Cinema Papers July 1977

Registered for posting as a Publication— Category C

LOUIS MALLE - BERNARDO BERTOLUCCI - RAUL COX SPECIAL REPORTS CANNES '77 ON LOCATION WITH SOLO AND IN SEARCH OF ANNA JULY 1977

ISSUE 13 $ 2 -0 0 *

Switar 10mm/1.6

Macro-Switar 26mm / l . l

I

Whether to fit the 400 foot magazine.

And what lens to use. The Bolex H16 is a complete filming system offering the ultimate in precision, yet as rugged as a tank. Profession­ als in all fields, from documentary work to research, recognise it as a basic tool for prod­ ucing clear, properly exposed film. The top quality optical system is only one of the reasons for its supremacy. Ancillary equipment can be tailored exactly to your requirements —you don’t waste money on gear you don’t need. The motor is electronically regulated. Use film speeds of 10,18, 24, 25 or 50 fps. (24 and 25 fps are stabilised to sync pulse standards.) Reflex viewfinder. Magnification in the eyepiece is 14 x so you can see what you’re doing. When you’ve decided about the magazine, all you have to argue about is your choice of those superb optics. If you want something more to argue about, take a look at the Bolex RX5, or the Bolex SBM, our spring motor models.

Macro-Switar 75mm /1.9

Macro-Yvar 150mm /3.3

Vario-Switar Compact 17-85 mm A5

Vario-Switar 100 POE 16-100mm f2 multi-coated

Lens above has built-in meter, controlling aperture.

{f Vario-Switar 12.5-100mm " ^2 multicoated

Angenieux 10xl2C 12-120mm/2.2

ÉL

For colour brochures, write to Photimport (Aust) Pty Ltd, 69 Nicholson Street, East Brunswick 3057

DEPEND ON IT

IT'S FROM PH0TIM P0RT

—

i n n i Sopelem j Pän-Cinor 17-85mm f 3.8

PB09931P

Professionals only argue about tw o things on the (■j Bolex H16 EBM.

Proof of Atlab’s su c c e ss

Photographed by Australia's Cinematographer of the Year, Geoff Burton.

Apart from offering you every modem laboratory facility for film or tape, our revolutionary Proof Printing System is a real favourite with producers. Developed at Atlab by our color consultant James Parson, it gives you perfect color correction without you having to screen every frame. We appreciate how valuable your time is.

Talk to us about your next production. We’ll give you expert advice designed to ensure that the quality you put into your work will be reflected through ours.

GIVING QUALITY SERVICE »TLK& TO THE MOTION PICTURE INDUSTRY. Atlab Film & Video Laboratory Service Television Centre, Epping, N.S.W. 2121 Telephone: 8 5 0 2 2 4

Fourteen films on India today, a unique insight into one of the world’s most ancient civilisations.

The real stars of this series, one of the most ambitious projects in contemporary film making, are the people of India — people like Padma, a dancing teacher from Madras, Rana, a young Muslim student from Old Delhi, Bijan, a Calcutta artist and Jyoti, a twelve-year-old school girl living in an industrial complex on the outskirts of Bombay.

Fourteen films that explore the fascinating biways of agrarian, urban and cultural life in the India of the Seventies are available singly or at a special series price.

Running times vary from 14-20 minutes.

In Australia enquiries should be directed to the Marketing and Distribution Branch, Australian Film Commission, 8 West Street, North Sydney. Overseas to the Commission’s representatives: in London, Ray Atkinson, Canberra House, 10-16 Maltravers Street; in New York, James Henry, International Building, 636 Fifth Avenue, or through any Australian Government office.

Australian Film Commission

Produced by Film Australia

VICTORIAN FILM CORPORATION is presently setting up facilities to offer new and unique services to the film and television industries.

ModelMation specialises in puppet/model animation, from fairy-tale characters to monsters from the imagination; and miniatures, from buildings to futuristic space-craft.

For advance information please phone (Melbourne) 359 3274 after hours only.

Victorian Filmmakers— Producers, Writers, Directors, Script Editors, Researchers and Freelance Technicians The Victorian Film Corporation is currently compiling a register of all film production companies and freelance people currently resident in Victoria.

It is hoped that this register, when completed, will prove to be a valuable resource both nationally and internationally.

Please write or telephone Roz Woodman for an application form.

VICTO RIAN FILM CO RPO R ATIO N c/~ Ministry for the Arts 168 Exhibition Street Melbourne 3000 Telephone: 662 3588 (Temporary address only approximately end July)

FOUR OUT OF FOUR FILMS FUNDED BY THE CREATIVE DEVELOPMENT BRANCH of the Australian Film Commission scooped the pool at the 1977 Sydney Film Festival Greater Union Awards.

FICTION AWARD and ROUBEN MAMOULIAN AWARD

GENERAL AWARD

LISTEN TO THE LION Producer and Scriptwriter: Robert Hill Director: Henri Safran

CONFIRMATION Director: Paul Bugden

DOCUMENTARY AWARD

PRISONERS Producer: Tony Green Director: Mark Styles (with Collective)

(Out of the 12 finalists 8 were assisted by funds now operated by the Creative Development Branch of the Australian Film Commission.)

FUNDS FOR FILMMAKING, VIDEO AND RADIO GRANTS HOW TO APPLY for assistance from the Creative Development Branch of the Australian Film Commission: Applications for assessments for the Film Production Fund, Script Development Fund, and Experimental Film and Television Fund will now be assessed throughout the year. There are no longer any closing dates for submission of applications. Applications can be sent in at any time and will be evaluated soon after they are received.

Intending applicants should discuss their proposal with a Project Officer from the Creative Development Branch before submitting an application. This will ensure that applicants are directed to the correct fund and have a full understanding of the criteria and that the appropriate information is provided for a proper evaluation of their project.

Applicants for the Film Production Fund and the Script Development Fund should write to or phone a Project Officer at the Creative Development Branch to arrange an appointment to discuss their project. The people to contact are Curtis Levy — Film Production Fund, Richard Keys — Script Development Fund, Albie Thoms — Experimental Film and Television Fund, and IHelen Pross — Public Broadcasting and general film grant enquiries. Project officers will be available for consultation in all States on a regular basis.

Guidelines about the funds and application forms for the Film Production Fund, Script Development Fund, and the Public Broad­ casting Fund are available from: The Chairman Australian Film Commission GPO Box 3984 Sydney, NSW 2001

Application forms for the Experimental Film and Television Fund are available from: Executive Director Australian Film Institute PO Box 165 Carlton South, Vic 3053

FILM PRODUCTION FUND provides assistance for

experienced and promising writers and directors w h o wish to devote their full time to develop a film or tele­ vision script over a specific period of time at an approved rate of payment.

EXPERIMENTAL FILM AND TELEVISION FUND provides assistance up to $7,000 to filmmakers w ith lots of promise but limited experience. The "fund favours projects w h ich are innovative in form , content or technique and supports experimental w ork.

sm all-budget projects ranging up to around $35,000.

O n ly experienced filmmakers are eligible to apply to this fund. Projects should be innovative and should have the potential to further the applicant's developm ent as a film ­ maker. This fund is open to all filmmakers, w hether em ployed in governm ent/com m ercial production or independents.

SCRIPT DEVELOPMENT FUND provides assistance to

FOR INFORMATION: Telephone a Project Officer at the Creative Development Branch of the Australian Film Commission: Sydney 922 6855. Information sheets about the funds are available from the Australian Film Commission.

UTORS PTY. LTD

Think of the worst that can happen...then think again.

SUMMERFIELD NICK TATE JOHN WATERS ELIZABETH ALEXANDER

SUMMERFIELD with

MICHELLE JARMAN as Sally Written by CLIFF GREEN Produced by PATRICIA LOVELL

H^MNA-BAßßö^ 34-36 AXHISok I F o r a n U W ^ i o M , c W t e A c r e r e ß e sj& h s

Music by BRUCE SMEATON Directed by KEN HANNAM

^T. LÆONAtëOs rt¿.w. & n S & 2 x ¿stArr

a íq

. 3 3 -7 7

The new Vincent Library Catalogue Australian Film Institute

Vincent library CATALOGUE

The Vincent Library is one of the most important and accessible resources of film for the non-theatrical market. Any group or individual can apply for registration with the Library. x The new Vincent Library Catalogue features a wide range of films, including many new releases. If you are involved in film, this catalogue is indispensible. , Order now by sending $3.60 (includes postage) to Vincent Library, Australian Film Institute, PO Box 165, Carlton South 3053 Victoria.

Australian Film Institute

9 Vincent Library

-V '

The Producers of Caddie” for their new film The Irishman Registered trademark AGFA-GEVAERT Antwerp/Leverkusen

The exacting professional demands a film th a t w ill give him q u a lity, freedom and the fle x ib ility he needs to stim ulate his creative im agination. He gets all this fro m Gevacolor Type 680, a high­

speed, double-masked original negative film .

Gevacolor Type 680 is the choice o f 'T h e Irish m a n " p ro d u c tio n team, and o f discrim inating European film makers like Claude Lelouch,

d ire c to r o f "L e Chat et la S o u ris" "L e Bon et les M échants" and others.

AGFA-GEVAERT Limited.

Melbourne. Sydney. Brisbane.

Adelaide. Perth.

The "Caddie"production team on location.

A rtic le s and In terview s Louis Maile: Interview David Brandes Soldiers of the Cross Ray Edmondson Paul Cox: Interview Tom Ryan Picture Show Man Equipment Ian Griggs John Power: Interview Gordon Glenn and Scott Murray Jeannine Seawell: Interview Antony I. Ginnane Peter Sykes: Interview Basil Gilbert Westralian Newsreels Barry King Bernardo Bertolucci: Interview Desmond O'Grady

Louis Malle Interviewed: 10

10 15 16 20 22 28 34 38 40

Inside Looking Out Paul Cox Interviewed: 16

Features

Cannes 1977 Festival Report: 30

The Quarter 8 Guide to the Australian Film Producer: Part 6 Antony I. Ginnane, Leon Gorr, Ian Baillieu 26 1977 Cannes Film Festival Jan Dawson and Antony I. Ginnane 30 Film Censorship Listings 37 Directors’ Checklist 44 Rotterdam Film Festival ’77 Jan Dawson 45 International Production Round-up 48 Box-Office Grosses 49 Production Report 1: In Search of Anna Gordon Glenn and Scott Murray 51 Production Survey 57 Production Report 2: Solo Mary Moody 62 Filmmakers’ Service and Facilities Guide: Part 2 67 Television Comment 68 Directors’ and Writers’ Checklists 69 Developing a TV Series 73 Picture Previews High Rolling 74 Summerfield 75 The Mango Tree 84 Soundtracks Ivan Hutchinson 85 Book Reviews 87 Letters 89 New Zealand Report 91 Columns 93 New Products and Services 95

The Making O f . . .

Book Reviews: 87

Film R eview s

F.J. Holden Reviewed: 77

The F.J. Holden Susan Dermody Just a Woman Scott Murray Picture Show Man Basil Gilbert Hollywood on Trial Keith Connolly Menace Keith Connolly The Singer and the Dancer Judith Arnold

77 78 79 80 81 83

Production Report In Search of Anna: 51

Managing Editor: Scott Murray. Editorial Board: Peter Beilby, Philippe Mora, Scott Murray. Contributing Editors: Antony I. Ginnane, Graham Shirley, Rod Bishop, Tom Ryan, John O'Hara, John Reid, Noel Purdon, Richard Brennan, Gordon Glenni David Elfick. Design & Layout: Keith Robertson, Andrew Pecze. Office Manager: Mary Reichenvater. Sub-editing: Maurice Perera. Assistance: Peter Kelly. Correspondents: London — Jan Dawson, Los Angeles — David Brandes, Paris — Meaghan Morris. Rome — Robert Schar. Denmark — Gail Heathwood. Advertising: Sue Adler. Melbourne 329 5983.’

Sydney 26 1625. Printing: Ramsay Ware Stockland Pty. Ltd.. 552 Victoria St., Nth. Melbourne 3051. Tel. 329 7300.

Typesetting: Affairs Computer Typesetters. 52 Albert Rd.. Sth. Melbourne 3205. Tel. 699 2174. Distribution: NSW. Vic. Qld. WA, S A — Consolidated Press Pty. Ltd.. 168 Castlereagh St.. Sydney 2000. Tel. 2 0666. ACT, Tas— Book People. 1201 Toorak Rd.. Burwood, Victoria 3125. Tel. 29 2020. Cinema Papers is produced with financial assistance from the Australian Film Commission. Articles represent the views of their authors and not necessarily those of the Editors. While every care is taken on manuscripts and materials supplied for this magazine, neither the Editor nor thePublishers accept any liability for loss or damage whidh may arise. This magazine may not be reproduced in whole or in part without the prior permission of the copyright owner. Cinema Papers is published quarterly by Cinema Papers Pty. Ltd. Main office: 143 Therry St.. Melbourne 3000 (Tel. 03-329 5983). Sydney Office: 365A Pitt St.. Sydney 2000 (Tel. 02-26 1625)© Copyright Cinema Papers Pty. Ltd..

Number 13. July 1977.

Front cover: Judy Morris and Richard Moir in a scene from Esben Storm’s In Search of Anna. Photograph by Carol Jerrems.

Recommended price only.

THEY RALLIED ROUND

Controversy has dogged Bernardo Bertolucci’s Novecento (1900) ever since its premiere at the 1976 Cannes Film Festival.

Now the debate has been rekindled by the news that its producer, Alberto Grimaldi, has cut the film without Bertolucci's consent.

Originally the film ran for 5 hours and 30 min, but soon after Bertolucci cut it to 5 hours 10 min. And it was at this length that the film (in two parts) was released in Italy and France — and to almost universally bad reviews.

Grimaldi, finding it impossible to locate a distributor willing to show this version in the U.S., then shortened the film to 3 hours 15 min.

Bertolucci immediately and loudly protested, and film critics worldwide rallied to his support. In Australia a petition was gathered and sent to Grimaldi, though it, is doubtful many have seen the film in question.

Sydney Film Festival director, David J Stratton, has sent the following report: In response to the petition sent to Alberto Grimaldi and to United Artists in New York over Bertolucci’s 1900, the following replies have been received and are listed below. In addition, I have received an indirect message from Bertolucci with the following information: (1) Grimaldi has now given Bertolucci per­ mission to finish editing his four hour 25 min version of the film; (2) Bertolucci feels that the appeal of the Australian critics, together with that of the U.S. critics, has, in some way, been instrumental in getting a positive judicial reaction for him in Italy and he hopes to come to Australia in the near future to express his thanks in person.

The following cable was then received from Bertolucci: “ I THANK YOU AND ALL AUSTRALIAN CRITICS WHO EXPRESSED THEIR SOLIDARITY WITH 1900" .

• Mr Ernst G. Goldschmidt, Vice-President of United Artists, sent the following letter on April 27 in response to the petition which was addressed to Mr Eric Pleskow: "Let me point out that as distributors of the picture we have no control over artistic disputes between the producer and the director. No doubt Mr Alberto Grimaldi will respond to your petition directly."

A letter was also received from Alberto Grimaldi which reads: "The following is my response to the letter dated April 13 of various Australian critics regarding the subject picture: “ Before we began shooting 1900, Bernardo Bertolucci was aware that the distribution agreement that my company (PEA) had with Paramount for U.S. and Canada stipulated a running time not to exceed three and a quarter hours.

Paramount screened the picture before and after the Cannes Film Festival (May 1976) and said it would not distribute the picture in America unless it was cut from five hours and ten minutes to the contractual three hours fifteen minute length. Paramount also said that it was willing to rescind the contract, which provided for a payment by Paramount of $1,750,000 as a minimum guarantee, if I could find another domestic distributor.

"During the past fifteen months, I have been trying unsuccessfully to find another d is tr ib u to r w h ic h w o u ld re p la c e Paramount and take the picture at the original length of five hours ten minutes.

The picture has been offered to all significant American distributors, none of which was willing to release the movie (and undertake the financial commitment of Paramount). The main reason which distributors gave was they could not find exhibitors willing to show the picture at that length, even if it were screened in two parts, as it was in Italy.

"At one point. Twentieth Century Fox was prepared to undertake Paramount’s commitment and release a version cut by Bertolucci not to exceed four hours. For the past nine months I have been constantly inviting Bertolucci, in person and in writing, to cut the movie to at least

8 — Cinema Papers, July

four hours so I could cancel the Paramount agreement and make the deal with Fox; however, Bertolucci has repeatedly refused. His position was that he could not cut the movie to less than four hours and thirty minutes, a length which possesses the same distribution problems for us as the five hour ten m inute ve rsion . T he re fore , I was compelled to exercise my contractual right with regard to Bertolucci in cutting the movie to three hours fifteen minutes, in order to fulfill my commitment to Para­ mount, which held a delivery deadline of March 31, 1977. “ B e rto lu cci was responsible for extending the shooting schedule to almost a year, thereby increasing the cost of the movie from the originally budgeted $3,000,000 to more than eight million dollars. I could not responsibly allow my company to absorb a loss of this magnitude because of Mr Bertolucci's failure to honour his contractual obliga­ tions.

"Critics from all parts of the world who have seen the original version all felt that the picture was too long. This feeling has been shared by the audiences in the countries where the picture has been released: Italy. France. Germany, Switzer­ land. Greece and Denmark. In these countries, less than 50% of the movie­ goers who had seen Part I went to see Part II. There are only two English versions of the film. One is the three hours fifteen minutes version which has been delivered to Paramount and the other is the five hours ten minutes original version, which can still be shown In Australia in any theatre willing to screen it."

CANNES AWARDS At the recently completed 1977 Cannes Film Festival, the award winners were: Golden Palm: Padre Padrone (Paolo and Vittorio Taviani) Best Actress: Shelley Duval for Three Women and Monique Mercure for J. A. Martin, Photographer.

Best Actor: Fernando Rey for Elisa, Vida Mia (Elisa, My Love) Best Director: Not given.

Best First Film: The Duellists (Ridley Scott).

Best Musical Score: Norman Whitfield for Car Wash.

Ecumenical Prize: La Dentelliere (The Lacemaker) by Claude Goretta, with special m e n tio n fo r The B ib le (C a rn e ) and J. A. Martin, Photographer (Beaudin).

International Critics Award: Padre Padrone, with special mention for Nine Months (Meszaros).

PERTH FEST NIXED The recent demise of the Perth Film Festival has proved a sad, though perhaps inevitable, development, and could fore­ shadow similar problems for the world’s small, independent festivals.

Bursting onto the festival scene in 1972, it q u ickly established its e lf as a highly innovative event which vigorously promoted the independent film. Initially set up by David Roe (who later joined the Australian Film Institute as its director), it was run for the past three years-by Sylvie Le Clezio, with Roe as chairman.

The ability of the organisers to piece together an exciting program was evidenced in their securing the world premiere of Louis Malle's Black Moon in 1975; the screening of A Woman Under the Influence, which John Cassavetes gave Perth after New York but denied Cannes; and the championing of Werner Herzog in Australia. Other Perth firsts included Fears Eats the Soul (Fassbinder), La Maman et la Putain (Eustache), Pastoral Hide and Seek (Terayama), Grey Gardens (Mayles Brothers), Serail (de Grigorio), Souvenirs D’en France (Technine), and Death of a Director of a Tlea Circus (Koerfer).

Y

It was, moreover, the only festival in Australia to gain admission to the International Federation of Independent Film Festivals, along with the Directors' Fortnight at Cannes, the Edinburgh Film Festival and the Rotterdam Film International.

