And that's Daily Nexus 2A Wednesday, June 24.1987 "... he was my neighbor. Everybody thought a lot of him because he was a good mixer. With everybody. ” Crows at S "... They were all afraid of those doggoned cameras up C ollege there. Miller broke the ice and finally got them to where deemed photojournalism into a very personalized series “J® they agreed to taking pictures. ” of family portraits. His blend of pride, humor and govei — Robert Summers Yellowtail resignation created an unprecedented view of a people Bear COUNTDOWN that were, of a history that remains. “Fi Photographer Fred E. Miller died in 1936, but not Miller succeeded in one of the most important and most On< without leaving posterity a recorded legacy of one tribe of difficult intricacies in this sort of documentation. He did excel Native Americans, his adopted family, the Crows. Miller not remove himself to become the proverbial fly on the succ« ----- 5 - 4 —3 —2 — I — entered the reservation at age thirty as an assistant clerk, wall, but instead integrated himself completely, catching hard Countdown Drink Prices subsequently became accepted as a unique and intregal braid part of their culture and spent the next fourteen years uncontrived expressions of truth and sincerity on those grave (Drinks and Drafts Start at 5 for 1 compiling a photographic diary of their day-to-day weathered faces. His presence was without pretense and name his second eye did not create a rose-colored window to the our { at 8:00 pm) and admission is traditions — lives in the balance of a turning point in the Crows’ existence. Crows’ lives, but a frame of humble heroisms in a nickr now $ 1.00 off During the Great Depression, the collection of Miller’s harrowing time. outgi glass negatives was auctioned off and lost. His daughter Each print is sepia-toned and physically reflects the been when you present your college I.D. managed to retrieve the bulk of these images, and she warmth that Miller felt, a intimacy that allowed his soun( kept them in a large box where they were soon discovered humor to show through. His was a subtle, reflective rid- same by Miller’s granddaughter, Nancy Fields O’Conner. die, possibly lost in the present, but still living in many of Thi Fred E. Miller: Photographer of the Crows is the the titles that accompany each photograph. The Crows’ Mille WEDNESDAYS exhibition of an impressive 200 images from this collec­ given names have that comic book air, and it’s a strange living tion, compiled and curated by O’Conner and on display at feeling, a nostalgic realization, knowing full well that launc at the Santa Barbara Museum of Art through June 28. these are no spoofs, these are real. And one has to admit — Tobs Fred Miller had one very distinctive peculiarity — one they make perfect sense. a Cr eye. His second was his camera. To Miller the camera It is impossible to suppress a chuckle when reading the crov was not an instrument, but a direct extension of his per­ captions, truly one of the most charming attributes of the but sona. And because of this, his approach to picture-taking show: reve “Smart Iron a.k.a. Has No Foretop (1872 — 1910) drop restaurant nightclub was quite unique. He transferred, not only faces, but emotions onto film, and turned what could have been grooming with tweezers.” look 935 Embarcadero del Norte • Isla Vista □□□□□□□□□□□□ □□□□□□□□□□□□□□□□□□□□£ 685-3112 Listen Closely to The British love sensationalism. Their tabloids are bathroom sexual escapades, Oldman has an element full of it, and there are as many English gossip of underlying trouble. He is not the tormented writer si papers as there are inquiring minds. A full blown — that’s his lover Kenneth — but they do live in the ai darkness of their illegal sexual lives. The balance of verifiable scandal is like the perfect coddled cream g< on a steamy cup of tea. Irresistible. the actors is particularly strong. There are no c< shadows, only the interplay of the characters’ lives. British playwright Joe Orton’s life became a y MOO SHI FACTORY headline. Prick Up Your Ears, Stephen Frears’ new Molina’s portrayal of Kenneth’s descent into mad­ $: film, is his story. In documenting a well known ness is utterly disturbing. Watching the film, you know what is happening to Kenneth because you have biography, so much could go wrong. The story has y previous scandalous connotations, and thus, ex­ already seen the outcome of his trauma — the film is si STARVING pectations. Add bad boy notoriety, homosexuality, not made chronologically, and many already know the biography — and yet Kenneth