description:
Page Two - The SKYSCRAPER - May 3, 1968 Editorial Film enlivens novel L'Etranger portrays absurdity Anti-war parade incites violence We often hear allegations of police brutality, and even though we see instances on TV of police brandishing night sticks, of police beating demon strators, and hauling them, unconscious, to the near est paddy wagon, the thought remains that the police are only responding to the illegal actions of the demonstrators. Contrary to newspaper and television reports, the violence that ended last Saturday's peace march at the Civic Center was not caused by the demon strators. The demonstrators did not break police lines at the Civic Center, nor did they taunt the police there. During the march, the police had imposed in creased restrictions upon the marchers. Forcing the demonstrators to the sidewalk, allowing the group to cross streets only after the third light, ordering the disposal of all signs carried by more than one person, and restricting the marchers to half the sidewalk on Dearborn street, the police, finally, pro hibited the majority of the marchers from crossing Dearborn and Washington to the Civic Center. Although there were some verbal protests, the participants complied with the police orders. The violence at the Civic Center was deliberately provoked by the police. Ordering the marchers gathered at the Center to disperse, the police im mediately formed a wedge, prohibiting compliance with this order, and, waving billy clubs, they pushed, kicked, and beat the demonstrators as they ran across the street. This is a clear case of unprovoked police brutal ity. Had the police allowed the marchers to pro gress and to terminate the march as planned, the violence could have been avoided. The tension created by the police restrictions during the march, culminating in the violence at the Civic Center was inexcusable, and a proof that unprovoked police brutality is not a myth, but a sickening and dangerous reality. by Peggy Sieben In some films, the scenery impresses the viewer because the story and acting are poor. In Dino de Laurentis' L'Etran ger, adapted from the Nobel prize-winning novel by Albert Camus, there can be no doubt as to either the quality of the acting or the merit of the script, yet even these are dom inated by the setting Algeria. The heat of the land is there like another character, palpa ble in the Arab stares, in the steaming sidewalks, in the sweating backs and faces. This over-powering presence dominates, even pushes the hero, Meursault, to the fatal act, triggered because of the sun. De Laurentis has trans lated this oppression so well that the spectator, too, feels it and grows tense with Meur sault. De Laurentis has chosen to open his story with Meursault Sounding Board Peace Workshops Having participated in the April 27 Peace March, it is now apparent to us that their exists a very serious problem concerning the Increased use of the police force and police policies in the city of Chicago. We see this problem as re quiring immediate attention and therefore plan to set up workshops in an effort to find constructive ways of channel ing onr discontent into means of positive action. We call your attention to the Skyscraper coverage of the Peace March and ask for your active support in this matter which is of vital concern to each of us. We hope to be contacted in rooms 216, 210 or 608. Marni Flanagan Mundelein Parade Contingent Martin Luther King The Greeks have an honored name for a man like him, strong and brave, palUkai. He was a true man. His soul glis tened in the summer sun, and the moon on a winter's night hoped to catch even a glimpse of him. In him human heartedness was the sheaf of wheat that renews and nourishes all hu man life. At his death, not even the brilliancy of life can wipe the grimace of death from our face. Mary MeJIa '68 Just War? I would like to take Issue with the stand adopted by Fa ther McKenzie on the morality of war. Just war Is a con- tardictlon in McKenzie's moral lexicon because he presup poses 1) that men shape his tory, 2) that Individual just men can so control history as to avoid war. Note: these two statements only appear to be the same. To spell ont the dif ference: in the concrete only a few men can be just in McKenzie's sense because only a few individuals have the requisite political power. Moreover, few of these po litically powerful men could be just because few could rea sonably be expected to pre dict, clairvoyantly. future wars. The coincidence of power and clairvoyance as In the story of Cassandra ls ex tremely rare. And