Not at first endeared to the more estab­ lished festivals, Perth made noises about what it called the lack of purpose and their poor record in helping films find distribution. And while Perth's programs were too specialist to clash with the other festivals, there existed an apparent lack of co-operation. However, this eventually changed and the Sydney and Mel­ bourne festivals leapt quickly to Perth's defence when it ran into censorship trouble in two consecutive years.

In 1975, Perth successfully appealed against a ban on the Belgian entry, Vase de Nves, which the Western Australian govern­ ment pressured the Commonwealth Censor into refusing registration, in a move that pre­ empted the agreement guaranteeing freedom of censorship for festivals.

Not to be outdone, in 1976 the W.A. a u tho ritie s threatened Perth w ith the physically impossible burden of having to submit every entry to the censor if it persisted in Its intention of importing Nagasi Oshima's Empire of the Senses. The festival withdrew the film, only to see it shown without any fuss at this year's Melbourne and Sydney festivals.

The Perth Festival was forced into demise by its financial position, a state of affairs not helped by an unsympathetic State government which has said that it doesn't consider Perth's programming sufficiently middle-of-the-road.

If it is, the government says, it will make money and won't need to be subsidized anyway.

Although there are rumors that the festival may move interstate, both Le Clezio and Roe have declined to comment.'In the meantime, the numerous "letters to the editor" printed in The West Australian suggest a growing awareness of what has happened, though the chances of the organisers consenting to the revival of the festival — in Perth at least — must be counted as slim.

CENSORSHIP BOARD OF REVIEW A producer whose film has been refused registration by the Commonwealth Censor can appeal the decision by applying to the Films Board of Review. Since March 1976, 53 films have been banned, 21 appeals have been lodged and five decisions have been reversed.

Given this record, let us examine if the Board is in fact fulfilling any useful purpose.

The five films whose fates were reversed are: Naked Magic Exhibition (soft version) Sex Machine Mondo Erotica Making of a Prostitute.

Of these, the first three were registered “ R” uncut; Mondo Erotica was given an “ R” after 62.2m (2 mins 16 secs) were deleted; and Making of a Prostitute an “ R” with 19m (42 secs) of eliminations. None are of any major critica l importance, though Sex Machine Was made by one-time Visconti scriptwriter, Pasquale Festa Camplnale.

Looking at those banned films the Board did not support, we find the most notorious, Pasolini’s Salo. There is no question that the film is extremely violent, both psychologically and physically, and is very offensive, but offense is a valid form of debate. What is hard to accept, however, is that anybody could find it pleasurable — though Pasolini obviously found sexual fascination in the unnecessarily extended torture sequences. Audiences generally respond, as in Empire of the Senses and L’Ultima Donna, by walking out. The Australian censors would, one imagines, be greatly surprised by the degree of self-censor­ ship people are able to employ in such films.

Other films of note still denied registration are Texas Chain Saw Massacre; La Bete by Walerian Borowczyk; Vase de Nosces, the Belgian film by Theiry Zeno shown at the 1975 Perth Festival amid great controversy; UP! by Rus Meyer; and two films by one of the world’s

truly great comic directors, Radley Metzeger — Private Afternoons of Pamela Mann and The Opening of Misty Beethoven. Metzeger can be remembered for his brilliantly witty Score which was shown in Australia in a brutally cut version.

As well, it must be pointed out that the Borowczyk, the Hooper and the Zeno have all been shown in major international film festivals, and are works by important directors.

Thus, in surveying the censorship scene of the past 15 months we find the Board of Review has supported not one director of relevance whose film has been banned. All the Board has done in this area is reverse the fate of five minor sex films. Is this enough to justify continued existence in its present form?

(The Board is Chairman, Stanley Hawes (of Film Australia); Deputy Chairwoman, Caroline Jones (of Four Corners); Dr Margaret M id d le to n ; D avid D itc h b u rn ; D udley McCarthy; and Prof. A. G. Hammer.)

DR VENTURINl BOWLED OUT Members of the new body which will administer the yet again revised Restrictive Trade Practices Act from July 10 were recently appointed by the M inister for Business and Consumer Affairs, Mr Howard.

Surprisingly, Dr Venturino Venturini, the most experienced and qualified of the past com­ missioners in terms of trade practices and commercial law activity, has been omitted from the appointments.

Dr Venturini was a frequent and trenchant critic of the past Labor government com­ mission and was the most radical in interpret­ ing the Act. His recent treatise on the film industry (Cinema Papers nos. 10 and 11) also showed him to be informed and articulate on the problems facing independent producers and distributors.

Simultaneous with the dismissal of Dr Venturini, critics have labelled the revised Act a toothless monster in areas of merger and monopoly. Some observers have also speculated on whether the powerful lobbying by the MPDA and other business groups had any influence on Dr Venturis's removal.

TRADE PRACTICES UPDATE The Darwin Cinemas’ Lose The Trade Practices Commission again turned its attention to the film industry in a recently-filed determination regarding a clearance application for a takeover of an independent Darwin Cinema by Greater Union. Interestingly the Commission's,resident film expert was not involved in the decision.

The Commission’s published reasons and a statement of the facts are set out below. They give some insight into the Commission’s thinking on independent cinemas.

1.

This is an application for clearance of an acquisition of assets. Darwin Cinemas Pty Ltd ("Darwin Cinemas") applies for clearance to acquire the Parap Hardtop Picture Theatre including land, im­ provements, fixtures and fittings, goodwill and the exclusive right to use the name "Parap Theatre” .

2(a).

Darwin Cinemas also intend to lease for a period of 5 years (with an option to renew for a period of 5 years) the Paspalis Drive In Theatre. The Paspalis Drive In is owned by a company with a common share­ holding to the company owning the Parap Theatre.

Clearance is not sought for this lease “ because the parties are advised that the proposed sub-lease is not within the jurisdiction of the Trade Practices Act" (Applicants' Notice Seeking Clearance para. 3). (b). The Commission is bound to make a decision only on the matter for which clearance is sought.

Accordingly, this decision relates only to the acquisition of the Parap Theatre. Nevertheless, in reaching its decision, the Commission is entitled to take into account all the applicable circumstances and the Paspalis Drive In lease is one of these circum­ stances. Indeed, the Memorandum of Agreement between the relevant parties includes both transac­ tions in the one document and they do not appear to be separable. (c). The Commission is not a court of law and it is courts of law which determine the jurisdiction of the Trade Practices Act. The Commission should, however, not be taken as necessarily agreeing with the views of the applicant (para. 1(a) above) and the Commission here makes no comment on these views.

3.

A short submission has been lodged by the applicant setting out Various aspects relevant to the

THE QUARTER

transaction. So far as here relevant this submission is to the following effect: (a) The Parap Theatre is 50% owned by (i.e.

50% of the capital in the owning company is held by) the Estate of Michael Theodosios Paspalis who died on 17 October 1972. The Paspalis Estate is also the effective owner (i.e. a con­ trolling interest in the owning company is held by the estate) of the Paspalis Drive In Theatre. All negotiations in connection with the present transaction have effectively been carried on by the trustees of the Paspalis Estate. (b) The late Mr Paspalis was solely responsible for the management and direction of the business affairs of the Parap Theatre and the Paspalis Drive-In during his lifetime. After his death the trustees appointed managers to conduct the business of these two enterprises.

No members of the Paspalis family presently live in Darwin. (c) The trustees of the estate are of the opinion that it is in their best interests to reduce the estate's investments in Darwin in view of the difficulty of personally controlling these invest­ ments and, in particular, in personally controlling the operations of the two theatres. Accordingly two years ago it was decided to seek a buyer for the Parap Theatre and a tenant for the Drive-In Theatre. (d) Negotiations for sale and lease were com­ menced some time ago and deferred as a result of Cyclone Tracy in December 1974. They were subsequently renewed and the present arrange­ ments are the culmination of these negotiations.

It is not necessary to set out the terms and conditions of the Memorandum of Agreement between the parties as for all purposes relevant to this decision they are covered in para. 1. and 2. above. The Memorandum of Agreement also states: ''5(a) This agreement is subject to and conditional upon: (i) the granting on terms and conditions satisfactory to Darwin Cinemas Pty Ltd of any approval clearance or authorization under the Commonwealth Trade Practices Act (including an indication that sec. 94(3) of that Act applies) to enable Darwin Cinemas Pty Ltd: (a) to purchase the Parap Theatre as aforesaid, and (b) to take the Paspalis Drive-In Theatre on sub-lease as aforesaid not later than the thirty first day of March 1977.''

Notwithstanding the terms of this clause, the applicant has not so far made application in respect of the Drive-In Theatre sub-lease and the Commission reiterates the matters previously stated in para. 2 above.

4.

No authorization application has yet been lodged. The Commission, therefore, in this decision is unable to consider, and does not consider, any .public benefits which may be said to flow from the transac­ tion before it.

5.

No material has been placed before the Com­ mission by the applicant other than that summarised in para. 3 above. Where matters, other than those set out in para. 3 above, are referred to in this decision, these are matters which have been investigated by Commission staff by interview and enquiry.

Facts relating to Darwin and Theatres situated in Darwin 6.

There are three movie theatres in Darwin these being: (a) The Darwin Cinema (owned by the applicant, Darwin Cinemas) (b) The Parap Theatre, and (c) The Paspalis Drive-In. A fourth theatre, the Star Theatre (in which the Paspalis Estate had a 50% equity interest), was closed as a result of Cyclone Tracy in 1974. This theatre had, in any event, become very run down. It is believed that it was intended even before the cyclone struck to close this theatre.

The Parap Theatre commenced operations in April 1959 and its only Darwin competitor at that time was the Star Theatre. This remained the position until 1963-64 when the Paspalis Drive-In was established (1964) and Darwin Cinemas established a theatre (November 1973).

The Darwin Cinema is a modern air-conditioned theatre. The Parap Theatre was remodelled in 1974 after Cyclone Tracy as "a semi-tropical hardtop" theatre, i.e. it is enclosed overhead but is partly open at the end to allow the flow of cool air into the theatre.

The Parap Theatre and the Darwin Cinema are within 5 kilometres of each other. The Drive-In Theatre is situated within 5 kilometres of the Parap Theatre and within 10 kilometres of the Darwin Cinema. The Parap Theatre is geographically between the Darwin Cinema and the Drive-In Theatre.

The manager of the Parap Theatre states that a considerable amount of up-grading is required to the Parap Theatre if it is to increase its attendances.

These attendances have been static over the past few years.

7.

The Parap Theatre and the Darwin Cinema both screen first release films. Darwin Cinemas is a wholly owned subsidiary of Birch Carroll & Coyle Limited C'B C & C ") which company owns about 35 theatres throughout Queensland. It thus appears that the Darwin Cinema is obtaining priority over the Parap Theatre for first release quality films from some distributors as these are booked for all B C & C outlets. The Drive-In Theatre does not screen first release films.

The Parap Theatre appears to draw a con­ siderable audience from Darwin's Greek and Chinese population. On Thursday nights only Chinese films (in the Chinese language) are shown. On Sunday nights only Greek films (in the Greek language) are shown.

Darwin Cinemas obtains 60% of its films from Roadshow, 30% from Greater Union and the balance from other distributors (except United Artists).

B C & C. in fact, distribute for Roadshow in Queensland so that the Darwin Cinema is in fact operating as its own distributor, for this reason as regards 60% of its films. A further 30% of films are obtained by Darwin Cinemas from a supply source having a substantial equity in the Darwin Cinema.

stitutable for films. They have different appeal and people engage in such activities for different reasons to those involved in a decision to see a film.

15.

The functional area of market competition is at the retail level of exhibiting films to the public.

The Parap Theatre and the Drive-In obtain film from United Artists, Columbia, CIC, 7 Keys and Regent Films. Films are also obtained from Roadshow but these are screened at the Drive In only.

Notwithstanding the number of companies named as suppliers of film, there is a great deal of inter company connection between suppliers. A graphic re p re s e n ta tio n of the c o n n e c tio n betw e e n distributors, prepared by the Commission, is attached as Annexure "A " to this decision' (7 Keys and Regent Films are not shown in Annexure "A ” as they are smaller independent companies with no links to overseas film producers. In terms of numbers of films produced, these companies are of small importance compared with the companies shown in Annexure "A").

All three theatres show films seven nights per week.

8(a).

The comparative monetary performances of the Darwin Cinema and the Parap Theatre are shown by the following comparative figures given to the Commission.

Parap Theatre Darwin Cinemas 1975-76

1975-76 1975-76

ANNUAL TURNOVER $165,000 $450,000 (theatre) $ 10,000 (shop rent)$100,000 (candy bar) NET TRADING PROFIT BEFORE TAX $ 54,000 $120,000 GROSS ASSETS (W.D.V.) $105,000 $800,000

(b). A comparison of attendance figures between the three theatres shows the following: Average attendance % of total per week attendances Darwin Cinemas4,000 46.0% Parap Theatre . 700 8.0% Drive In 1,000 46.0% 8.700 (sic) 100% (c).

Present entrance fees for adults are: Parap Theatre Darwin Cinema Drive-In

$2.50 $3.00 $2.50

9.

There is adequate available land in Darwin on which to construct theatres and approval for construction would be easily obtainable from the Darwin Reconstruction Commission. There are no legislative barriers to entry.

Present estimated cost to construct a drive in is $1,500,000 and to construct a hard top theatre is $800,000. Skilled staff are also difficult to obtain in Darwin and this could present problems to a new entrant. Projectionists are particularly scarce and a new entrant would either have to attract a pro­ jectionist from the south or be in a position to train one. Turnover of staff is apparently high.

10.

The Darwin Cinema is apparently active in advertising on press radio and television and spends by far the greatest amount on advertising. The Parap Theatre and the Drive-In spend far less on advertising and advertise in the press only.

11.

Other leisure activities which exist in Darwin include: (a) Open Air Live Shows held in the amphi­ theatre in the Botanical Gardens. It appears as if these shows are particularly popular, especially in the Dry Season from May to the end of October. These shows are held on an average of

once per week and patrons pay from $5-$7 entrance fee. (b) Hotels with cabaret and live entertainment. (c) Greyhound racing — two nights per week. (d) Speedway — Saturday night. (e) Bingo in clubs and hotels. (f) General Club activity. Some clubs screen 16mm films. (g) Fishing in the dry season. (h) Sporting activities — football, cricket, horse­ racing etc. (i) Radio and Colour TV. 12. - Darwin s present population is in the vicinity of 48,000. After Cyclone Tracy, the mass exodus of people reduced this population to about 12,000. So far as theatres are concerned, it took some time to build up attendances but in July/August 1975 attendances were back to "pre-cyclone" levels. Colour TV was introduced into Darwin in January 1976 and this may have some effect on attendances.

Darwin is also planning a development project in Casuarina (about 12 kilometres from the city centre).

There may be need for a theatre there when this project comes to fruition but this is at the moment uncertain. Future estimates of Darwin's development are stated by the managers of all theatres to be uncertain although there is some enthusiasm at present.

The Darwin population is a young one with an average age of between 30 and 35.

13.

Each theatre manager interviewed by Com­ mission staff was of the opinion that there was not sufficient market to establish a new theatre in Darwin at the present time. There may be a possibility that a theatre will be constructed at Casuarina in a few years time. B C & C did have previous plans to build a Drive In Theatre itself and also had plans to build a hardtop theatre in the Casuarina complex. It appears as if both of these plans have been shelved in light of the present purchase and lease arrangements. The B C & C plans were by no means final but they had progressed significantly in some stages of planning.

The Market and the Competition in such Market 14.

It may be argued that the relevant product market is the general leisure market of which theatres are a part. If this were so, then the effect on competi­ tion would have to be considered in light of all or a substantial number of the activities set out in para. 11 above. The Commission, however, rejects this wider market definition and considers the film theatre to be the applicable market. To define the market in wider terms would in the Commission's view be com­ mercially unrealistic in view of all usual relevant criteria of market definition.

Live Open Air shows have a very different appeal to that of films because they are live shows of a particular nature. This is shown by the much higher charge for such shows than for films. Sporting events have appeal for persons interested in the particular sport rather, than the more generalised appeal which films have. Clubs have a restricted membership.

Hotels, whilst providing entertainment, are basically aimed at the consumption of liquor and not at enter­ tainment as such. Several of the activities listed in para. 11 would not generally be available to or enjoyed by children. Many of the activities listed in para. 11 occur only on certain nights and not all nights of the week. Many occur during the day and are thus not directly competitive with evening movie shows.

Although all of the activities listed in para. 11 do, no doubt, affect the film market to a greater or less degree, they are not activities which are highly sub­

16.

The geographic market involved is Darwin. The city is a self-contained entity. There is no nearby area to which people can go in order to see a film if they do not like those films showing in Darwin. Purely geographic aspects dictate that the retail market be limited to Darwin.

17.

In the Darwin film exhibiting market, the Com­ mission is of the opinion that the acquisition by Darwin Cinemas of the Parap Theatre as part of a deal that also includes the Drive In sub-lease is likely to have the effect of substantially lessening competition for the following reasons: (a) The number of competitors is reduced from two (Darwin Cinemas and the Paspalis Estate) to one (Darwin Cinemas). This means that Darwin Cinemas will be a monopoly film exhibitor in Darwin. In structural terms the lessening of com­ petition is thus substantial. (b) The area of market share taken over by Darwin Cinemas is not only that of the Parap Theatre but also that of the Drive In. This is a market share, based on attendance figures of 54% (see figures para. 8(b) above). The situation where previously there were two competitors with reasonably equal market shares is replaced by a situation of one exhibitor only. The market share taken over is thus substantial. (c) It appears that, probably for a considerable time to come, the market is not large enough to encourage a new entrant. Thus the monopoly position which would be created if the acquisi­ tion proceeded would not be likely to be disturbed by an actual new entrant or by the credible threat of such, entry.

The Commission also sees other difficulty in an independent new entrant coming into the market in the future if the present acquisition proceeds.

Not only does such new entrant face a wellestablished opposition, firmly entrenched with three outlets but also he faces the ownership of these three outlets by a company having close ties with major film distributors (see Annexure "A)"). Such film distributors are unlikely to provide him with their own quality or first release film so that he can compete against the distributor's tied outlets. Hence a major source of supply is foreclosed to the potential new outlet. And indeed the potential new outlet may have difficulty in obtaining such film from other sources such as CIC, Twentieth Century Fox, United Artists or Columbia with whom he would have no established relationships. For these companies may be more concerned with good relationships with B C & C that has around 35 outlets than with supplying an independent. It is different with the Parap Theatre and the Drive In under present control, because they have rela­ tionships that predate the Darwin Theatre, The Commission would not consider it relevant whether the actions here discussed actually occur or not. The mere credible threat of their occurrence would be a substantial deterrent to a new entrant. The Commission has no doubt that there is such a credible threat sufficient to deter a new entrant.