remains as much a p and the conflicting freedom and proprieties of the p English ’60s, and you have the possibility for a match compelling question of despair as in the opening solo tc STUDENT with a tactless tabloid headline. Frears, however, shot of Kenneth’s distraught face. t< makes this film work. His directing is gripping, Similarly, the screenplay is made up of matching Si controlling and masterful. and the reversing of characters. In one time frame SPECIAL It’s rare to be sitting in a theater, feeling quite you have the ongoing relationship of Joe and Ken­ 4 enticed, waiting for something to be mishandled neth, and in another the subplot of the American ri (perhaps Ishtar ruined me for life), and to be con­ writer John Lahr (Wallace Shawn) tracing the steps E EVERY WEDNESDAY NIGHT tinually awed by the delicateness of good film of Orton’s life while writing his biography. While E movements. Frears treats Joe Orton’s (played by the Lahr is researching his book, we see Joe’s life up to JUST FOR UCSB cocky Gary Oldman) open homosexuality with an his meeting Kenneth at the Royal Academy of P equal frankness. His methods, unlike American film Dramatic Arts, bringing us back to where we started. s makers’, are up front and yet non-exploitative; he is Yet Frears handles these time shifts with an in­ c Includes: y candid, yet aloof. Sexuality is dealt much like in the teresting flair and an equal talent for the character r • Appetizers, Egg Roll & Won-Ton • French film Betty Blue — this is human, this is what changes. You see the reversal of roles, both sexual tl and professional, of Joe and Kenneth matched by the • One Quart of Fried Rice • we do, we don’t wrap the sheet around ourselves as s we get out of bed. roles of Lahr and his English wife — with the cool a ★ Paper Wrap Chicken • Vanessa Redgrave as Orton’s publicist remaining the Like in his film My Beautiful Laundrette, Frears F • Three Quarts of Chicken Chow Mein * gives homosexual love scenes a tender and exciting singular inside figure moving through the past and normality. Upon discovering the beauty of men and present of Joe’s life. It is an amazingly clever and STUDENTS ONLY • REG CARD REQUIRED his own sexuality, Joe and his lover Kenneth (Alfred subtle screenplay by Alan Bennett. With all of its subtleties and social documentations, NO Discount Cards Accepted with this Offer ü Molina) follow a young, encouraging man home into his apartment. The young man takes Kenneth’s face Prick Up Your Ears is ironically funny. Like the No Changes or Substitutions into both of his hands and kisses him. In a simple candid, offbeat humor and play of its title, the Offer good Wednesdays ONLY! gesture, Frears creates a potent and sexy moment. dialogue is quick, rather bawdy and satirical. Old­ Yet these people have never met, and Prick Up man and Molina have brilliant faces. The scenery is » I Your Ears makes no false illusions to the not filled with an expensive budget, yet it is not artly -FREE DELIVERY- unemotional real life character of Joe Orton. Oldman minimal. Frears has absolute tact and a talent With Minimum $81.V. Order from 5-9 PM plays Joe with a cheeky detached wit. He is shallow, today’s cinema craves. yet endearingly funny. Like his underground — Laurie L. McCullough 6530 Pardall Rd. d ★ 968-9766 ★ Editors: Contributors: Jeannie Sprecher [ ★ 968-9383 ★ Martin M. Kidwell Laurie L. McCullough Matt Welch Grandma Gerties Celebrates SU M M ER II • new menu including great hamburgers and fries BOWLING • 8 great sandwiches Including OREM 24 HRS the breakfast special Relax, Unwind - Have Fun! Let Loose - Go Bowling! • happy hour 2-8 all week long B illia rd s and Videos OPEN LANES Famous Homemade 996 pitchers and up S A N D W IC H E S & C O O K IE S ORCHID BOWL summer hours: 8-8 GOLETA 9 6 6 - B E m b . d e l M a r 5925 Calle Real 9 6 8 - 6 8 8 8 near Fairview • 9 6 7 *0 1 2 8 Daily Nexus Wednesday, June 24,1967 3A Warner Brothers. An inundation of John Wayne mentality and media madness makes one initially question the at SBMA historical validity of these photographs, but the reality is indisputable; it is written all over their faces. “IF WOODY ALLEN “John Wesley (1862 — 1902) Carlisle graduate, first Faces are indeed the true looking glass. A substantial MADE ‘GONE WITH government policeman at agency, with wife Jane Has portion of this exhibition is a collection of Crow portraits, THE WIND’ IT Bear For A Door Wesley (1867 —1935).” an odd, almost clinical record of people that stand, still “First Crow, all women horse race, no saddles (1904).” tall thanks to Miller.