructive. In one way or another Truffaut has spent most of his artistic life paying tribute, an ac- tivity which, I think, has been iome °* u * hoped the boon and that with a return to material that was, at career. bhoot the Piano Play- least, close to him, on" ( the s9) g Vadl-B ™hu. might also American gang- return to his early sler pictures he style." loved so much as y a child, was a crime-melodrama with an existential twist. If it was a ncar-mastcrpiece. then “Jules and Jim,” his next film (1962), was indisputably the genuine article. A glorious celebration of the pre-World War I French Bohemians, it was an homage to the inventive manner of D. W. Griffith and to humanistic matter of Jean Renoir, the two directors whose work most influenced Truffaut’s own work. Ap pearing a time when most movies were stale, inert, and depleted. “Shoot the Piano Player” and “Jules and Jim,” so fresh in style new in technique, and original in conception seemed to open up whole new vistas of creative possibilities. Truffaut never seemed to try to realize those possibilities or his great potential. His first “big” movie to follow "Jules and Jim” was a clumsy adap tation of Ray Bradbury’s outrageously overrated neo-Orwellian fantasy about book-burning. “Fahrenheit 451.” The movie puzzled many Truffaut ad mirers, not just because his style seemed inexplicably cramped, stolid. and awkward but that the material was so (literally and figuratively) foreign to him. Why did he bother with it? The answer was to be found in his long-standing admiration for Alfred rlitchcock. which grew into an obsession. The French “New Wave” directors (Truffaut. Godard. Chabrol. Resnais, et. al.) venerate Hitchcock almost to the point of canonization. Throughout his a.m. to 4 p.m. [■" Film Critique work they see a consistency of approach (a “style’’) and a similarity of theme (a “philosophy.” probably vaguely existen tial) that, for them, qualify him as an "auteur” (the directorial equivalent to a great author). . .. Although I am well aware of the esteem in which most film buffs hold Alfred the Great. I must confess dissent. To bo sure, he is a clever and skilled craftsman, with some fine films under his expansive belt; but he’.* strictly a genre director, limited to thrillers of in trigue and murder. At his best, you appreciate how ingeniously he frightens vou; at his worst (all his post-“ Psycho” movies), you realize what a truly small talent his .is. It seems to me his style hasn't so much developed over the years as stagnated (which may account for its consistency) and the “philosoohy" is less implied by him than inferred by the French. Still, they preserve the cult, and Truffaut is now evidently the high priest. His recently published book on the Hitchcock ouvre is less an informative critical study than a fatuous panegyric of childish hero-worship. Unsatisfied with a written tribute, however, Truffaut made a movie-tribute in the form of a stupid illogical murder story called "The Bride Wore Black,” in which he set out to imitate the old man’s style. The key word is “imitate.” “Jules and Jim” was a triumph in its own right and a tribute only in passing, a debt for inspiration acknowledged with a charming mixture of reverie and love for the work of two great artists. But “The Bride Wore Black” is nothing more or less than a demonstration that Truffaut can make movies just like Hitchcock's. The studio environment of “Fahrenheit 451” w*as, it appears in retrospect, a pre paratory exercise for the later perfectly successfuly experiment in assimilation. The price of this pointless success—for Truffaut and for us—was the ruination of the most promising directorial talent to enter movies since Kurosawa. “Stolen Kisses” returns to Antoine Doinei, whom we met as a friendless runaway of 12 in Truffaut's frankly autobiographical first film, “The 400 Blows”; saw again as a teen-ager hopelessly in love in "Love at Twenty”; and now find a young adult still in love with the same girl. Jean-Pierre Leaud, who has grown up with the role, is again Antoine. Some of us hooed that with a return to material that was, at least,, close to him. Truffaut might also return to his early style. But it appears the Hitchcock Letter To the Editor Urges USG To Look at Self TO THE EDITOR: At this precise moment, I am sitting on USG Congress listening to Ted Itzkowitz read names from the student direc tory. His intention