The effect is thus that the monopoly position of Darwin Cinemas is virtually assured. If the acquisition goes ahead, it is unlikely that anyone, other than Darwin Cinemas, would be interested, when the time came, in constructing a theatre in the Casuarina development. (d) It appears that consumer choice will be consicferably curtailed in that the range of films available is likely to be reduced. In view of the common shareholding of Greater Union, Roadshow and B C & C (see Annexure "A ” ) and the fact that B C & C exhibits Roadshow films in Queensland, it is likely that films shown at the Parap Theatre and the Drive In will usually be those of Greater Union and Roadshow. Indeed all but 10% of the films presently shown at the Darwin Cinema are from these distributors. Thus it is likely that films distributed by CIC. United Artists, Twentieth Century Fox and Columbia in particular will not be shown in Darwin as frequently as at present or it is likely that release dates of such films will be deferred in favour of Greater Union and Roadshow films. This is likely to occur because of ownership and is likely to occur even absent a restrictive agreement between the parties. (e) Competition generally would not exist in the theatre industry in Darwin. Competition would be limited to attracting people to films and away from other leisure activity. But there would be no competition between films themselves and the incentive to show up to date first release films would be limited. This may go into the area of price competition as well. At the moment, the Drive In and the Parap Theatre charge 50c less per adult than does the Darwin Cinema. The incentive to charge less than the Darwin Cinema would disappear post acquisition as it is then total patronage not patronage in particular theatres which is of relevance. Hence the Parap Theatre and the Drive In Theatre have no independent incentive to attract patronage from the Darwin Cinema and no incentive to charge 50c less to do this.

Decision 18.

For the reasons above, the Commission considers that the proposed acquisition would be likely to have the effect of substantially lessening competition in a market for goods or services.

Clearance in respect of the acquisition is thus denied.

' Annexure "A " referred to in the Commission's published reasons is a table which purports to set out the interrelation between distributors and exhibitors in Australia. The table contains some inaccuracies as to ownership of both exhibition and distribution companies and for this reason it is not reproduced.

Those interested in the interlocking relationships between distributors and exhibitors are referred to Cinema Papers March-April and July-August, 1975: "Trade Practices Legislation and the Film Industry'.

Cinema Papers, July — 9

I left Cousteau and worked with Robert Bresson on Un Condamne A Mort S’est Echappe (The Condemned Man Escaped) as an assistant. After that, I made my first f e a tu r e , A sc e n se u r Pour L’Echafaud. It was based on a book, a not very good thriller of the same title. It had to do with a man who is stuck in an office elevator for a weekend immediately after having committed a crime. It is a typical, Hitchcock-type suspense story.

Was it d ifficult making the transition from documentary to drama?

The problems were not technical.

I could discuss things in detail with cameramen and soundmen and I was quite aware of editing — generally more so than the average director making his first film.

Where I did have difficulty was directing actors, because I had no experience. Certainly the weak­ nesses of my first films are with the acting. But I became more and more interested, and today I would say it is almost my forte; it’s what interests me most.

When I started I had to deal with stars like Jeanne Moreau, Brigitte Bardot, Alain Delon and Jean-Paul Belmondo; today I am more interested in working with non-pro­ fessional or little-known actors and actresses. In all my recent films — Murmur of the Heart, Lacombe

Pierre Blaise as the Nazi collaborator.

Lacombe Lucien. and Aurore Clement as his Jewish girlfriend. Lacombe Lucien.

Louis Malle is one of France’s most accomplished directors. He has made 10 provoking and original features which range in subject from incest (“Le Souffle au Coeur”), to collaboration (“Lacombe Lucien”), to sexual passion (“Les Amants”). But while his films are often controversial, Malle is in no way sensationalistic, his films always notable for their gentleness and restraint Malle’s output has continually defied critical pigeon-holing and his line of progression, as he points out, is a very broken one. It has ranged from the classical perfection of “Lacombe Lucien” to the experimental “Black Moon”, from the tragic and moving “Le Feu Follet” to the zany and erratic “Viva Marie”. But if Malle has any constants as a filmmaker they must be his sure handling of non-professional actors, his re­ freshingly simple and controlled style, and, most im­ portantly, his moral objectivity and compassion.

Malle entered the French film school at 17 but never graduated, abandoning his studies to join up with Jacques Cousteau instead. Their collaboration lasted four years and Malle served as an underwater cameraman, editor, and finally co-director on “The Silent World”. In the following interview, conducted by Los Angeles correspondent David Brandes, Malle begins by describing his departure from the Cousteau team.

Lucien and Black Moon — the you something that professional central character has been an actors don’t. For instance, it would adolescent; consequently I have have been impossible for me to have used beginners, and I find that very a professional actor as the lead in Lacombe Lucien, because I had to interesting.

I find it more rewarding in terms have somebody with that kind of a of the result. They don’t know any past or background — he had to be tricks, they are generally more a peasant.

There is a scene in the fdm where honest with the part, and they bring

Pierre Blaise having come from a peasant background was able to authenticate Malle's basically middle-class vision. Lacombe Lucien.

Opposite: An informal Brigitte Bardot chats with director Louis Malle on the set of Vie Privée.

the boy has to catch a chicken and kill it. Pierre Blaise, being from a peasant family, told me the scene as described in the script was wrong.

We rewrote it and now' one of the really impressive moments in Lacombe is this scene where, all in one shot, Lacombe catches the chicken and kills it. The first take was fantastic; we hadn’t rehearsed it and you can detect this in the film because when Pierre chopped off the chicken’s head the operator was so taken aback that he jolted the camera a little.

But surely the advantage of using stars, apart from using their names, is that you are fairly aware of their talents. . .

Yes, but that is what I don’t like; you know what the film is going to be too much in advance. I prefer to sit under the camera and just say “go”. I love to be surprised; for actors to do something unpredict­ able. That is what you get from non­ professionals, rarely from pro­ fessionals; they are used to being extremely precise.

If a professional has to light a cigarette, he prepares the pack so that he can look in the eyes of his partner, pull out the cigarette, light it and still appear very natural.

Actually it is not natural at all: the actor should stop and look at the pack.

Professional actors give you a

Pierre Blaise as Lacombe after killing the rabbit in the extraordinary one-shot take in Lacombe Lucien.

Cinema Papers, July — 11

LOUIS MALLE

vision of reality which is already pre-digested. I like accidents such as when something falls to the floor.

It is this element of hazard that is so interesting; because in docu­ mentaries there is nothing else. And that is probably why I am now so interested in dealing with non-pro­ fessional actors and in preserving their moment of chance.

How do you go about casting? Do you have a casting network over France or wherever?

We are having this problem right now, because we are casting a film where the central character is again a 12-year-old girl. I have no inten­ tion of using Tatum O’Neal or Jodie Foster — I want somebody fresh.

The film is taking place in New O rleans, and while it is not essential, it would be better if the girl was Southern. I am seeing hundreds of girls and it is just a question of time and patience. It takes instinct, luck and courage — it is a terrible decision.

With Lacomhe Lucien, for example, after I had already chosen Pierre Blaise, another boy came and I hesitated once more because I felt that this boy had things that Pierre didn’t. My God I am so glad I didn’t change my mind because Pierre Blaise was a phenomenon; he was extraordinary, and from the first day of shooting we knew he was going to help the film tremendously.

You must also remember how much I like dealing with real people.

Pierre Blaise knew more about Lucien than I did. He felt so close to the character that I would listen to him as if he were my technical adviser about the part. He would come all the time with propositions that had a lot to do with the essence of the character, and this is im­ portant.

My main problem with Lacombe was that I was dealing with someone I knew very little about. You see I

have a completely different back­ ground; I come from a bourgeois family and when I make films like Murmur of the Heart, Les Amants or Le Voleur, I am dealing with people who are like my brothers — they are part of myself. In Le Feu Follet, my film about suicide, these people are more or less my family, my background. I identify with them very easily.

I had problems in Lacombe with some people because I should have gone further. Now everybody found the mother of Lucien very good — and she is good — but I had trouble with her because though she came from a peasant family, she had become a stage actress. She tended to compose her performance and when we started shooting I thought she was overdoing her peasant walk.

I remember having a big fight because I told her it looked ridiculous. We had lots of extras who were peasants, so I said: “Look at those people. You think your idea of how they walk is right, but look at them. These people don’t walk like that at all, they just walk normally.”

She was very artificial.

One o f th e c r i t ic i s m s o f “Lacombe” is that while we all sympathize with Lacombe, there is something very wrong in sympathizing with that kind of barbarism__

Jean-Paul Belmondo as the middle-class youth turned thief in Le Voleur.

film which could lead to the con­ clusion that I was trying to justify him. I think it has something to do with the fact that you are watching him for two hours.

Somebody once said, “Never try to understand your enemies, because if you do you are in trouble.” But I think it is interesting sometimes to look at your enemy. I suppose if there is a revolution, people like you and me would be on one side and people like Lucien would be our enemies. I think that is interesting.

— and were left in Algeria with the SLN victors coming in. They had a tough time and were horribly tortured.

That is so typical of how the French population has been used by the exploiters, the fascists. I think the story of Lacombe Lucien fits perfectly. I didn’t intend to make a Marxist film, but it is Marxist in approach.

So to answer your question, I think audiences know better than to just readily identify. They look at this guy and try to understand. It is just the same as people asking them­ selves, “How come this Chilean soldier who comes from the working class is siding with the oppressors?”

I think that is what was interest­ ing about the film, because I have I think the problem w ith noticed very opposite reactions “Lacombe Lucien” is that what he among audiences. Some people does never seems evil. So while I identify with Lacombe, but I don’t don’t think you should be think they do so 100 per cent. As moralistic, there should be a well, some people obviously don’t realization on the part of the sympathize from beginning to end, audience that here was something they reject the character entirely. evil. For example, if you were to For me, the whole point of the do a film on Hitler and just show film was merely to present such a what he was like inside his office, character. I don’t try to explain him, and how he treated his secretary excuse him or justify him — and lover, you could do so without actually there is not one thing in the in any sense touching on the evil of the man. . .

Benoit Ferreux, who as the 15-year-old Laurent is sexually initiated by his mother, chats with Louis Malle on the set of Le Souffle au Coeur.

12 — Cinema Papers, July

Jeanne Moreau and Jean-Marc Bory as the lovers in the fifties’ most controversial film, Les Amants.

Yes, but I would say there is a big difference between Hitler and Lacombe Lucien, and that’s the point of the film. This is a film about the little man, the little guy; it is a film about somebody who is on the side of the murderers, but is actually a victim. In a sense, he becomes an employee of this Gestapo gang though he doesn’t understand what is going on.

The proletariat is so often on the side of the fascists and Marx explains this by pointing out that they are used to being manipulated.

They don’t have the consciousness, or the education to understand what side they should be on. These people are easily influenced by money and power; sometimes just for survival.

That was what happened in Algeria. The Arab Algerians collaborated with the French, yet at the end were the victims. They were abandoned by France — of course

I think your question is a good one, and I think you imply this in your film “Calcutta”, in that you don’t present the film as a diatribe against the way in which the Indians are being exploited__ Yes, but that has always been my approach to filmmaking — I never try to use punch lines or make points, especially in documentaries where I always understate the message.

I made a film called Human, too Human, about the making of a car.

The last 45 minutes is a series of long sequences — five or six minutes each — on a worker repeatedly making the same five gestures. There is not one line of commentary. Well the film was greatly criticized by some because it was not didactic enough; they think I should make a point about exploitation, which is ridiculous, because it is so obvious.

There is also a sequence in the film at an exhibition, where people are surrounding the cars and asking questions. They are all caught up in this craziness — which is sort of modern religion — they are all a part of the same huge machine. You feel this very strongly, so you don’t have to make a point out of it — it comes from the images and the

LOUIS MALLE

Catherine Demongeot as the lead in Zazie dans le Metro.

The two Marias: Jeanne Moreau (left) as the orthodox communist and Brigitte Bardot as the gauchiste. Viva Maria.

sounds. big enough. We were fighting with I try to do the same in my fiction production problems all the way work, where I also have the through and at the end I sort of sur­ audience do a little homework. I rendered. think audiences should participate; I had to work too fast, and I had they should be able to work them­ all kinds of problems with the two selves towards a conclusion. I am girls, Jeanne and Brigitte, who were the one who should ask the very difficult. It was even difficult questions and supply the elements to get them to be on the same set on for the answer — as -I did with the same day at the same hour; one Calcutta. of the two would be sick or not show I edited something like seven at all. hours of film, and for me there is no I am also not at ease with scenes clear answer about what is going on where there are thousands of extras. in India. But you are probably able I don’t really mind, but I’m not that to understand the incredible interested; and I got bored during complexity and contradictions of the shooting — something that India and how it is practically im­ never happened to me before. possible for us in the West to say I was shocked the other day when anything relevant about India. I a director in Hollywood told me think that is the way I am trying to that while he loved the writing and work. editing periods, he hated the There is another problem — my shooting — he found it boring films need sophisticated audiences. having to go to the studio every day.

I don’t think I am a mass audience My God, he should retire or director, though some of my films become a writer. How could he find have been very successful — it boring — it is the only thing I find probably from misunderstanding interesting in life. (laughs).

But I must admit that on Viva Maria I would sometimes wake up What about a film like “Viva in the morning and think, “My God, Maria”, which, though it has a it is going to be so boring taming revolutionary undertone, is in its those two girls.” My role was more that of a diplomat than a director. appeal somewhat slap-stick?

Well Fassbinder, for instance, told me he saw the film seven times.

He saw it as being about two different approaches to revolution.

Jeanne Moreau represents the orthodox, conformist, communist, the official line, and Brigitte Bardot the gauchiste.

I missed the point completely with Viva Maria: it was meant to be a sort of big scope Zazie Dans Le Metro, a pastiche of those Holly­ wood adventure films which centre on two male characters — like Newman and Redford — except with two girls instead. It was a good script, but the film lacks style; it should have been wilder, more crazy than it was.

I had a lot of problems with the production and though it was the biggest budget I ever had, it was not

You tend to write a lot of your own screenplays. . .

Well, I am doing it more and more, though on my latest film I am not writing the script because it is in English, and I don’t think my English is good enough. However, even when I work with another .writer I do participate in the writing.

Of my last films, the only one on which I worked with another writer was Lacombe; I worked with novelist Patrick Modiano who had no previous experience in writing scripts. But three of his novels had taken place during the occupation and he was well informed about this period. He came up with lots of im­ portant aspects of the script, like the Jewish tailor and his family. He and

I would write independently and then we would put them together and discuss the result. I usually end up writing the final script, however, because I am the one who has to turn the script into a film.

Is your final version the shooting script?

It is the shooting script, except that it doesn’t include any technical details. I am not interested in describing how I am going to shoot a scene; I don’t list the close-ups or dolly shots, because I may probably change everything on the set anyway. I do plan ahead, however, to see how many shots I need and if I am going to need protection; i.e. additional shots that we may use in the editing to help solve problems in the rhythm. As I am often hesitant about rhythm, I organize my shooting so that it is possible to make changes during the editing.

This is very important, especially with very long shots, because if something is wrong with the pace of the shot, there is very little you can do about it.

Also, I am always prepared to change something if I think it would help the actors. For instance, I would scrap a dolly shot if I sus­ pected it was making things difficult for the actors.

Some directors, and I did this when I started making films, have the actors do artificial things just to help the camera. The actors have to move from A to B because it makes it easier for the cameraman to get where he wants. You see this in many films, and even if the audience is not fully conscious of it, they do notice something artificial in the performance and often the actors are blamed, though they are not responsible for it.

The actors, or interpreters, are essential because they are the ones that go up on the screen. They should be helped and protected. I have an enormous respect for them.

It must be very difficult for actors with 25 people on one side of the

Laurant and the prostitute in Le Souffle au Coeur.

camera, they on the other, and a big glass eye in between. There is so much anguish when you start a take and they must feel terribly alone.

Given your love of improvization, how important is the editing stage?

I have a great editor in Suzanne Baron. She is one of the best and has made all my films since Le Feu FoIIet. That’s when I had a revela­ tion about how much good editing can help a performance. The per­ formance of Maurice Ronet, for example, is 50 per cent Suzanne’s work. It was a very difficult part to play and there were some weak­ nesses in the performance. So we often took out a sentence or word from one take and cut it into another.

The film was made up of bits and pieces, but it is so brilliantly edited it doesn’t look chopped about — it looks like a long slow movement.

However, if you were to look at the film very carefully you would notice there is a cut every three seconds.

Do you structure and restructure your films in the editing?

Well Lacombe Lucien, for example, was a perfect film in the sense that the script, the shooting and the editing were very much in line. We didn’t have to improve Pierre’s performance, because it was perfect; and we had no problems with the script. The only problem was that it was too long; the first cut was 2 hours and 40 minutes long and we had to delete 25 minutes. We ended up cutting out two long scenes, which was a very difficult decision to take.

But overall we didn’t change much in the editing. If I were to shoot the film again I would change very little, which is not true of some others I have made. On my- last, Black Moon, we changed every­ thing in the editing several times. It was very experimental and there Cinema Papers, July — 13

LOUIS MALLE

were many different ways of putting it together — it was like a musical c o n s tr u c tio n . A b s o lu te ly fascinating.

precisely to the tradition of the horror fairy-tale. It has the same stereotypes: the beautiful brother and sister, the hostile witch, the little girl lost in a strange and Yet “Black Moon” is considered unknown environment discovering one of your least successful and entering a castle, etc. That is films. . . why children understand the film: it has to do with their dreams; as well I have made two films that were as the fantasms and problems of big flops — Zazie and Black Moon crossing the b o rd er betw een — and the reason for the latter was puberty and adulthood, with all the because it was too difficult and ex­ anguishes and sexual hang-ups. perimental. I knew in advance When children look at the film it Black Moon was not going to be a is like looking at their own world; it box-office hit, but I had expected a is only difficult for people who have bigger audience. rational minds, people who want to It does, however, have a certain be told, at the least, why they don’t following and some people are understand it. Nothing is safe to crazy about it. Bergman, for them. instance, told me that I shouldn’t worry at all because it is the kind of film that people will think a classic Does “Black Moon” make perfect in five years time. But I don’t find sense to you? that very satisfactory, given the im­ No, it doesn’t, because I was portance of film as a medium.

If you are a writer or painter you trying to open myself out. It is sort can say, “Well in 20 years they will of like the way the surrealists were find out I am a genius.” But it writing years ago. doesn’t work that way in films, because very few films have a Dispensing completely with the second chance. There are only two rational mind__ or three exceptions in the history of Yes. How do they call it — le cinema — La Regie du Jeu is one.

Very few films are rediscovered, rasoir objectif. The way I wrote the though they are now re-releasing in script was just to let images come. I the U.S. one of my films which was have lots of explanations, but I practically not shown at all. It is don’t think the film needs to make called Le Voleur (The Thief of sense. If you want it to, there is P a ris), with Belmondo and something there — after all it is Genevieve Bujold, and it is one of supposed to be a dream. But then, I my few films I like. They re-opened am not even sure that it is a dream.

There are things in Black Moon it in Boston, New York and San Francisco, and it is doing well. It that are unnecessarily difficult, and received great reviews and all of a these put audiences off balance. sudden people began saying, “How Shooting the film was like walking come this film was not shown 10 very slowly in an environment I knew very little about. I did not years ago.”

So I don’t know about Black know how to approach a scene Moon. I suppose the only thing I because it was something so can do is to wait. Actually I would different. I felt I was discovering filming for the first time, re­ like to do it again . . . discovering the basic laws of the Even though Bergman said it medium and finding they were different. would become a classic. . .

Scenes from Louis Malle's controversial Black Moon.

14 — Cinema Papers, July

It is not so much a different way of shooting. Black Moon, for instance, was filmed very simply, as if it were a documentary. But we also did weird things like rarely shooting at correct speed. We shot between 21 and 28 frames per second, balancing out between 22 and 26.

It makes a difference, but it is not readily noticeable and that is really interesting. You can detect it only if you look very attentively. It gives a slightly different pace, adding something strange to the way actors move.

The basic point about being a filmmaker or photographer is that you are limited by this stupid instrument of reproduction. I think it was Cocteau who said that he regretted how photography had completely liberated painters. All of a sudden they didn’t have to worry about reproducing the real world because there was a better instrument to do it anyway. But photographers and filmmakers are now stuck with this problem and it has been the hassle of filmmaking ever since its invention.