even the Cassandra image is double- edged: 1) an accurate prophet ess of doom; 2) one fated to be disbelieved. In 1933, would such a prophetess have been just in indicting Hitler for the possibility of future social crimes? According to most ethicists, justice is a principle immi nent in human society, and its task is to affirm itself against evil, which is also imminent in society. Hence it is some what simplistic to argue that where evil is present, justice is excluded. Alcoholism, murder, even war, can be the crucible wherein justice is made per fect. On the other hand, to Mc Kenzie, just war signifies an unchristian attitude, the phi losophy of expedience. Plato, then, is expedient in describ ing Socrates as a gadfly, implying the possibility of the practice of justice on the part of the Athenians, Aristotle is expedient: a wholly transcen dent good is a contradiction in terms. To Tillich, justice is immi nent in power, the dynamic aspect of being as it actual izes itself in encounter with other powers of being. But these men are not pragma- tists. Neither were indignant New Yorkers who read about the radical injustice of the 38 persons who did not seek to stop the murder of Kitty Gen- ovese. Finally, to say, with McKen zie, that war and Christianity are, without qualification, ir reconcilable, is a kind of an gelism. Angels, if such there be, know history as a unity, simply will the avoidance of all evils, and could easily dis cuss morality with Hitler. Not so Christian men, who live out the warfare of sin and grace Susan Fitzer Philosophy Department under arrest, about to be in terrogated. This interrogation provides the necessary frame for the stream - of - conscious type dialogue which follows, tracing the story from the day of Mme. Meursault's funeral. The story concerns the aliena*- tion of the individual, the ab surdity of society. Although everything happens by chance, it all seems logical: After attending his mother's funeral at the old people's home where he had kept her, Meursault enters into an af fair with a young woman, Ma rie; becomes involved with the Arab vendetta against his neighbor, Raymond: shoots an Arab and is brought to justice. Vibrant Photography Amazingly, the film follows that book so closely that the dialogue is largely verbatim. As in the book, silence is given its place. The photography, which de serves the credit for so vividly re-creating the character of Algeria, makes the maximum use of light and dark. Focus is varied so as to become the lens of Meursault's eye: blurred by drowsiness and heat exhaustion at his mother's wake; blinded to a squint by the glints of sun striking sand and sea; lucid, well-defined in the courtroom. Marcello Mastroianni cannot be separated from Meursault. This is no superstar oversha dowing his part. He is rumpled and sweaty and breathing heavily but there is no fire here, nor should there be. The face is vacuous, pooled in per spiration, and betrays no thought process. Sensitive Production The other roles are not less excellently handled. Anna Ka- rina, laughing rather too loud ly, effectively interprets Ma rie's frankly sensual, somehow naive, pursuit of Meursault. Joseph Marechal, given the largely visual role of the ugly old Salammo, stirs up pity as well as revulsion as he creaks out his loneliness. Raymond is oily without becoming a stereotype blackguard. The morally indignant prosecutor turns in a stunning perform ance. The overriding characteristic of Dino Di Laurentis' L'Etranger is his respect for and sensitivity to his material. The movie is well-played, well-photographed, and well- edited. . St, scrap,r -..j Vol. XXXVIII May 3, 1968 No .19 The Skyicrapar is published weekly. October to May inclusive except durina exam and vocation periods, by the students of Mundelein College. 6363 N. Sheridan Road, Chicago. Ill, 60626, Opinions expressed are those of the Skyscraper staff. Second-class postage paid at Chicago, Illinois. Entered as second-class matter Nov. 30, 1932 at the U.S. Post Office Ch coqo III., under the act of March 3, 1897.
title:
1968-05-03 (2)
publisher:
Women and Leadership Archives http://www.luc.edu/wla
creator:
Mundelein College
description:
Student newspaper for Mundelein College
subject:
Newspapers
subject:
Religious communities--Sisters of Charity of the Blessed Virgin Mary
subject:
Students
subject:
Universities and colleges
subject:
Women's education
relation:
Mundelein College Records
type:
Text
language:
English
rights:
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coverage:
Chicago, Illinois
coverage:
Mundelein College