is to ask the Congress to seat all of these students on Congress. This sounds ridiculous. This entire, immature action was caused by the request that Joe Myers, cer tified Town Congressman, be placed on the roll and given the privilege of voting. Perhaps you are aware that the USG Supreme Court removed the certification of Mr. Myers because he accepted a bid to a fraternity. Thus, according to the Supreme Court, Mr. Myers cannot sit as a congressman. The body of Congress questions the validity of this ruling and the chair does not recognize this sentiment of the Congress. This immature, stupid action has been going BRANCHING is the thing to do on Sunday morning ... especially when owner and chief, Mr. Peter.Nastase, is preparing ‘‘Heavenly Days Pancakes ’ ’ along zoith other breakfast dishes. these are a few of the pancake flavors / — pecan, spicy apple, chocolate chip " sour cream. Copper Kitchen also serves authentically prepared Italian dishes and garlic bread at lunch and dinner hours. fjMopper Kitchen Convenient location 114 S. Garner St. easy-to-afford prices Mon. - Sat. 11:30 a.m. - 7:45 p.m. Sun. - 9 a.m. to 8:00 p.m. Sunday brunch • 9:00 a.m. - 1:30 p.m. hang-up has inflicted irreparable damage. Aside from a pathetic glimmer or two of the old inspiration, the style here is vapid and vacillating. The great beauty of Truffaut's early style was its effortless versatility; it 'seemed to spring with such spontaneous “rightness” from the material that he could glide through an endlessly shifting kaleidoscope of moods and tones and points of view*, travelling from mirth to melancholy, realism to romanticism, drama to lyricism, as smoothly and naturally as the spectrum of colors swirling about n rotating prism. Of course this effortlessness is an illusion; it is usually achieved only through the most vigorous discipline, the intensest poetic distillation. But in “Stolen Kisses” about all you feel is the grinding, ploding, pedestrian straining for effect. Like Hitchcock, Truffaut now seems satisfied with mere approximation in place of precision. Take, for instance, the mysterious man who follows Christine. One of Truf faut’s most effective early techniques was to introduce momentarily .and then drop seemingly irrelevant characters. But they only seemed irrelevant; what they did was give his stories texture and resonance, as if they simply emerged from an on-going life around them. But here the mysterious man is either too absurd or not absurd enough to convince us: he looks and sounds planted for effect (which of course he is. only we shouldn't feel that way about it). Truffaut has even abandoned basic competence: he permits faulty lighting by his photographer and sloppy cutting by his editor. But the material itself deserves no bettor. It i>n’t really a bad story, it’s just that it's so slight and insubstantial that it evaporates when the lights go on. You’ve nothing to take with you. to cling to. In fact the only residue “Stolen Kisses” leaves is depression. And it is depressing!—to watch the director with the most abundant lyric gift since the great Jean Renoir resorting to such cheesy tricks as depicting a homosexual's anxiety with close-ups of wringing hands, or falling back on such trite plot machinations as having just the right person overhear just the right con versation at just the right time. As a final irony it’s probably worth nothing that Truffaut’s next movie is. . .a murder mystery or crime yarn or some such set in Mississippi or Missouri. In other words more, to use Stanley Kauf fmann’s apt phrase, ”Hitchcock-and bull.” on for the past three years while I have been sitting on Congress. We, as students, are cur rently seeking representation and voting rights in the Faculty Senate. As long as we continue to demonstrate this type of childish action, we should be denied* recognition as adults and educated people capable of making decisions such as come before the Faculty Senate. I would suggest that USG stop and take a long, hard look at itself. If we want to be respected as being capable of serving in capacities that require mature action, we must grow up and act in a manner so that members of the University Community can respect us. This is mandatory and I strongly urge members of Congress, as well as the executive, to attempt this action! Lynne Moeller Panhcllenic Council President
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