My intention while shooting Black Moon was that I wouldn’t use in my dream sequences any distorted lenses or weird angles.

Things like that give a baroque-like quality to dreams, but I have exactly the opposite feeling.

To me, dreams are absolutely clear, they are like Flemish paintings in that every detail is im­ peccably there. I felt Black Moon should be filmed as if I was in an imaginary world with a camera — I would film it just the way I had in India. After all, for us India is an imaginary world.

I spent a month filming my dreams in my house, which was, of course, unreal — though terribly real in another way. I tried to come as close as possible to a sort of reportage, though I also attempted to convey the sense that time is cyclic and that it reproduces itself; as well as giving the feeling that space is closed. Eight, nine or ten times in the film the girl goes up the same stairs; it is like a labyrinth. I gave the feeling of a place being like a womb. It has a lot to do with a different organization of space and time, though it had to be done with subtlety. I really would like to explore more in that direction.

I didn’t attend the screening in Did Sven Nykvist have a difficult Munich. It is interesting because time with, it as well?

Bergman had lots of explanations Yes he did. He told me several about the film — he seemed to have no trouble interpreting it. I spoke to weeks ago in Paris that when he saw him briefly on the phone, but the it again with Bergman he could see next time I meet him I will be very the progression of his work in it. At interested to know his explanation. the beginning he had used formal lighting and was not really into the He was most impressed with it.

The other interesting thing about film. But as we shot in order from Black Moon is that it is a film many beginning to end — as I always do Who are your favorite film­ p e o p l e f in d d i f f i c u l t or — he could see himself entering makers? unnecessarily obscure. Yet, I have into it more — especially in the last noticed that children have no scene with Catherine in the room. I problem whatsoever with Black was pushing him all the time, and I don’t like to answer that Moon. Just before we opened in we ended using very little light, question because I change my mind Paris we had a screening for judging those right moments when a lot about films and filmmakers. I children from 10 to 15, and none of the combination of outside and am not crazy about the auteur them, after the screening, asked inside light is perfect; the moment theory: I think it has done a lot of questions like, “What does it Zen calls the magic hour. wrong recently. By way of example, Sven is a mystic about light — had I been very disappointed with mean?”; “Is it possible there would be a unicorn in France?” ; “How very religious — and that is what I Bresson’s last film — which come they don’t speak, they sing?”. like so much about him. He brings a actually isn’t the case — I would They didn’t ask the kind of very Indian approach to lighting. th en th in k m ore ab o u t my questions that adults ask. They felt admiration for his previous work.” very much in the film because it is You said you re-discovered a lot Concluded on P. 90 in fact a fairy-tale; it relates about the laws of filmmaking. . .

Ray Edmondson

c

Most people have heard of Soldiers of the Cross, even if they know little more about it than that it was made by the Salvation Army. But there are few living today who actually ex­ perienced the original presentation in 1900 and can recall its nature and impact. And it is now unlikely that the experience can ever be fully recreated, since two of its key elements — some 1000m of film sequences and the man who narrated each presentation, Commandant Herbert Booth — are no longer with us.

But other components of the Salvation Army’s most ambitious ‘Limelight Lecture’ do survive; the original music score by Major R. McAnnally and most of the original lantern slides.1 So, too, do contemporary descriptions of the presentation — and audience reaction to it — in old issues of The War Cry. And their existence raises the possibility that one might at least glimpse some­ thing of the power of a dramatic creation which obviously enthralled audiences of its day, and which had a far-reaching, if indirect, effect on the embryonic Australian film industry.

Soldiers of the Cross was not a film in the modern sense: it was an elaborate audiovisual presentation in which sequences of lantern slides alternated with short film episodes, together forming a narrative which dramatized the lives of the early Christian martyrs in an episodic fashion. A 20 to 30 piece orchestra supplied mood music throughout, over which Com­ mandant Booth provided a connecting verbal 1They were hunted out several years ago, and in the nick of time, by Rod Wallace of the National Library. They are now preserved in the National Film Archive, and 35mm copies of the slides were made available to the Arts Council for this presentation.

Right: The martyrdom of Polycarp — a slide from a surviving sequence. The buildings are a painted canvas backdrop, while the fire has been added through retouching.

narrative. The whole program lasted about 2 lk hours.

The amalgam seems to have worked well: in the story of the martyrdom of Stephen, for instance, the film segment begins with the stoning and fades back to slides where a contemplative Paul stands over Stephen’s body; and the aural accompaniment reaches a suitable crescendo and then subsides into an undercurrent.

The Army’s Limelight Department, which created the slides for this and other Salvation Army lectures, became Australia’s first film production studio when Booth, in collaboration with department head Major Joseph Perry, began work on Soldiers. It premiered on September 13, 1900 in the Melbourne Town Hall before an audience of 4000; it was re-presented (and re­ arranged) many times over the next 12 months, particularly in Sydney and large country centres.

Booth’s brainchild made history with several Australian ‘firsts’ to its credit;2 principally, however, one is struck by the extraordinary vision which understood the power and possi­ bilities of the cinema when few people, even in Europe and the U.S., regarded it as more than a curiosity.

Then, in 1976, the newly-formed Film Committee of the Arts Council of Australia (A.C.T. Division) decided it would try and present the surviving elements of Soldiers of the Cross to the paying public in a manner that would capture some of the theatrical effect of the original presentation.

It wasn’t an original idea: in July 1973 the Salvation Army in Melbourne staged a “nostalgia evening” built around the slides and music, which the Film Committee took as its blueprint But the 1976 version was designed more as a smooth-flowing theatrical presentation which would attempt, with better facilities, to present at least some of the music in synchronization with slides to approximate the effect achieved by Perry and Booth in 1900.

2 The first film music score and the first important use of film for the portrayal of drama and narrative story. And the first ‘message’ picture; it was made with serious evangelistic intent, not just as entertainment.

The venue chosen was the Canberra Play­ house, a 312-seat live theatre/cinema with an almost ideal combination of stage and projection facilities. The Canberra Salvation Army joined with the Arts Council in mounting the project and shared the financial responsibility: their part was to assemble an orchestra similar to the original Biorama ensemble of 1900 and to . rehearse McAnnally’s score. Ken Smith from the NSW Conservatorium of Music — who had con­ ducted a similar orchestra at the Melbourne presentation in 1973 — led the final rehearsals and conducted at both performances.

The Film Committee (principally, on this occasion, Karen Foley, Andrew Pike and myself) were to produce the show. Initially, this involved structuring the program and sorting the surviving slides into what was probably their original order. As it finally evolved, the program followed a kind of TDT format: local radio personality Keith Richards acted as anchorman, stringing successive segments together in a logical sequence. Contemporary film was used to set the atmosphere of Australia at the turn of the century; a singalong introduced audience participation (an important element of the original presentation); historian Ross Cooper, using slides and film, related the history of the Salvation Army’s Limelight Department and the genesis and production of Soldiers of the Cross.

After interval and further film excerpts, Ken Smith and the orchestra presented segments of the score; and finally, the Perpetua story — the only slide sequence to survive more or less intact — was presented in synchronization with its music.Overall, the purpose was threefold: • to create the proper period atmosphere within which to present the slides and music; • to convey some historical data about the production and its importance; ® and to experience, if possible, some of the theatrical and emotional power of the original presentation.

Concluded on P. 94 Below Several scenes of ultimate calamity and destruction, like the one below, were straightforward reproductions of paintings.

Julie Millowick

At 37, Paul Cox is becoming one of the most impressive filmmakers working in Australia. Cox, who came from the Netherlands in 1963 with an international reputation as a photographer, began his career in films with a series of shorts. His first three dramatic narrative films, “Skin Deep” (1968), “The Journey (1972) and “Illuminations” (1976), were considerably shorter than the customary feature, but they exhibited an admirable ability to work with images to construct a world in which the details of his mise-en-scene provided the keys to his characters and their situation.

The films, made on small budgets, deserve broader audiences than they have been able to win. But their tendency to abstraction, to a private metaphysic, work against them. Their meaning remains largely elusive, submerged within the flow of images and the consciousness of their creator. However, Cox’s concern to reach beyond the surface, to seek into these inner urges which drive individuals together, then apart again, is clear. The course which his films chart is one in which contact is fleeting, in which his characters rarely have the capacity to recognize the possibilities for fulfilment which lie open to them — if only they could see. “Skin Deep” and “The Journey” are full of meetings and separations, while “Illuminations” submerges its characters’ blindness to their condition in its assertion of a spiritual world which lies outside the realm of the senses.

It is possible to argue that Cox’s films are more akin to the European cinema of his youth than they are to their Australian environment. “Skin Deep”, for example, structured around a never-ending movement and a belief in the transcience of things, has much in common with the films of Jacques Demy (e.g. “Lola”, “Les Demoiselles de Rochefort”, “Model Shop”), though the tone is ultimately much darker, less able to rejoice in the delight of the moment when it is cast in the shadow of its impermanence.

The point is not that there is any conscious or direct connection between Cox’s work and that of his counterparts in Europe: the bond is rather a question of sensibility, of If, — Cinema Papers July

those factors which work together to construct a way of seeing the world.

Cox’s two most recent films, “We Are All Alone My Dear” (1976) and “Inside Looking Out” (1977), which were screened at festivals this year, provide evidence of the personal nature of his work. The former, ostensibly a documentary about an old people’s home in Prahran, is a moving account of people who have lost the desire for, and the means of, communication. Like “Inside Looking Out”, “We Are All Alone My Dear” takes as its starting point, characters who have reached a point of departure — for their lives and from each other. The home has already lost sight of the reason for its creation — the construction of a community, a place where people can find solace in their togetherness. The emptiness of the corridors whose design automatically provides meeting-points, serves to suggest instead that such a function has long been abandoned.

One sequence in particular encapsulates the way in which Cox sees the world of these people, and, by implication, of all of us. As the film’s narrator and star, Jean Campbell, walks with a friend through a park near the home in which they live, the images bind together past, present and future.

A young couple romp happily, oblivious to the world around them; the old women pause to rest before moving on, their path taking them past a couple of gardeners raking fading autumn leaves. Mahler’s ‘Song of the Earth’, with its distress at an impending isolation, underlines the bleak view of existence which the sequences contain.

For Robert (Tony Llewellyn-Jones) and Elizabeth (Briony Behets) in “Inside Looking Out”, the happiness of their relationship is a thing of the past They are constantly framed behind the windows of the home that has become their prison or placed within the images of a world turned sour; the single factor that keeps them together being their daughter, Dani (Dani Eddy). The letters which resound with the music of their romance (“We must not waste some­ thing that is so precious”) seemingly mock their condition and movingly conjure up a sense of waste. The irony of the “New World”, the supermarket which they visit, is that it Above left: Robert (Tony Llewellyn-Jones), the writer who escapes into his work instead of coping with his failing marriage. Inside Looking Out. Centre above: Paul Cox.

Julie Millowick

provides a location for their bickering and a reflection of a plastic dream world, feeding a way of life to its customers which is quite out of tune with the realities of their lives.

With “Inside Looking Out”, Cox seems to allow his cast room to move — the first time he has done so— the value of the strategy being validated by the excellent performances from Tony Llewellyn-Jones (perhaps the most impressive actor working in Australia at the moment) and Briony Behets. The consistent tone of their exchanges and the hesitating awkwardness of their movements as they search for a direction immediately makes their frustration and anguish a personal one, nicely complementing the images they inhabit which assert that their problem is one which reaches far beyond the walls of their home.

The film’s use of overlapping sound, cross-cutting and repeated images (of different characters doing the same thing) suggests the interconnectedness of the lives of all the characters. And it is through the periphery characters that we perhaps gain the clearest perspective on Robert and Elizabeth’s inability to relate; Dani in her hideaway loft surrounded by images of domesticity (and her drawing, “This is my family”); Juliet, the baby-sitter, exploring her own sexuality via the crumbling relationship which she does not understand; Alex (Norman Kaye) and Marianne (Elke'Neidhardt) living out a marriage contract devoid of anything but the rituals of living together.

When, in the closing sequence, Elizabeth finds solace in the naked embrace of her daughter, her celebration of her role as mother is far from a happy ending. Hers is a retreat from reality, every bit as impotent as that of Freud’s child who seeks a return to the apparent safety of the womb. The images bind Dani’s fate with that of her mother, their physical similarities underlining that cycle which is to remain unbroken.

The following interview was recorded in the week before the premiere of “Inside Looking Out” at the Melbourne Film Festival.

Tom Ryan

Above right: Elizabeth (Briony Behets)\vho finds in the contained fish a metaphor for her own trapped existence. Inside Looking Out.

You came to Australia as a photo­ grapher with an international reputation and a financially rewarding career. Why did you turn to filmmaking?

It all happened rather quickly. I think I was probably doing too well — the challenge had been taken out of it.-' That is partly the reason. I always say' to people that if you want to do something seriously, do it as a hobby. Filmmaking was my hobby, photography my living. I enjoyed that hobby very much and found that most of my money was being used for it. And I got more and more sucked into filmmaking.

But since you have been working in films, you have, apparently by choice, been an outsider; you haven’t worked within the main­ stream industry. . .

inner-self motivation? That is what the question really implies, doesn’t it? So does the fact that things cost money mean you have to do the socalled “right” things and not follow your own integrity or ideas? I don’t think so. The only answer I can give is I would like to investigate that question, because its existence as a question means many people keep on doing the wrong things.

But the people who invest in your films are obviously going to want their money back And if they don’t get it, then next time neither w ill you? One can’t depend forever on subsidies. . .

You are going off the track. If you keep on insisting that you just do something for the love of it, or for your strong belief in what you have to say, that sort of inner motivation must at some stage shine through.

And, ironically, people regard it then as something commercial.

It is partly by choice, but I haven’t been that conscious of it.

You will probably ask me about commercial filmmaking, whether I would like to make commercial films. The only answer I have for that is, I don’t want to waste my time.

But isn’t that somewhat naive?

You want to communicate your views through film to as many people as possible, yet up until “Inside Looking Out”, your films have been largely inaccessible to the popular audience. Isn’t that a self-defeating process?

Does “Inside Looking Out” — a most accessible film which is obviously going to get public response — mean that you have had to compromise your position to make that sort of a film?

Investigate the question first. If you say film costs a lot of money, does that then mean you have to disregard any inner-strength or

I have thought about this a lot. I think it would be conceited to say, “yes I have compromised.” What do I have to compromise about? I am

No, it’s not. I believe the world has a conscience, so whatever you do, somehow, at some stage, it must start to make sense.

Cinema Papers, July — 17

PAUL COX

just starting to make films in spite of the fact that I have been doing it for 12 years. I have learned a lot by just doing my own thing, as I am not the sort of person who can learn a great deal from others. I have to teach myself. Of course, nobody can claim to be an originator either, but I do make a conscious attempt at innovation.

You have talked about a personal cinema with some embarrassment as to whether it applies to you.

But can you see how your back­ ground might have in some way ‘scripted* the sorts of films you have made and the sort of personal flavor you have brought to them?

Yes. It would be lovely to say that my youth or my background has not affected me; that I have not been conditioned by anyone; and that I have always done my own thing.

But it would be wrong. A certain element of conditioning comes into everybody’s life, and it is perhaps essential that this happens.

We have now conditioned a generation of people who have only been given a verbal language with which to express thought. We have never given them an ability to express feeling. I would like to tell you what I feel. And I would like to hear what you feel. I have no par­ ticular ability to understand that feeling, or to feel that feeling. I have never been taught to feel. I have always been taught to say the wrong thing in the right way, because that’s what language does to you.

Speech is, in many ways, inadequate, and that is why I find film so fascinating. Because it is a freer language and it offers the opportunity to express feeling.

Perhaps that desire has given my films some sort of “personal flavor”.

Film is such an abused medium, and if it has the ability to give expression to feeling, then one should at least make an attempt to seek that out.

I believe film primarily is a visual experience. Certain things you see, you can at times share with some­ body else. For example, when people have those horrifying travel conversations, and they talk about, say, an island they have visited. By talking about it, they have already isolated themselves from the rest of the conversation and from other people. You see the same smile on their faces, the same expressions come out. They have some secret to share. They share a memory that is very much attached to a vision.

Sound is important too. It is vital to have an idea of sound before you start making a film. Why start to compose sound after you have done the film? Why not compose the soundtrack first? I was very conscious of the sound for Inside Looking Out, though not the par­ ticular notes. I knew exactly how it should be, and because of my rela­ 18 — Cinema Papers, July

Sensually aroused by Elizabeth and Robert's love letters, Juliet (Juliet Bacskai)toys playfully with Robert's shaving cream and razor. Inside Looking Out.

tionship with Norman Kaye,* and the way in which we tend to feel the same things through music, he was able to create what I wanted. He is a very musical man, though much underrated. We managed to co­ operate well.

So the sound becomes part of the whole structure of the film and it integrates. It has a thematic and emotive function. It helps to make people move with whatever you feel.

You seem to place a great emphasis on details that surround a particular incident from your personal experience, and often that incident can provide the motivation for a particular film. If that is true, are there any particular incidents that set you in motion for “Inside Looking Out*’?

It’s very personal. A lot of things that happened in Inside Looking Out are things that involved me and even my friends. I think Illumina­ tions is a better example of the im­ portance of little incidents. Five or six years ago I had a dream about somebody in a coffin which had a little hole in it. And somebody’s eye was looking through the hole at the people following. I realized it was * Norman Kaye, who wrote the music for Inside Looking Out, has appeared in a number of. Cox's films.

me in the coffin, but that I was alive and could see all the people who had somehow been part of my life.

It wasn’t just the people I knew at that time, but also people who had come back from my past — the man who used to repair my bicycle when I was six, he was there.

It was an amazing procession and it led to Illuminations. But when I made the film I took all that out. I found the very vision of lying in the coffin so heavy and grotesque that I couldn’t use it.

In Inside Looking Out, the motivating incidents have disap­ peared as well. I cannot remember them — at least I don’t really want to.

Many people have been critical of the dialogue used in your films: that it is banal, too obviously structured, and that it is not right for the characters who speak i t . . .

I think it goes back to the part of our conversation where we talked about having no language to express feelings. We express thought through a certain code system such as, “G’day, how are you?” You must speak in slogans and codes because that is regarded as good dialogue.

My films are, I suppose, pretty obscure and I use few words. It’s true that they don’t always work. In The Journey, for instance, you couldn’t possibly have had a

heavier speech at the end. But I thought most of the film would be completely lost if it didn’t have the dialogue spitting out the message.

I think the criticism is really more to do with something like, for example, when Juliet, the baby­ sitter in “Inside Looking Out”, says, “We all have our private madnesses.” That is obviously a significant statement and it comes awkwardly from her mouth. You appear to impose a certain dialogue on the character that doesn’t really fit. . .

I don’t think so. Inside Looking Out is the first time I have used a lot of dialogue, and, as you know, the script was originally written with Susan Holly-Jones who contributed a lot. Tony Llewellyn-Jones and Bernard Eddy also contributed greatly to the shooting script.

The rest has all been improvised.

I find the awkwardness of Juliet’s line quite good: it fits her character, it fits the situation. She is with the man she is sexually attracted to; she is prying on his unhappy marriage and gets a lot of kicks out of it. But as she really doesn’t know how to handle that in an adult sort of fashion, there is a awkwardness about her delivery. I don’t mind that at all.

I know it is a long-standing criticism of my films. But you can’t

Robert (Tony Llewellyn-Jones)seduces the sleeping babysitter, Juliet (Juliet Bacskai). Inside Looking Out.

really talk about dialogue in all the other films, because it is hardly there. I have always avoided it. I have a great respect for the silent films which told very clear stories without ever resorting to dialogue.

Is it because you are more con­ cerned then with a certain kind of abstraction in the dialogue. . .

While talking at times, I say something absurd, just to break through the codes. It breaks down the whole nonsense game and gives us a chance to relax and touch.

Images are the most unshakeable arguments. In fact there are no arguments about them. I often become so frustrated about words and how to use them that I have, at times, overstated things on purpose.

Many people found “Illumina­ tions”, at least in its later stages, t o t a lly in a c c e s s ib le . W hat response do you have to that criticism of the film?

I have m ade v ery d a rk , depressing, heavy sorts of films in the past. With Illuminations I tried, for the first time, to be optimistic. I was trying to make a film about the potential of the mind, not about what people are.

This is another thing we should talk about: people always try to imitate life instead of inventing life.

This is the way we are, we say. And in the process of resigning ourselves to that fact we grow dull and grey and miss out so much. We really start life with the potential for ex­ periencing all the beauty the world has to offer. And look what happens!

I would love a lot of people who hated Illuminations to see it again.

I am not proud of that film. It is badly constructed: it is in two parts and too fragmented. But perhaps in 20 years, when I have become more professional, I will remake that film. I believe the idea has great potential.

Many people have commented on what they see as your bleak view of things. Do you agree with that assessment?

somehow be looking at him or people’s home, you could have herself. That is the idea. Look at gone one step further and damned yourselves, investigate your lives, the authorities who had created your motivations. The purpose of that institution and allowed it to our lives lies in very small things, be the way it was. But you but if we can’t find the time or the didn’t . . . answers, we must be careful not to Firstly, who am I to condemn the ruin other people’s lives. People do people who set up this home? I don’t this constantly. know enough about it. It could have Do you see any hope for the been done in sheer goodwill or in characters in the film, for Robert complete ignorance. Basically, the individual can never be blamed for or Elizabeth? a situation as such. To expose a Yes, if they learn to investigate situation like that you have to hurt a their existence and situation lot of individuals, and sometimes properly and not use any little thing that is necessary. But I cannot see as an excuse. Elizabeth uses her the point of involving myself daughter as an excuse; Robert, his politically at that level. Not that I work; and both use the comfort of am chickening out, because to make their friends as an escape, and their films about the human condition is little daughter communicates better the most difficult thing to do.

At that sort of level, I think my with her pet rabbit than with her films are extremely political, but parents.

We look for something warm, a not in an overt way. They do not little corner to sneak away into. We fight for a particular dogma or a all need shelter and warmth, but it point of view, but they are con­ mustn’t become an escape. One cerned with what’s between or must be aware of the process that inside characters. They are political one is going through. in a personal way.

Let me put it this way: if I couldn’t believe in another dimen­ sion, in a greater possibility for this particular existence, I really would cease to exist. You know we go through so much rubbish and humbug before we reach ‘home’ and as Hesse says, “We have no one to Some people would argue that guard us.” your films, and the personal What we see in “Inside Looking aspect of them, is an escape, that Out” are characters who have you are ignoring the political im­ become victims of that rubbish, plications of what is there in the film s but not explored. For and cannot find a way out. . . example, in “We’re All Alone My Everyone looking at the film must Dear”, the film about the old

In “Inside Looking Out”, it seems you have given Briony and Tony a lot of freedom to move, to bring their own personalities into the film . . .

Concluded on P. 94 Cinema Papers, July — 19

RARE ANTIQUE FILM PROJECTORS USED IN

after sound-on-disc had been phased out. From all this material I managed to set up, together with part of an early Western Electric sound-ondisc attachment, a reasonable replica of an operating sound-on-disc machine, with Simplex front-shutter head, Western Electric Motor Speed Control Box, W.E. 46B amplifier and so on; this is seen towards the end of the film, featuring in the humorous loss-of-synchronization segment.

Also included in the film is the beautiful 1921 Powers No. 6B projector, which has been sent down by Ron West, of Cooroy, Queensland, from his private collection. This machine is “destroyed” in a frantic, nitrate fire sequence.

If the search for the above equipment had seemed difficult, the search for a limelight projector in 1976 looked impossible. This was even despite having come across, in my travels and interviews with many elderly gentlemen who had travelling shows in the early days, occasional re feren c es, d escrip tio n s of first-h a n d experiences, photos, etc. Even when Film Australia made The Pictures that Moved in 1968, certain parts of a limelight plant had to be fabricated, and they had no luck in getting a projector with all its ancient trappings.

THE PICTURE SHOW MAN

Ian C. Griggs Some time ago Joan Long first mentioned to me the possibility of The Picture Show Man going into production. At that stage, I had already carried out research into outback N.S.W. cinemas in a fruitless endeavor to locate a more or less complete sound-on-disc projection plant.

Occasionally I would come across a Western Electric set-up, with Universal- base still attached; and at several cinemas even the control boxes were connected and operating, motors and gear boxes intact; in fact, everything but the 16 inch turntables and arms.

However, often I would arrive at some distant, long-closed cinema., only to find that priceless machines or other items of cinematic historical interest had been taken to the local dump or sold off as scrap metal a matter of, in many cases, only weeks before. Nevertheless, perseverance paid off with the discovery of the Barraba Empire in January 1975.

This theatre was originally Clifton’s Hall, and at the rear was the open-air division with its separate projection box. The cinema opened in 1921, with two new Kalee machines, one with the last of the Indomitable No. 6, and the other with the first of the Indomitable No. 7 heads.

These rare machines, which have now been reassem bled, are com plete, original, and operating, and are in The Picture Show Man. At the time of installation they sold at 178 pounds ($356) each. They are complete on the heavy four-part cast iron stands, with one single and one double blued-metal lamphouse, and with the now scarce bevel-gear and shaft-drive take-up magazines.

Edison Exhibition and Kalee projectors during assembly on location.

20 — Cinema Papers, July

The Powers No. 6B projector, c. 1921.

With the introduction of sound, the proprietors had decided on a locally made system, the Markophone, developed in Sydney by Messrs D. Lyton Williams and S. Laws. This design appeared in January 1930, some six months after Raycophone and 12 months after Western Electric’s first Australian installations. It sold at 1450 pounds ($2900) for both sound-on-film and sound-on-disc (S.O.D.) and by July 1930 seven installations had been completed.

The one installed at the Barraba was the ninth to be made. Unfortunately, figures on how many were eventually sold are not available, but I believe the Barraba plant is the only one left intact. Under the stage, thrown in among all manner of junk, were, as well as the Kalee machines, two complete Markophone turntable pedestals, with tone-arm brackets, guard rails, motor platforms, gear-boxes, shaft drives, soundon-film heads and even the speedo dials with flexible cables to the gear box which enabled the operator to keep check of the motor speed. In fact, there were four sound-heads, the other two being used in the open-air cinema which opened

The Kalee Indomitable projector.

The Kalee Indomitable projector.

However, constant contact with the Museum of Applied Arts and Sciences at Broadway, Sydney, finally bore fruit when I was told by curator Geoff Davies: “Oh, yes, we have two of those.

Mind you, I’ve never seen them, but they’re on the catalogue so they must be here somewhere.”

Several days later I was taken to the inner sanctum of the Museum — the Grand Store at Alexandria. There were two limelight projectors, an Edison Projecting Kinetoscope, of 1897, and an Edison Exhibition Model B, of about 1910.

Both machines were complete and operable.

There were also a large iron oxygen tank encased in a wicker basket, an oxygen retort, four separate limelight burners, and eight original wood-cored, round holed spools. There was, however, no ether saturator or lime blocks.

Consequently, a most formidable device has been fabricated at Tam worth from photographs of typical other saturators, and arrangements

The Edison projecting Kinetoscope, 1897 (limelight).

PICTURE SHOW MAN EQUIPMENT

were made to use compressed calcium carbonate to act as lime blocks. The local gas-cylinder agent was also engaged for advice and the provision of gas and rubber tubing.

The number of smaller parts which have gone to make each of the projectors complete and operating have been lent by various private collectors in Sydney and further afield, but to locate the items in the first place meant following up every rumor or vague lead I had been given over the past three years.

One of the rumors concerned a sound-on-disc plant sitting in a cowshed at Liverpool. Though such a lead may sound dubious I found the Western Electric sound-on-disc attachment which was used in the film in a chicken shed at Hoxton Park.

The rare 16 inch film soundtrack discs, which are also seen in the film, were given to me about five years ago while all the 1920s glass advertising slides were found in a tin box under the stage at Crookwell, N.S.W. The footage, of which part is used in the final scenes, is an early sound short found in an old trunk at an auction at Windsor, N.S.W. Other items came from a retired exhibitor in southern N.S.W. who later told me that I was the first person to call on him to discuss his career or see his long boarded-up cinema. Being an incurable hoarder, he had kept every daybill, poster, glass slide and nearly every trailer since he opened the hard-top in 1922. After interviewing him, we went to the cinema, but never quite got inside the auditorium. Through growths of ferns and shrubs, we came across a ladder leading up into a tree — this was the access to the projection box. Among the stench of rotting nitrate film I found two Kalee projectors and an ancient Magna-Coustian sound system, together with hundreds of cans and reels of film, old records, papers, carbon stumps and vast quantities of bric-a-brac of doubtful value. He had no idea of the danger of fire from the jellied and sticky nitrate film and I persuaded him to destroy everything that could not be saved. That footage we did save (nearly half of which is silent) I shall later itemize and salvage.

LIST OF PROJECTORS USED

EDISON

Projecting Kinetoscope

U N D E R W R IT E R ’ S M O D E L T Y P E “ B ” T h e P e r fe c t M a c h in e In a C la s s by I t s e l f B e a ts T h e m A ll in C o m p e titiv e D e m o n s tra tio n H ig h e s t E ffic ie n c y C o m b in e d W it h D u ra b ility A b s o lu te ly F lic k e r le s s , S te a d y a n d B r illia n t P ic tu re s M in im u m C o s t fo r R e p a irs S im p lic ity o f O p e ra tio n A r t is t ic A p p e a ra n c e SEN D FO R D E S C R IP T IV E CATALOG

EDISON MANUFACTURING CO. 72 L ak esid e A ve., ORANGE, N. J . 90 W abash A ve., CHICAGO

The Severest Test T o w hich a P ro je c to r can be put is to O p era te in a C ontinuous S h ow

Power s m n 0ed w el Projector h as b een u sed e x c lu siv e ly fo r the la st 9 y ea rs in H o y ts T h ea tres in S y d n e y a n d M elb ou rn e, an d in

Twin Kalee Indomitable, silent, power operated, with carbon arcs.

Powers 6B, hand-cranked, silent.

Edison Projecting Kinetoscope, with limelight, silent.

Edison Exhibition Model B, with limelight, silent.

Simplex, with carbon arcs; Western Electric sound-on-disc attachment.

Assistance acknowledged from: Tim Burns, Ron West, Graham Swan, Bill Dunne. Bob Lucas, David Davison, Noel Gasky. Harold Burraston, Johnny Wilson, Museum of Applied Arts and Sciences, and others too numerous to mention, who over the years have given me leads and rumors to follow up.

the H a y m a rk et T h ea tres in S y d ­ n ey , B risb an e, L au n ceston , an d N e w c a stle .

A ll th ese th ea tres run a

co n ­

tinuous show , a n d th e P O W E R S ’ PR O JE C T O R S

are

giv in g

the

sa m e efficien t serv ice to -d a y as w h en th ey w ere in sta lle d .

T H E R E A S O N lies in th e p erfect d e sig n , co m b in ed w ith the high q u a lity o f the m a teria ls a n d the fa ith fu l w ork m an sh ip w h ich g o e s into e v ery P o w ers P ro jecto r.

W rite for fu ll p articu la rs to the

The twin silent Kalee Indomitable projectors on location.

Cinema Papers, July — 21

Gordon Glonn

22 — Cinema Papers, July

One interesting series I made at the ABC was a trilogy on children e n title d The Other Side of Innocence. It was inspired by the theories of the child-psychologist, John G a b rie l, who b eliev ed twentieth century living and the nuclear family were short-circuiting the child’s play experience. And if a child hasn’t learnt to play he hasn’t learnt to love himself, and if hasn’t learnt to love himself he has limited his chances of becoming a rounded human being. It was a pretty interesting premise on which to do three programs.

We spent six months shooting kids in all sorts of situations and that was a highly rewarding experience.

Losers.

I wanted to do a story set in the city, so I thrashed around a while and finally conceived the idea of a “born-loser” . I had very little trouble writing the script, which surprised me, as it is about a working-class man and I am certainly not working class — I am one of the great Australian middleclass. But I think I understood his Irish Catholic background, because that’s my background, too. We did it with a very small crew, and I found it an interesting experience.

What was your next job after “Don’t Clap Losers”?

The film was mostly cinema verite. . .

Yes, except for John’s pieces to camera. We also contrasted the heavy structured sports machine of the Greater Public schools with the unstructured routine of some quite enterprising schools, trying to contrast structured play with unstructured and free play.

While at the ABC, I also made The Soldier, a documentary about a national serviceman who volun­ teered for Vietnam. We followed him from training camp up to his first patrol in Vietnam, which was a pretty hairy experience. There were.

Viet Cong all over the place, but luckily we didn’t strike any.

I was opposed to the war, and was faced with a dilemma of deciding what I would do in case of attack: do I pick up a rifle and defend myself or do I call out “Hey don’t shoot, I am on your side”?

Was your attitude, which no doubt contradicted with the serviceman’s, reflected in the film in any way?

After the highly successful television dramas “They Don’t Clap Losers” and “Billy and Percy”, John Power had become established as one of Australia’s most gifted and professional directors. It was therefore with much interest that Power’s first feature was awaited. Surprising then that “The Picture Show Man”, a nostalgic comedy scripted by producer Joan Long, has so divided its critics.

John Power began his film career when, after a period as a journalist, he joined Channel 7 Sydney in their news department. He was promoted to director and soon became involved in live television, including the popular quiz show, “Take a Chance”.

Two years later, Power left to join the ABCs docu­ mentary department but ended up directing “Kindergarten Playtime” instead. He then joined Henri Safran on “Four Corners”, but was suspended for a year and a half when his famous report on the RSL proved too controversial for the ABC. Back in the documentary section, Power directed many programs, including “The Soldier”, “The Other Side of Innocence” and the award-winning “Billy and Percy”.

Power then left the ABC to freelance and made the powerful “They Don’t Clap Losers”. He has since then spent most of his time directing commercials, including the popular “Cousin Charlie” series for Shell.

In the following interview, conducted by Gordon Glenn and Scott Murray, Power discusses the role of the director, “The Picture Show Man” and his handling of actors, but begins by describing his time at the ABC. \

I tried very hard to be objective and not to influence the young soldier but I think I probably did influence him.

It was a very satisfying film in some ways because we managed to shoot what I think is one of the best sequences I have done in docu­ m e n ta r y — th e s o l d i e r ’s engagement party. It was the classic Australian engagement party with real people and real emotions. At : ' ' that stage his family, and his sacrifice a sense of irony because fiance’s family, had accepted us you are inevitably on their side. completely.

One of the nice things about the ABC was that they allowed you a Why did you leave the ABC? reasonable time in which to make a There were several reasons, but film. So I had the luxury of being able to go up to the soldier’s house mainly because I thought I had gone and chat in the kitchen with his about as far as I could go. I had mother and father and the rest of been there some 10 years, and felt that if I stayed any longer I would the family.

The only way you can make a become a lifetime ABC employee. I successful cinema verite film is to had found a niche for myself there be fully involved with people. The and in a funny way I felt a bit danger though is that through your pampered; I wanted to make it involvement you lose your editorial outside. But as soon as I quit, the distance, and you sometimes ABC offered me a commission to '

■

■

■

-

\ make They Don’t Clap Losers.

'

Did “Losers” come to you as a completed script?

No. At the time I was considering leaving the ABC, I was having talks with John Cameron about changing from the feature department to the drama department. John and I talked about doing a program which was urban, contemporary and not about the North Shore, i.e. something that was a change of pace for them. I thought about it for a while and came up with the idea of

I didn’t have one till The Picture Show Man. I started to explore the commercial world and I decided that if I was to survive as a free­ lance, I would have to find work for myself, as a writer and a director, in jobs other than features, I knew then that I couldn’t make a living as a full-time feature director.

I thought I would survive making documentaries, thinking it would be a long time before I got to make a feature. I also made commercials and w rote telev isio n plays, including an episode of The Outsiders, the ABC/GermanFilmproduktion co-production. I was unhappy with their treatment of what I thought was a reasonable script.

I did a lot of things to survive during the next few years, including a bit of tutoring at the Film School. I then got a grant to write a story set against the Broken Hill back­ ground. But that was a disaster, because someone else had the same idea.* What commercials have you done?

The ones I enjoy most are the Shell commercials: the two guys on the perpetual odyssey around Aust­ ralia. They are a fantasy world, but the trick in them is to make the fantasy look real. And in a funny way, they are establishing a new myth in Australia, a new legend — Cousin Charlie is like the search for the Golden Boomerang. They are a lot of fun to set up, you work with good crews and there is plenty of time for the shooting.

How do you see working on commercials for say three or four months, then going into a feature situation; can you take much with you?

I take a lot with me. This gets back to the expertise of your craft.

It’s like being a writer: if you want to be good you have to know about grammar, about syntax. You have to know the rules before you can break them.

Some directors whose work I * Aytcn Kuyululu who is planning Battle of Broken Hill.

Cinema Papers, July — 23

Robert C. Taylor

JOHN POWER

Percy (Harold Hopkins) restrains Billy Hughes (Martin Vaughn) during an ant ¡-conscription demonstration. Billy and Percy.

have seen never seem to know the rules and that’s why they make a great fuss about not caring about them. You have to know what you are doing all the time and I think you can only take intuition so far.

Commercials are interesting, because you know very clearly what the client wants. This inevitably improves your directing, because it makes you consider very carefully what you will put into the frame.

If you’re doing a 30 seconder or a 60 seconder each frame has to show exactly what you want, otherwise the commercial won’t be a success.

As a result, you get used to this kind of thinking and you ask yourself: “What does this scene need and what’s it going to say?” It’s exactly the same premise.

Billy and Percy; Hopkins and Vaughn.

I think so. Joan had always wanted it to be entertaining and I encouraged her in that direction. It is hard to find a parallel, though when I first read the script it almost had the feeling of, say, The Sting, without being quite as witty.

It is a difficult tight-rope to walk on The Picture Show Man, because the people in it have to be real on the one hand, while on the other hand you don’t want to miss the sense of escapist fun. So, you have to play it straight. The actors, for instance, must never laugh at their jokes, unless it was inherent in the scene. The laughs must come from

. .. .

Billy played billiards, like politics, to win. Billy and Percy,

the audience, not the actors.

Did you always have John Meillon in mind for the part of Pop? John was always the first choice, though there was the usual business of finding an alternative if he was not available. It was the same with John Ewart who played Freddie, though at one stage we did consider John Ewart playing Pop. The story seems well suited to John Meillon and, in particular, to his way of playing up to an audience. . . f

A good sense of fun: it has a nice fresh feeling. Joan never considered it the most important script ever written or the most important Australian film ever made; she always meant it to be a piece of entertainment of the type nobody has made here before — good natured and good humored.

The confrontation between Pop and Palmer, which seems intended as the main structural device around which the story is set, doesn’t develop much in the film.

Was it intended to carry the structure through the film?

Were you involved in any of the rewrites?

Yes, but the fact that Rod Taylor plays Palmer makes the part of Palmer look bigger than it was written. It’s no secret that Joan didn’t have Rod Taylor in mind when she wrote the script. It was just a gamble and good luck that we got Rod. You may or may not like him, but you can’t deny he has a charismatic presence on the screen.

There is a bigness about him that you can’t ignore, and if you feel there is an imbalance in the film this is probably the reason.

I came into it after Joan had written the first draft. We talked about it, then she wrote a second draft. At that stage, we had the usual director/writer relationship in which I made comments about the scripts, which she was free to accept. She made some changes, as well as others of her own. It was a progressive, growing thing.

24 — Cinema Papers, July

Some people have considered the performance overly theatrical. . .

I don’t agree, though I did want John to play Pop as a theatrical person. We don’t say much about Pop’s background, but I imagine he would have been an actor/manager and probably played in touring companies.

What was the chief virtue of “The Picture Show Man”?

Did the script alter direction during the various drafts? For example, did the sense of fiin become more predominant?

I think the script came to John at the right time of his life. John is a great actor; he knows a lot about the traditions of the theatre and cinema.

He has been acting for a long time and there is a bit of W. C. Fields in Pop, just as there is in John. His public image is one of a goodnatured ocker actor, but he is much more than that. He is in fact a very serious actor. But he doesn’t like to talk about his technique, though he has more than most actors will ever have. John is very good at disguising it.

"There is a bit of W. C. Fields in Pop (The Picture Show Man) just as there is in John Meillon." John Power (left) with his lead actor.

It has also been suggested that Rod Taylor looks embarrassed in

JOHN POWER

some scenes and that it has somewhat diffused his role as the evil competitor. . .

Palmer is not written as an all­ black character; we did not want to make him a villain, but a man who is aware of technological changes; Palmer is the businessman who sees films as a way of making a fast buck.

And that’s the way Rod always played him — a smiling but aggressive yankee salesman who never loses his cool.

Palmer is never really mean, he is just smarter than Pop — but then most people are smarter than Pop. The other notable aspect of John M eillon’s performance is the pathos he brings to the role. Was that always in the script or was that developed with Meillon?

There is a lot of John in that part.

Pop was theatrical and always role­ playing. He plays the roles of the hard father, the courteous lover and attem pts th at of the snappy businessman.

Pop is a man who knows his weaknesses, but doesn’t know how to correct them, and, therefore, changes his act with every new person he meets. For example, the confrontation at the end with Larry — when he realizes that his son "There is a bigness about him you just can’t ignore.” John Power with Rod Taylor who plays really is going to rebel — Pop Palmer in The Picture Show Man. immediately changes his act, accepts the rebellion and tries to involvement with the film: the ralian films, can you actually outsmart him, though he can never characters grow more forceably afford to change your mind? really outsmart anybody. within yourself, and it’s a good check on what you’re doing. If you It’s really a problem. Often you One of the most impressive see a scene cut together quickly you have to drop shots that you would features of “The Picture Show can tell if it’s right for feeling, right like to have done, and on The Man” is your technical direction. for pitch, etc.

Picture Show Man there were How crucial a part of making I am not keen about showing the many shots I couldn’t get in because films is the need for technical actors the cut, though I am keen on of the time schedule or because I competence? them seeing the rushes. I think this might not have been competent notion of not showing actors what enough to organize it for a particul­ It may not be the most crucial they are doing is all bullshit. I think ar day. I am not making excuses; part, but it is certainly very the Australian director must accept every director who works in Aust­ important. I think every director the fact that he is not God. For ralia has those same problems. has to be technically competent. I instance, I think I would have been have no patience with directors who mad not to allow John Meillon, Do you see a director as someone say, “I don’t care what side the shot John Ewart, Harold Hopkins or who alters the relative importance is taken from; I don’t care whether Rod Taylor to make suggestions of elements in the story as you go it cuts or not, I want that shot”. You abourtheir characters. along? For instance, if an actor have to be two persons when Actors tend to work more isn’t playing a role too well, shooting on location: one who is frequently at their jobs than would you change the character working on a particular shot and directors — and directors forget slightly so that you could get a one who is suspended above the set this. John Meillon, for instance, is much better performance out of with a foot on the set, the other in more often filming a feature than I him? the editing room. You must think am, and the same goes for the crew. about how you will put it together, If possible, I like the actors to Yes, I would, the only' proviso otherwise you are not a director — know all about their roles before we being that if you are a director though we all make mistakes as any start shooting — that is to be fully working with someone else’s script, continuity girl will tell you. aware of what I want the character you, by reasons of courtesy and to be. I want to hear what they think hierarchy, should seek the writer’s Apparently you had a fine cut of about it, and I want to have a permission. It’s an easier decision to “Don’t Clap Losers” one week reasonable understanding with make if you are directing your after shooting finished. I also them before we start. That’s not to script; I wouldn’t even think twice noticed that you were doing a say I want every shot to be cut and about it. But on The Picture Show rough cut of “The Picture Show dried — I think that is silly. Man, I certainly wouldn’t have Man” as you went along. Does this Certainly, you have to walk in changed Joan’s concept of a role make much difference to the way knowing what you’re going to shoot, without speaking at length with her. you develop a story? but you should always retain the The producer also has the right to option of changing your mind. know, because there is a great deal I think it helps enormously. It of money at stake. That’s a hard gives you a growing sense of Given the tight schedules on Aust­ relationship to work at because the

director must bear in mind what the producer wants, especially in this country where the producer has often initiated the project. In this case, Joan initiated the project and wrote the script and, therefore, had more than a right to say what she wanted. The auteur theory didn’t work in this case at all — it was never supposed to.

Surely the director’s role is much more than simply putting on the screen what has been written. If a film is going to develop at all, the director must have a fair degree of leeway. . .

Yes, a director is not a director unless he can be an opportunist in a p rofessional sense of seeing something good growing out of the script and then extending it. But when he is dealing with a script he hasn’t written, he should tell the producer if he has seen a new approach and seek that producer’s understanding or agreement. If you don’t, you are in for big trouble, because the producer watching on the screen will see something he never intended.

And people on the whole don’t like surprises, especially when you are dealing with money.

You can’t get away from the fact that films are money, and you can’t fool around with a budget of $600,000, most of which is public money. That’s a bit awesome. You say to yourself I won’t be worried about finance, but you have to be worried; if you are two set-ups late one day it will throw next day’s schedule out of whack and it’s going to cost somebody more money.

This problem of producer/dire cto r seem s to be one o f confidence. The producer looks around for a director who has special qualities he or she expects the director to utilize in bringing something extra to film, over and above the script Now in Aust­ ralia, not many people have an extensive track record on which the producer can base this confi­ dence . . .

I agree with you. Joan hired me to direct The Picture Show Man knowing I had no track record for making films for the cinema — I only have a track record for docu­ mentaries and television. That applies to a lot of other directors, producers, writers and so on. I think on my second or third feature — if I ever make them — I will be given much more leeway and will expect more leeway.

On The Picture Show Man, I think I got as much leeway as I could have expected. I hear a lot of nonsense about the auteur theory, which I think has crippled a lot of people unnecessarily.

Concluded on P. 91 Cinema Papers, July — 25

g u id e

for

the

AUSTRALIAN FILM PRODUCER: PART 6 SERVICE AGREEMENTS In this sixth part of a 19-part series, Cinema facilities; and all marketing, distribution and Papers contributing editor Antony I. Ginnane, exhibition decisions. and Melbourne solicitors Leon Gorr and Ian In these days of “post-auteur theory con­ Baillieu discuss the first of a series of talent and sciousness”, the producer must make these crew service agreements the producer must deal points clear in his agreement with the director. with after he has secured a suitable property and The number of post-production disagreements the financing to bring it to the screen. between producer and director are legion, with Service agreements for crew and cast have the Grimaldi-Bertolucci dispute only the most many features in common: for example, a famous of recent memory. Although in disputes concern for appropriate credit billing; provision such as these it is difficult to be totally clear for reconstituting the agreement in the event of about the facts, from the producer’s point of view the employee’s prolonged illness; and general it seems plain that a breached agreement, similarity in the approach to breaches; scope of whether for creative reasons or not, is simply authority of the employee to contract on behalf of that. Let the producer adequately protect himself the production company; use of name and at first instance when both sides are smiling at likeness clauses; and a veto on injuctive relief by the prospect of the commercial and artistic the employee. Each agreement, however, has to success they are both about to make. concern itself primarily with the exact tasks of the particular employee.

Because of the importance the director has in THE DIRECTOR S the look and shape of the completed feature film, AGREEMENT it is appropriate for the producer to consider his choice for this key post, and having made the Will)I WW M B H — W B choice ponder the extent of ‘creative’ freedom he is able to give him.

Precedent 9A set out below is a short-form However confident the producer may be of the d ire c to r's em ploym ent agreem ent. The director’s skills and temperament, it is probably agreement begins by setting forth the employ­ well for him to realize that it is generally the ment relationship between the producer and the producer who has raised the money for the director, and sets forth some of the activities that project and it is to the producer that the dis­ the director by custom and convention ought to gruntled investors will turn if the finished film involve himself with. does not perform at the box-office. The director Clause 2 sets out the locations at which the may be able to rely on the official response the director will be expected to render services to film has received to hype himself onto another the production. production, but the producer may find that his Clause 3 sets out certain other tasks that the director covenants to undertake and gives the sources of finance have dried up.

While permitting the director all creative producer the final veto on casting. This clause freedoms and allowing him to operate as free also deals with any written material that the from interference as possible in the production director may contribute to the screenplay and and post-production of the film, there are a gives the producer the same rights on use and number of key areas where the producer must, in treatment of that material, and the same warranty almost all circumstances, retain the final say. The he has received for the original screenplay from right of final cut is the most obvious of these; the author as set out in Precedent 3. others might include key lead casting (in which C lause 4 deals with the d ire c to r’s area marketing considerations frequently have to responsibility for any retakes required. If the stray); choice of lab and certain post-production director has a busy upcoming schedule, he may 26 — Cinema Papers, July

1

try to reduce the six-month period set out in the precedent within which time he has to make himself available. It is common for this period to be reduced as low as two months, depending on the speed of upcoming release of the film.

Once again the respective bargaining powers of the producer and the director will decide the issue. Clause 5 provides the producer with further elements of general control over the activities of the director.

The question of the director’s compensation is dealt with in Clause 6. The amount of money and the way in which it is paid to the director for his services is capable of infinite variation.

Sometimes the director may be paid a lump sum, payable weekly or in some agreed split between the pre-production time, production time and post-production time.

The direcior may want portions of his com­ pensation payable over a period of years for tax reasons. He may accept a combination of cash payment and a deferred amount, pari passu, with

SUBSCRIPTION SERVICE The publication of this series on the Guide for the Australian Film Producer in subscription form by Cinema Papers, in conjunction with the authors Antony I. Ginnane, Leon Gorr and Ian Baillieu, is proceeding.

Subscribers to the series will initially receive a hard back loose leaf folder containing all the material published to date, together with material not previously published due to limitation of space.

As the series progresses further material will be mailed to subscribers at regular intervals.

This subscription service will be an invaluable aid to all those involved in film business including the producer trying to set up his first film, the writer about to sell his first script, the busy lawyer, the accountant or the distribution-exhibition executive who finds himself confronted with new problems as the local production industry- grows.

Teachers of film will also find the service a valuable aid.

GUIDE FOR THE FILM PRODUCER

other deferrals out of some percentage of producer’s gross or net profits. He may want cash, a deferment and a piece of the producer’s gross or net profits.

As well as a flat compensation package, the director may be provided with first-class round trip transportation to any extra-home-territory locations, per diem accommodation and meal and ancillary expenses. He may also be provided with a car for the duration of the production.

The ambit and scope of these arrangements will be the subject of discussion between the producer and the director’s agent. The producer will be keen to see that some element of the producer’s cash compensation is not paid until the last stages of post-production, so as to maintain some hold over the director at a time when he may be preparing for other projects.

In Clause 7, the director agrees that the film, the results of the director’s services, will be the sole property of the producer, giving him the right to treat it in any way he deems fit. The director agrees to assist the producer in obtaining any necessary copyright registration for the screenplay amendments he may have made.

Clause 8 gives the producer the right to use the director’s name, biography and photo in the promotion of the film. However, the producer is normally denied the right to imply that the director endorses any associated merchandising created for the film.

Billing is always a vexed question for actors and technicians; Clause 9 attempts to deal with it. Traditionally the director would receive separate card credit in the form ‘directed by’ and frequently (but not always) this card would be the last of the main titles.

These days it is not uncommon for the director, especially, but not necessarily, if he is a producer-director, to receive an additional credit, frequently before the title, or a separate card, reading “ A John Doe film ” . Less frequently, and often where the director is a writer-director, the director may receive a possessory credit, before the title, or on the title card: “John Doe’s ‘X’.” The credit clause generally specifies the size of the billing (100 per cent of the size of type used for the title of the cinematograph film), and provides for billing exceptions such as teaser and directory advertising.

Most director’s agreements still have what is known as a “morals clause”. The morals clause is almost an anachronism in its terminology these days; it was of great importance in the Holly­ wood of the 30s and 40s when the questionable conduct of an actor or technician could be seized upon by the extremely powerful gossip columnists to attack the film and its producer­ studio for “letting the industry down”.

These days a morals clause could still be useful to a producer if he was searching for ways to terminate an agreement with a difficult director, who might otherwise be within the letter of his agreement.

Clause 10 is the “morals clause” in this precedent. Some directors will argue that this sort of clause is insulting and offensive and object strongly to its inclusion The agreement allows the producer to obtain injunctive relief to prevent any breach of the agreement by the director, but the director is specifically prevented from obtaining any injunction prohibiting the release of the film, even if the producer is in breach. This clause is common in American agreements. It has been suggested however that an Australian Court of Equity might not consider itself bound by this exclusion. However, as an injunction is only a discretionary remedy at any time, it is probably worth including.

Clause 13 attempts to solve the problem of the

director falling sick during the pre-production or production, but protects the director by providing a minimum period before he can be replaced.

Clause 15 provides for the director to be insured by the production and to assist the producer in obtaining the necessary insurance.

The subject of film insurance will be dealt with in another part of this series.

Most director’s agreements include what is known as a “pay or play” clause. Such a clause relieves the producer from releasing a film the director has made for him, provided the director has been paid by the producer. There are many examples of films that, when completed, have been too uncommercial to get any sort of release; such a clause relieves the producer of any obliga­ tion in this regard. Clause 17 is an example.

Clause 18 gives the producer the right of final cut. This clause is frequently ameliorated in the U.S. and Britain by the grant to the director of one or two previews of the director’s fine cut, the purpose of such previews being to convince the producer by audience response that the director’s version of the film is commercial and marketable.

Other clauses which may be found in a director’s agreement include a clause that the director is a paid-up member of the relevant union; and a negative covenant by the director that during the course of the agreement he will not work for anyone else.

Many of the remarks in this part of the series may be considered to be currently inappropriate to the Australian scene given the close relation­ ship between producer and director that frequently exists here at present. Often the director will act as his own producer, at least in the initial stages of the project, and the producer (when appointed) and director are much less at arm’s length here than they generally are under filmmaking conditions in the U.S. It is submitted, however, that as the local industry develops the concepts of producer and director will become more and more distinct and that the precedent below looks forward to that time.

cinematograph film; in selecting and assisting in the selection of sets, costumes, music and locations for the cinematograph film: in simplifying production: increasing production values and effecting economies in the production of the cinematograph film; in consulting with the producer in respect of the production of the cinematograph film; in cutting and editing and assisting in the cutting and editing of the cinematograph film; and in performing such other services in connection with the preparation, direction, production and completion of the cinematograph film as the producer may require or desire.

2.

The Director's services shall be rendered to the Producer in Australia and on location in and elsewhere as the Producer may from time to time designate.

3.

(a) The Director shall consult and collaborate with the Producer and any other writer or rewriter in the writing of the screenplay without any additional compensation, licence fee or royalties to be paid to him other than the specific sum hereinafter set forth in Clause Six. The Director shall give the Producer and any other writer or rewriter his ideas suggestions changes additions and eliminations. (b) The Director agrees to view the "rushes" at such reasonable places where the Producer is engaged in the production of the cinemato­ graph film. The cutting and editing of the cinematograph film shall be under the Director's supervision in Victoria or elsewhere. The Director shall not be entitled to any additional compensation, licence fees or royalties for any work he may perform as provided in this sub­ paragraph "B". (c) The Director is to be consulted concerning the employment of the principal members of the cast before assignments are made. It is understood that the Producer's decision as to the cast is to be final. (d) In the event that the Director shall amend, modify, construct or reconstruct the cinematograph film, Screenplay, plot or theme, then and in that event such modification, amendment, instruction or reconstruction shall enure to the benefit and become the absolute property of the Producer and the Director shall not be entitled to any additional compensation therefore, and the Director does hereby relinquish all claim thereto and does hereby assign all rights of every kind or nature therein unto the Producer.

4.

If the Producer deems it advisable to make any added scenes, changes, process shots, transparencies, such shots or additional sound recordings for any retakes, trailers or for any other purpose, the Director shall, upon the request of the Producer return for such retakes to such place as the Producer may designate at such time or times as the Producer may specify within a period of six months after the completion of the editing of the Cinematograph Film and he shall render his services as required by the Producer in connection therewith without any additional compensation therefore. The Producer shall give one week's notice to the Director of any extra services required under this paragraph and the Director shall advise the Producer within three days whether any over proposed time is suitable and if it is not shall specify an alternative time within fourteen days of the time proposed.

5.

(a) During the term hereof the Director shall render his services when and as required by the Producer. The Director shall promptly and faithfully comply with all the Producer's reasonable instructions, direction, requests, rules and regulations. The Director shall not hereafter make any commitment which may or will prevent the Director from rendering his services to the Producer. (b) The Producer shall be allowed to express his opinions and sugges­ tions concerning the direction of the Cinematograph Film and discuss with the Director any changes the Director may deem necessary for the best interests of the Cinematograph Film. The Director shall give such opinions and suggestions good faith consideration. However such opinions, suggestions and discussions shall be held in private conference with the Director and shall not be held in the presence of the cast or crew of the Cinematograph Film unless the Director otherwise consents.

6.

PROVIDED performs his services as Director hereunder the Producer hereby agrees to pay the said for his services as Director and collaboration on the Screenplay (if any): (I) on or before the execution of this Agreement the sum of (ii) on or before delivery of first answer print of the Cinematograph film; (iii) the accommodation and reasonable meal expenses of the Director during the preproduction, filming and post production of the Photoplay. (iv) any other reasonable expenses Including travel to be mutually agreed upon between the Director and the Producer. (v) the sum of from the net profits of the cinematograph film as defined hereinafter in the Schedule to this Agreement headed “ Investment Agreement". (vi) such other sums as from time to time become appropriate in accordance with the terms of the said schedule to this Agreement headed "Investment Agreement",

7.

The Producer shall be entitled to and own in addition to the Director's services rendered for the Producer hereunder all of the results and proceeds thereof (including but not limited to all rights throughout the world of production, manufacture, recordation and reproduction by any art or method or media, now known or hereafter created or devised, and of copyright, trademark and patent) whether such results and proceeds consist of or flow from literary, dramatic, musical, motion picture, mechanical or any other forms of works, scenes, ideas, incidents, treatment, characters, dialogue, actions, compositions, creations or products together with the rights generally known in the field of literary and musical endeavour as the moral rights of authors in' and/or to any musical or literary proceeds of the Director's services as a director or writer (heretofore or hereafter composed, submitted added or interpolated by the Director in connection with the Photoplay) including, but not limited to the right to add to. subtract from, arrange, revised, adapt, rearrange, translate into any and all languages, change the sequence, change the characters and the descriptions thereof. The Director does hereby assign and transfer to the Producer all of the foregoing without reservation, condition or limitation.

The Director agrees and consents (except as provided in the next sentence hereof) that all material composed and or submitted by the Director as above (and under this Agreement) for or to the Producer shall be wholly original with the Director or public domain as the case may be. and shall not infringe upon or violate the right of privacy or constitute a libel or slander against or violate any common law rights or any other rights of any person, firm, corporation or other entity.

The same warranties are made by the Director with reference to any and all material, incidents, treatment, character and action which the Director may add to or interpolate in any material, treatment, screenplay and photoplay assigned to the Director for preproduction and direction (but such warranties are not made with respect to violations or Infringements contained in the material, treatment, screenplay or photoplay so submitted to the Director by the Producer).

The Director shall execute, if requested to do so in writing by the Producer, and deliver to the producer a certificate with respect to the foregoing in substantially the following form: "I hereby certify that I collaborated in the rewriting of the screenplay and direction of a cinematograph film based on the screenplay hereto attached as an employee of pursuant to an Agreement dated in performance of my duties thereunder and in the regular course of my employment: and that is the owner thereof and entitled to the copyright therein and thereto, with the right to make such changes therein and such uses thereof as it may in its sole discretion determine."

PRECEDENT9A Director’s Employment Agreement

THIS AGREEMENT made the day of BETWEEN Film Producers (hereinafter called "the Producer ) of the one part AND in the said State (hereinafter called "the Director") of the other part.

NOW THIS AGREEMENT WITNESSETH and the parties hereto mutually agree as follows: 1.

The Producer does hereby engage the services of the Director and the Director does hereby engage his services unto the Producer as a Director (as to that term is generally understood and commonly used in the motion picture industry) of a feature Cinematograph Film to be based on a screen­ play currently being written by one (a screenwriter) in collaboration with the Producer and temporarily entitled. — The services engaged herein shall be pursuant to the terms, conditions and covenants herein contained and shall commence immediately and shall continue thereafter until the completion of the photography and the editing of the Cinematograph Film, and the completion of the release print.

The term "cinematograph film" as used herein shall be deemed to mean: the aggregate of the visual Images embodied In an article or thing so as to be capable by the use of that article or thing — (a) of being shown as a moving picture: or (b) of being embodied in another article or thing by the use of which it can be so shown, and includes the aggregate of the sounds embodied in a soundtrack associated with such visual images.

The term “ soundtrack" as used herein shall be deemed to mean: in relation to visual Images forming part of a cinematograph film, (a) the>part of any article or thing, being an article or thing, being an article or thing in which those visual images are embodied, in which sounds are embodied: or (b) a disc, tape or other device in which sounds are embodied and which is made available by the maker of the film for use in con­ junction with the article or thing in which those visual images are embodied.

Without limiting the generality of the foregoing the Director agrees for to render services in the actual direction of photography for the cinemato­ graph film; in writing, preparing and revising and collaborating with and assisting others in writing, preparing and revising such literary material (Including treatments, scenarios, scripts and screenplays) as the Producer may require for and in connection with the cinematograph film In selecting and assisting in the selection of the cast for the cinematograph film; in . testing and assisting in the testing of those proposed for the cast of the

Concluded on P. 92 Cinema Papers, July — 27

Carol Jerrems

In 1970 I went from Paris to London, after being involved in real estate there, to represent Albert Caraco, a Paris-based agent who represented various independent producers. In the three years I was there, I learnt everything about the film industry from the bottom up.

Caraco pioneered the concept of pre-selling films territory by territory and I was involved with the London screenplay output: The Virgin and the Gypsy; Murphy’s War, Perfect Friday, etc.

What is a pre-sale basically?

When a producer has prepared a package — that is to say, scripts, director, stars, etc — he can then go to independent distributors in every territory and sell the rights of that film, though it is still to be made, for an in advance guarantee against receipts. Then the producer could go to a bank, at that time the Bank of America, and discount the contract. This money could then be used for production.

The distributor who advanced the amount of pre-sale would, of course, receive no equity as such in the film. His payment was merely an advance against his distribution fee and expenses, protected by a completion guarantee.

Was if difficult for independent producers to get com pletion guarantees?

It was not difficult if the package 28 — Cinema Papers, July

Paris-based, international film sales agent Jeannine Seawell visited Australia earlier this year for the first time.

Seawell, who has been largely responsible for popularizing the recent batch of Australian films in Europe, visited the sets of “The Last Wave” and “Summerfield”. Here she discusses her career, Australian films and the industry in general with Cinema Papers’ contributing editor Antony I. Ginnane. was good. In our case there were years. At the time we had been names such as Peter O ’Toole, producing The Amazing Mr Stanley Baker, Ursula Andress. For Blunden, Triple Echo, Images, Europe, certainly, they were very Where Does it Hurt?, and these good names. Also the directors, were films I sold worldwide for such as Peter Yates, were very big. Hemdale — including Australia.

So all the films looked very good on paper.

Was this when you first made contact with Australian films?

Neither Dmitri de Grunwald (the No, I had contact with Australian producer of London screenplays) nor Joseph Shaftel (another pre­ distributors — not Australian films. sales expert of that time) are still I was on the other side; I was selling operational. What went wrong, films to Australia. specifically with the de Grunwald Were you still with Hemdale films? when in 1973 “The Cars that Ate I think they were to some extent Paris” was shown at Cannes? too ambitious: the budgets were too high. The films did not recoup the Yes, that was my introduction to guarantees, prints or advertising selling Australian films. Jim that the distributors had advanced. McElroy came to London with a And the banks wanted their money. print under his arm making the rounds of the distribution com­ How did you become involved panies. He showed the film to John with Hemdale?

Hogarth, who was then head of H em dale’s British distribution While I was in London I met John company, and I went along to the Daly and at this time his foreign screening. We liked the film, didn’t sales manager, Tony Birley, was know what we were going to do with leaving. So I took Birley’s place and it, but thought we wanted to be handled Daly’s foreign sales for two involved.

Hemdale did not distribute the film, but we managed to sell it to the British distributor. I then took it on for foreign sale. It was a hard task, but some sales were made: South Africa, West Africa, France, and Britain of course. I think that was all for the first six months.

Were you involved attempted U.S. sale?

in the

Yes I was.

With the benefit of hindsight, can you say what went wrong with that deal? It seemed the classic case of an Australian deal that didn’t happen. . .

Well Frank Moreno, who was then with Roger Corman, saw the film in Cannes. He liked it and wanted to buy it for the U.S. We started negotiations and the contract was to be drawn up by Roger Corman. Two months later, we still hadn’t received a contract and we went back to them with a draft, which was refused. Then we went back and forth exchanging drafts for six to eight months and nothing happened until, nine months later, Roger Corman released a film called Death Race 2,000 which very strangely resembled The Cars That Ate Paris. Frank Moreno had left New World.by this time and the deal was never finalized.

Frank was quite embarrassed when we met next year in Cannes and talked about the non-deal, but I

Above: Jeannine Seawell (right) with Sydney Film Festival director, David Stratton, and actress Judy Morris on the set of In Search of Anna.

The Cars that Ate Paris, the first Australian film handled by Seawell. who was then with Henidale.

am happy to say that last year I sold the rights of Cars outright to New Line Cinema. We gave them rights to re-edit and re-voice the film, and they re-titled it The Cars That Ate People. We hear that it has done reasonably well.

How did you come to leave Hemdale?

Picnic al Hanging Rock which Seawell ex­ clusively handled in Europe.

Caddie, a film Seawell considers a break­ through in terms of universally compre­ hensible dialogue.

When “Picnic at Hanging Rock” first came out in Australia, I think It was in 1974 when Cine Artists it is fair to say that the initial were making Aloha Bobby and response was that it might have Rose. Nobody had decided how to some difficulty getting its fairly go about marketing the film over­ large budget back. Was that your seas, whether to go to Columbia or response when you first saw it, Warners, as they subsequently did and did you expect it would do as for certain territories, or sell it well in the West End, for independently. Hemdale had not example, as it has? produced anything for two years, and I decided that firstly I hadn’t I was not surprised at all. I think enough to do within the company, the film has great p o ten tial and secondly I could very well do worldwide. In Europe, certainly, it’s for myself what I had been doing for a film that’s easily understood and them. So I decided to freelance and acceptable to the audiences. I think operate from Paris.

Picnic was the perfect film to launch the so-called new wave of Is this because of your previous Australia cinema in Europe. It’s a background in Paris, or do you film that could have been made especially like the town? anywhere. I don’t think it is an Art House film, and it’s certainly not I had never worked in film there playing Art Houses in London or but I like living in Paris. London Paris where it was released in sub­ has become very depressing these titled and dubbed versions. days and at that time I felt nothing was happening there in independent I understand “Picnic” has been production. As a result, distributors taken off the market for U.S. Is had no reason to come to London to there any reason a sale hasn’t been buy, and Paris was really a better made there yet? centre for foreign distributors.

I started with no cash — I had Some of the major distributors one office and a secretary — but I liked it, but the U.S. is not a was fortunate enough to have an territory 1 was given to look after. arrangement with Hemdale for the first 12 months whereby I was a What territories don’t you have on consultant for them, looking for “Picnic”?

European product for Britain. They also gave me certain films with I exclusively have Europe, foreign territories unsold. I had The including Britain. All the territories Cars That Ate Paris and was then I have been asked to look after are given F for Fake, the film Orson now sold.

Welles made for Janus in Germany.

You have seen a fair slice of the The next Australian film you were new Australian films. Could you involved in would have been categorize some of the plus “Picnic at Hanging Rock” . . . factors that Australian films have on the world market, and also ' Yes, that happened a year ago draw our attention to some of the before Cannes. The McElroys negative factors? wanted me to handle the film, but as they were not the only investors, I The major plus factor would be had to meet the South Australian your top p ro duction values.

Film C o rp o ra tio n and th e Everyone in Europe and the U.S. is Australian Film Commission in the amazed that Caddie or Picnic at person of Alan Wardrope. We had Hanging Rock only cost around several meetings and they screened $500,000. I think you have the film for me. I just flipped over it excellent technicians here at all and they decided to let me l e v e l s , e s p e c i a l l y l i g h t i n g handle it. cameramen.

In France, Picnic At Hanging Rock has been compared by a lot of people to Barry Lyndon, which I Summerfield which will he the ihird film produced

by Pat Lovell to he represented by Seawell. think is very high praise indeed.

You also have a lot of talent in your directors — people like Peter Weir, Fred Schepisi, Donald It all depends on what you are Crombie and Ken Hannam. These looking for. If it is necessary for you are the plus factors. If I may make to pre-sell to some territories, I one criticism, I think you need would say only tie up as few as is better scripts. needed to finance a film.

A pre-sale is a two-edged sword, You don’t feel there is anymore but if the film is not as good as you the problem of foreign audiences expect, then you are ahead. And coping with the Australian accent that has happened in the past. I or Australian mannerisms. . . don’t say this will be the case in The Last Wave. The rushes I have seen If you have a film like Sunday, are in the blockbuster class.

Too Far Away, for instance, the dialogue can cause problems of We have been talking about “The comprehension, as it did with Cars. Last Wave” and haven’t men­ But that problem was not there in tioned “Summerfield” which I Caddie or Picnic at Hanging understand you are also involved Rock. in . . .

“The Last Wave” is the first Australian film to be pre-sold in certain territories. To what extent has this pre-sale success been aided by the presence of Richard Chamberlain? Is it necessary for an Australian producer consider­ ing pre-sales to have some marquee-known name in the cast?

I think it can be a help, but it’s not imperative. Richard Chamberlain probably helped the deal with United Artists. It had nothing to do with the pre-sale I made on the third draft screenplay, when we did not know who would play the lead. 1 pre-sold Germany and Scandinavia (including Sweden) purely on the quality of the script and Peter Weir's name. So, have a quality director before stars.

But for a pre-sale to an American major, is an American star necessary?

I think Richard Chamberlain is a recognizable name,.but he is not a star. I don’t think his name alone could have made a pre-sale to the U.S. It is an excellent name for the film and it will certainly make it possible to have a very good tele­ vision sale in U.S. But it would not help the pre-sales.

Are there any dangers for Aus­ tralian producers getting involved in pre-sales too heavily at this stage? For example, suppose “The Last Wave” turns out to be an incredible success: could there be a danger these territories have been sold off too cheaply?

I have a very good relationship with Pat Dwell, and I think she is quite happy with the sales I have made on Picnic. We have been dis­ cussing Break of Day and Summerfield, and it is early days yet, but I am hoping to handle both.

Do you see any difficulties for yourself as a sales agent, or for your clients, if you become too closely associated in the eyes of world distributors as an agent of Australian films?

I don’t see that as a problem; I have worked towards that end. I think there is a confidence in the talent of the directors here and I believe in continuity of relation­ ships: it is not so much the product, it’s the people. I would like to be involved in Peter Weir films as long as possible, and Ken Hannam’s, etc.

As far as distributors are con­ cerned, I think this is working in my favor because I am now considered the authority on Australian films in Europe. They all come to me to find out about new Australian films; they even talk about the ones I don’t handle.

What are your views on the AFC and its profile overseas?

All I can judge is the AFC’s impact in Cannes last year, and that was excellent. I think it certainly helped in putting Australia on the map. I think the only thing the AFC has to watch out for, is if they try the same approach again then they will need the product to follow the campaign. ★ Cinéma Papers, July — 29

CANNES 1977

Ridley Scott s The Duellists, controversial British entry in the competition and winner of Best First Film.

Antony I. Ginnane

memorable. In the Critics' Week there were no standouts, except for the One might have tended to attribute the Japanese entry, The Youth Killer, by apparent declining quality of the films in Hasegawa. the competitive events of the Cannes Film Falling back on films in the market is Festival over the past five years to a bad usually necessary at Cannes. This year case of deja vu on the part of the viewers, there wasn't much of a choice. George were it not for the protestations by every­ Romero's Martin attracted a lot of one, from Festival president Robert Favre attention; as did David Cronenberg's Le Bret and director Maurice Bessy to Rabid. Chabrol's Alice of the Last Fugue, juror Pauline Kael. that 1977 was not a played to one packed screening, while good year.

Mark Lester's Stunts vied with Brian Certainly the cancellation of the first Trenchard Smith's Deathcheaters for day’s programming by Le Bret, because action fans. But these were six out of 600.

All in all It was a lean year. And it has he was unable to get enough suitable entries, added to a gloom caused for been this leaness, and the recriminations Cannes arrivals by the rain-sw ept that it caused at official levels, that may weather. So much for the sunny Cote make the 1978 Cannes Festival the most D'Azur; so much for upbeat cinema. interesting for many years, with many Even given the difficulty of finding changes to management, format and entries for competitive events in a year style. when worldwide production has been drastically reduced, there was no excuse for some of the errors and omissions in THE COMPETITION the official selection. Most scandalous was the inclusion of Yves Boisset's Jan Dawson Mauve Taxi as an official French entry to the exclusion of the new Robert Bresson, The Devil, Probably. But there were other queries: the perennial pretence from “ Que le cinéma aille a sa perte, c’est le Spanish director Carlos Saura, this year seul cinéma. Que le monde aille a sa perte, entitled Elisa, My Love; and the two c ’est la seule politique.’’

B ritish entries: Ridley S co tt's The — Marguerite Duras, Le Camion Duellists and Anthony (4 in The Morning) Simmon's Black Joy. The Directors' Fortnight, which can The opening film of the festival was La usually be relied on to offset the boredom Stanza del Vescovo (The Bishop’s Bed­ of the main competition, faltered this year room). The settings for Risi's film — shot with only Howard Smith's Gizmo proving on and around Lake Maggiore — are

30 — Cinema Papers. July

opulent, lush, and serene, photographed with a romantic elegance by Roberto Brega: the perfect setting, in fact, for the rich and indolent youth Marco (Patrick Dewaere) to idle away the summer on his boat. But the tranquillity of the setting and the young man's summer are rudely

shattered by the eruption onto the scene of an elderly, paunchy villa-proprietor played by Ugo Tognazzi, who cajoles the young Marco into becoming his guest, introduces him to his desiccated wife and voluptuous sister-in-law. and insists on accompanying Marco on his own some­ what fatuous amorous intrigues.

Tognazzi's role at the centre of the film represents a new phenomenon even for the often vulgar tradition of Italian comedy: namely, the emergence as hero of the dirty old man. In spite of the pre­ climactic coupling of the young and the beautiful, and the elements of sinister mystery introduced by references to mysterious deaths and disappearances, this psychopathic glutton and lecher remains the film's focus of interest. Or rather of disgust.

In another context, the character might enhance a Buñuel film or a Grande Bouffe. But here he is presented with no apparent irony, no symbolic weight to contextualise his grossness or make it more palatable. (And a further source of confusion is Risi's unqualified statement that this film represents a departure from his previous comedies — more of a catastrophe film.)

Yet, how does one take at face value a scene (and a fairly typical one) in which Tognazzi performs cunnilingus on a woman vomiting on the deck of a stormtossed boat? Fem inists who were offended by the spectacle of this deter­ mined satyr forcing his attentions on a succession of initially disgusted women found only small consolation on learning that the majority of the audience found the film an insult to the male sex as well.

After the shock tactics of this opening night demonstration, almost any film had to be an improvement, though the sense of the commercial cinema performing its own danse macabre persisted for several days. Nostalgia, filmed theatre, lyric escapism, tedious allegory and pompous spectacle predominated, and provided a more persuasive explanation than the economic climate for the daily bulletins about the death agonies of the film industry. The gap between commercial entertainm ent (that mostly fails to entertain) and reflective innovation has never before looked so unbridgeable.

Of the other Italian entries screened in the Grand Palais, Ettore Scola's Una Giornata Particolare (A Particular Day) was generally considered entertaining, and the Taviani brothers' Padre Padrone (Father Boss) generally viewed as uncompromising social comment.

Scola's film has obvious box-office appeal, though the calculated success formulas were often more clearly visible than the determined charm of what was on the screen. As one American critic put it, not tea and sympathy, but pizza and sym pathy. The s u b je c t m atter is ostensibly daring and designed to

Geraldine Chaplin and Fernando Rey (who won Best Actor) in Carlos Saura's Elisa, My Love.

CANNES FESTIVAL

provoke tolerance, shock, political reflec­ tion; effectively, it is calculated to reassure, like any fairytale with or without a happy ending.

The plot concerns an afternoon in 1938. in the course of which two neighbors meet, consummate a hopeless and futureless affection that blossoms from their confided miseries, then return to their separate and sorry destinies.

The Brief Encounter formula is given a new look because the woman is an oppressed mother of six. and the man is a persecuted and suicidal homosexual.

(The reassurance is provided because she is really Sophia Loren and arguably still the world's most beautiful woman; and he is really a legendary womanizer and screen lover called M arcello Mastroianni.) Their clumsy and comic idyll on one of Mussolini's monster housing estates is inflated to political sig­ nificance by taking place on the day of Hitler's triumphal visit to Rome, and indeed the end of the day will see Mastroianni led away to an island detention camp.

But such is the power of fairytale, that the audience feels sorrier for the fate of poor Sophia with her unrequited love and her blackshirt husband than it does for the political prisoner. The strutting par­ ticipants in the blackshirt parade are gently satirized but occupy a primarily decorative function; they are subtley depoliticized, as much an artistic effect as Pasqualino de Santis' color camera­ work, washed out to a palette of greys and pale, pale pinks. Without the historical setting, the film would be an incongruous entertainment, a charmingly performed, old-fashioned three-act play whose 'daring' tolerance of homosexuals is softened by the reassuring fact that even a homosexual can make love with Sophia Loren.

With the political background, the film becomes insidiously offensive, continuing the trend of too many films in the 1976 festival, of using the Third Reich and the concentration camps as a substitute for set decoration and a way of inflating the banal to cosmic significance.

Infinitely more serious, in both intention and execution, is Padre Padrone. The film is based on the autobiographical novel by Gavino Ledda, the son of a Sardinian peasant, who was removed from school by his father after only a few days (at the age of six) and sent to live alone on the mountainside to guard the family sheep: and who revolted against the paternal/patriarchal authority at the age of 20. and went on to become, not merely literate, but also a writer and teacher with a degree in linguistics.

Like most of the Tavianis' films, this one deals with an individual whose story has general and wide-reaching implica­

tions. Gavino's story is also an indictment of peasant poverty, prejudice and paternal authority, of children deprived of the normal experience of childhood and forced to live like frightened little old men. of a family system in which the father assumes the right of life and death over his children. It is also the story of a rebellion and the transcendence of what seems a hopeless destiny.

The Tavianis have stated in an interview that what most attracted them to the subject was the idea of the conquest of silence, of the discovery of language and communication. Yet though the idea of silence and solitude lies at the heart of the film's most effective scenes, it is all too often vitiated by the bizarre effects of the none-too-realistic sound­ track. The image of the tiny child alone on the mountainside is in itself an eloquent appeal to the imagination; but Gavino having been told by his mother that the wind up there will start to sound like a gong, gongs soon intrude on the sound­ track, drowning out the image's eloquent appeal.

The child's isolation and lack of verbal communication are weakened by the sounds of a number of imaginary voices (even his goat talks). A real-life horror story, for the most part powerfully and convincingly photographed, persuasively and naturally performed, becomes through its soundtrack oppressively artificial. The miraculous discovery of language and its pow er rem ains, infuriatingly, off-screen: what dominates is the physical power struggle between father and son.

Parental authority and the revolt against it have provided a dominant motif in this year's films. A classic case, of course, is Cacoyannis' film of Iphigenie. based on Euripides, though in this case sadly not filmed theatre. Cacoyannis goes about the task of opening up the play for the screen with a veritable excess of zeal.

His restless camera swirls up and down (and mostly round) mountains and coast­ lines, taking in the half-naked bodies of what looks like the entire Hellenic popula­ tion (representing the Grecian troops waiting for the wind to launch their thousand ships).

The camera's epic sweep and the cast of thousands are matched by the d ra m a tic p itc h of Ire n e P a p a s ' C ly te m n e s tra , g iv in g ve n t to an unchecked histrionic grief on discovering that her husband Agamemnon has agreed to offer their daughter as a sacrifice to the gods. Yet the falsely operatic notes, the volume, blood and thunder can never entirely obscure the formal perfection of the Euripidean structure (restored to prominence by the sub-titles). At the still centre of the drama, is Iphigenia herself, faultlessly played by twelve-year-old Tatiana Papamoskou, a

Irene Papas (Clytemnestre) and the extraordinary 12-year-old Tatiana Papamoskou (Iphigenie).

Cacoyannis Iphigenie.

A scene from Paolo and Vittorio Taviani's Padre Padrone (Father Boss) which was awarded the Golden Palm by the international jury.

loving child and protected daughter forced suddenly into an understanding of her political significance and to an existential acceptance of death, heredity and an unjust universe. Her scenes bring the drama and the text vividly to life: the message that politics is a dirty business recedes into the background, and the agonizing conflict between love and duty, between private and public identity, resumes its rightfully dominant place. Her self-effacing performance eclipses all the sweaty over-acting that surrounds her.

photograph album, and its structure increasingly resembles the flicking-over of nostalgia-tinted pages. It is bound together by a sung commentary, an intrusive ballad made considerably more intrusive at the screening here by the phonetically-spelled English sub-titles.

If the preceding films were all disap pointing, the good news is about three films (two of them generally dismissed as boring and pretentious) which reflect on and unobtrusively question the nature of cinema, turning their backs on nostalgia and pushing forward into uncharted, and therefore uncliched territory.

Not all families are as destructive as the Atrides. though quite a few of this year's films appear to suggest that incest, Of these, the most accessible and least sibling rivalry and parricidal violence lie ■ controversial is La Dentelliere (The buried not that deep beneath the surface.

Lacemaker) by Claude Goretta, repre­ Beginning with a child's first communion senting Switzerland in the main com­ (celebrated by a gigantic family reunion), petition and in fact a French-SwissRene Feret's second feature film, La German co-production containing a Communion Solonneile (First Com­ superlative performance by French munion). traces the births, deaths, social actress Isabelle Huppert. evolution and frequent intermarriages of Reduced to a narrative outline (girl two peasant families over four genera­ meets boy, girl loses boy, girl goes mad), tions. its story — adapted from the novel by Set for the most part in the Picardy Pascal Laine — sounds cliched and oldregion, treating its numerous characters fashioned, like something out of latewith a tolerant affection, and photograph­ Forties Hollywood, when the studios were ing even th e ir w orst v ic is s itu d e s making product for the ladies' matinee (adulteries, betrayals, a strike, a child audience: "women's weepies", they were burned to death) in a muted lyrical style, known in the trade. It is the way the story the film has provoked somewhat inflated is treated — precise, understated, above comparisons with Jean Renoir. Yet the all undramatically and without a trace of ly ric is m (like the com parison) is sentimentality — that makes the film's dampened by the film's epic ambitions, distinction. This, and the fact that it is a and by the fact that its large cast are film without villains. Its characters, not never really permitted to make the transi­ excluding the determinedly dizzy blonde tion from vignettes to fully-rounded played by Florence Giorgetti or the characters for whom we can feel any insecure young intellectual played by depth of human sympathy.

Yves Beneyton. are variations on the An opening screen title warns us not to theme of disappointed hope, a theme try and sort out which character is which, which reaches its fullest expression in the or who is married to whom. The warning is final sequence where Pomme (Huppert) well placed, but it leaves us with little sits alone in the sterile room of a mental more than an invitation to an extended clinic, knitting. dance of the generations, at whose joys It's a measure of Goretta's precise and sorrows we should uniformly smile. power of observation and of his discreet And as at most family parties, after a characterizations that his film can while the smile wears a little thin. Which transcend the inherent melodrama of this is a pity, since scene for scene. Feret's final scene. Pomme's anorexic break­ film is a fine achievement: warm, lyrical, down is not a scriptwriter's dramatic con­ charming and affectionate. trivance. but an inevitable extension of What is lacking is any overall sense of the shy. vulnerable, insecure personality direction or progress, and without that, that has been developed throughout the even though the faces change, the film. It seems as inevitable as the initial s tr u c tu r e b e c o m e s w e a ris o m e ly holiday romance between this demure repetitive. It was originally inspired by h a ird re s s e r's a p p re n tice and the Feret's discovery of his own family introverted student, as inevitable as his

Cinema Papers, July — 31

CANNES FESTIVAL

growing discomfort in the face of her lack of ambition.

And what makes the film so truly remarkable, and so truly innovatory in terms of current cinema, is that its central character is created almost without words. Her silences convey a range of emotions from joy to resignation, amuse­ ment. tolerance, defeat and despair; we and the camera are privileged to see more than the (inevitably) egocentric characters with whom Pomme acts out her banal tragedy; and it is indeed in this that part of the tragedy lies.

Yet. in spite of the final note (of resigned despair, rather than tragic explosion), like all Goretta's work La Dentelliere is immensely humorous. The two girls' seaside holiday; the extrovert, jilted by her lover, throwing her teddy­ bear out of the window as a surrogate for herself; the lovers' first tete-a-tete, a stiffly informal supper punctuated by the sounds of energetic love-making from the room next door .. . again one feels that if only the characters could see all that the camera sees, they would enjoy them­ selves so much more.

Descriptions run the risk of reducing Goretta's film to banality, analysis of inflating it to pretentiousness. It is a work of exquisite simplicity, perfectly — and modestly — achieved. It gives expression, and interest, to a silent sensibility, and this expression can be only grossly para­ phrased in journalistic prose.

Also concerned on a narrative level with a potential love that remains unful­ filled is Marguerite Duras' extraordinary film La Camion (The Lorry), though here the narrative exists only obliquely, and the film is as much a monument to language and the power of imagination as Goretta's film is an exploration of the expressive powers of silence.

The couple in Duras' text are a talkative woman (of whom we know only that she is “ d e c la s s e e ” and ‘d 'u n c e r ta in a g e ') and a monosyllabic truck-driver who gives her a ride. We never see these two principal characters, other than in our imagination. Instead, we see Marguerite Duras and Gerard Depardieu reading and discussing a text which is also the scenario of the film we are to co-direct in our imagination. He may be an actor preparing to play the part of the truck­ driver. She may be the woman, but it seems to us more probable that she is present as the writer of the text and the orchestrator/co-director of our own imaginings. Her voice, their silences, the rhythm of their dialogue, the litanical phraseology: all these create a haunting, hypnotic music of their own, Intercut with their readings (taking

place at night in a dimly-lit room), we see a truck, possibly the truck, at any rate it is blue like the truck in the text. And from the truck, we see the French countryside in the blue light of the early hours, a plateau as described in the text, though not. as in the text, one which seems to be leading to the sea. And the truck — or is it merely the camera? — travels slowly, to the same rhythm as the voices, and the landscape unfolds to the accompaniment of Beethoven's variations on a theme of Diabelli.

W here India Song show ed us surrogates for the characters we heard evoked on the soundtrack and involved a minimal acting-out of the drama, and Son Nom de Venise accompanied that same soundtrack by a succession of apparently random images, Le Camion establishes a new technique: of obliquely related images (superbly photographed by Bruno Nuytten) that regulate the ebb-and-flow of our involvement with the encounter which is suggested but never seen. The sound is dominant, the music and the silences as powerful as the text they counterpoint.

But the images this time are at once precise (as in India Song) and infinitely suggestive (as in Venise).

It has taken the cinema for Duras. the writer, to discover the full power of words, and to apply some of the questions raised

by Godard, a filmmaker whose work is the antithesis of hers, about the relationship of images to sound. Her film is at once a demystification and a magical mystery tour, and it liberates the imagination in a way that only music has previously been able to do with impunity.

Equally daring, but primarily visual rather than verbal, my favorite film so far has been Le Vieux Pays ou Rimbaud est Mort by Quebec director Jean-Pierre Lefebvre. As with the Goretta. it is hard to describe the film's content, without making it sound cliched. It follows a Quebec pilot, Abel (Marcel Sabourin), from Paris to Marseilles, from unfulfilled love to brief-encounter romance. And it deals, but gently and obliquely, with a quest for cultural roots and meaning.

The content is clearly not remarkable, and it is through the form that the film's subtlety finds its expression. It begins in an art gallery, with a slightly pedantic lecture being delivered on the differences b e tw e e n e x p re s s io n is m and im ­ pressionism, and in the scenes which im­ mediately follow. Paris and its occupants — captured mostly in fixed shots which give them a slightly posed and unreal quality — appear in tableaux evocative alternately of Cezanne paintings and touristic postcards.

Perhaps the festival's most accessible and least controversial film. Claude Goretta's La Dentelliere (The Lacemaker). with Isabelle Huppert.

32 — Cinema Papers. July

Abel is unable to relate this historic colorfulness to the darker-colored scenes of family suffering he witnesses in Charlev ille (R im b a u d s h o m e to w n , predom inantly black and grey). In Marseilles (where a Parisian social worker has also come in quest of her own detached roots), expressionism gives way to impressionism, to the play of light, especially on water. But the beauty of the Midi proves ultimately of no more relevance than the Paris parks or the ugliness of Charleville — as Abel con­ cludes — it is all like a vast picture postcard, but he doesn't know who to send it to. And this sense of dislocation, and of people moving through decors to which they can feel no more than an historical relationship, dominates the style of the film.

By turns gay and sad. and for the most part langorously beautiful, its beauty remains, for its Québécois hero, as separate from his own experience as the Cezanne paintings on the museum walls.

The France of his ancestors, the France he has come to find, exists only in the museums and in his imagination.

SELECTED HORS D’OEUVRES Antony I . Ginnane

Mark L. Lester's Stunts is a return to form by the maverick director after the disappointment last year of Bobbi Jo and the Outlaw. A script by Barney Cohen provides a hoary old plot line about a group of stuntmen working for a film com pany who find th e ir num bers diminishing after a series of freak accidents, and look to themselves to find the killer who must be in their midst.

The script is just an excuse for a series of jumps, crashes, burnings, fights and other acrobatic displays which Lester treats in a tongue-in-cheek fashion.

While the exchanges of Robert Forester and Fiona Lewis never reach the comic strip campness of the mother and daughter relationship in Truck Stop Women, Lester manages to suspend audience disbelief between stunts and have us genuinely concerned over the identity of the saboteur.

It is interesting to note that while Brian Trenchard Smith relies on a Carry On style humour In Deathcheaters to lift his juvenile audience over those passages between stunts, Lester uses a different sort of humour, the deadpan serial-like

Quebec director. Jean-Pierre Lefebvre's Le Vieux Pays ou Rimbaud est Mort.

seriousness of his leads to provide similar effect. If he is marginally more successful than Trenchard Smith, it is probably because the Australian accents of Grant Page and John Hargreaves lend them­ selves less readily to pop visuals that do the Trans Atlantic blandness of Lester's leads.

Martin is the latest foray into the low budget thriller genre by George Romero, the director of the now classic Night of the Living Dead and the less famous The Crazies. It is a further example of Romero's skill in using the camera, Hitchcock like, to suck us into the plot development, then leave us there to the mercy of the editor and the censor.

The film is a sort of vamplrish family tale which may merely be about cultish religious mania and the effects of devo­ tional hysteria on a young boy’s im­ pressionable mind.

There is a strange emptiness about the soundtrack which sits well with the measured imagery of the film. After a most unsettling opening, introducing us to Martin at play in a train's sleeping com­ partment (is this a dream?), the film skips between sepia-tinted flashback and modern day chill. An unknown cast, headed by John Amplas and Lincoln Maazel, are realistic and believable.

With The Parasite Murders, David Cronenberg showed himself to be very concerned with the real outcome of Invasion of the Body Snatchers. With Rabid, also shot in Canada, he ponders the same question. Here a strange disease breaks out at a relatively isolated plastic surgery clinic and spreads over all of Montreal. Rabid is pitched somewhere on that thin line between terror and black comedy. The horror, often ^spiced with sexual imagery, is frequently chilling as the parasite takes hold of its initial victims; but becomes wildly funny as mayhem breaks out during a plastic surgery operation when the operating surgeon, prey to the disease, slices off a nurse's finger and attempts to eat it.

Cronenberg is fascinated by images of paranoia. White-coated men in garbage trucks patrol his Montreal under siege piling infected bodies into disposal units like some kind of cypherish re-education unit in some unnamed totalitarian regime.

Marilyn Chambers In her first non-porno role acquits herself most creditably.

In the Directors’ Fortnight, Howard Smith’s Gizmo was that wonder of wonders — an entertaining documentary.

A screwball collection of newsreel footage of man’s attempts to fly; from early human controlled flying apparatus, to numerous ‘human flies'; from men being shot out of cannons to outrageous motor cars, Gizmo is a paean to man’s obstinacy; a hymn to his perseverance and a record of his endeavors.

The early black and white newsreel footage, meticulously obtained, coupled with more recent newsreel material and specially staged footage is a madcap collection of laughs.

CANNES FESTIVAL

STUNTI

THE AUSTRALIANS AT CANNES Antony I. Ginnane

Even the Australian Film Commission, in its most enthusiastic flights of public relations hype, would not deny that the reaction to the Australian films at Cannes this year was disappointing as compared with 1976. Primarily, the fault lay with the product which was delivered — there was no Caddie, Mad Dog or Picnic to attract widespread international interest. In fact, if it had not been for the worldwide shortage of product, which was most apparent in the second week of Cannes and which turned the Festival Marche into a seller's market, it is doubtful if many Australian films would have been sold at all. As it was, the AFC claimed that of the 16 films taken to Cannes all were sold somewhere.

Storm Boy is an interesting case, because the combined total of film offers received for that film would have almost doubled in dollar volume its nearest com­ petitor Deathcheaters, which still netted a comfortable $130,000 in sales. The South A ustralian Film C orporation marketing director, Peter Rose, believed he could do still better by waiting, especially in view of the initial record­ breaking domestic release, and decided to hold off.

Most of the other films sold one or two territories, but neither The Picture Show Man or F.J. Holden, which were vaunted as the front runners this year, proved exciting to foreign buyers.

The AFC again provided back-up for the producers at Cannes with meeting facilities, a switchboard, multi-lingual translators and a video cassette viewing room . W hile the e x te n t of AFC expenditure was unfavorably compared in the Australian press with the miniscule budgets of the Canadian and British delegations, it is probably fair to say that the AFC does a better job.

The AFC’s main problem seems to be meeting the needs of those producers who choose not to have the Com­ mission's staff handle their foreign sales, and those producers who are not AFC funded. With next year's mooted change in the Export Market Development Grants Scheme (yet again) it may well be that the number of Australians at Cannes will decline, after the high point this year.

The Cannes trip is a necessary blood­ letting for any Australian producer or entrepreneur, in as much as it throws the novice into the real world of buying and selling on commercial merits without the aid of government subsidy or national pride to ferry along the inveterate losers.

For the future, the AFC may have to make some hard marketing decisions on the question of taking all local films produced each year to Cannes. Of this year's crop three or four were virtually unsellable, and one doubts if the token distribution deals they may have picked up would have even partly recouped the cost of their Cannes junket.

While there is a danger of the AFC bureaucracy being given more power than they already have, if they are allowed to arbitrarily choose what films they will promote, it must also be remembered that any producer can enter his film in the market of his own volition.

On the other hand, the track record of the AFC in investment choice over the past 12 months makes one question whether it is competent to make such a selection. But someone has to do- it.

Better four or five obvious sellers on display than 16 of varying commerciality.

In sum, the Australian presence at Cannes reiterated the strength of Brian Trenchard Smith as a commercial action director (cf Man From Hong Kong in 1975): confirmed the need for an official Australian presence; and proved yet again that no amount of hype can sell films the public or the distributors do not want.

SABOTI

•IRAKERS!

EVERY YEAR HAS ITS SPECIAL FILM THIS YEAR AT CAN NES. . .

A hoy. in .atumgitwf nwji and.i ptHican kxi» à frange ailiaiw to pföftxt tix-ir i’ovvonmm <w<i Of ttv- Austratanturc, T ri^ r-te p y humm. du»e*«*e> anti ii «lyx-kiu« R.ii'jU'f pi iv v*B a oi .<«.<«•>wah .Sona Bay and li- w titm . ft>a àm ìtue -Nf wo-rii m l rhtMâàfc».

Y 'Slow. (Soy Ivks good :«f <.«««- » SOX<ilsu (Varksy' IXxtimber. 1976) 35 nm Cokjf. HH«»nutes

Ptoduwr

. . 7

;

Sooth Australian Film Corporation 54 futlarton Rond, Norwood, SOW. South Australia Australia.

Telephone totenutiûfw! ISO <0814249T.I Teles SAFC. AA 882flf>.

ts iofuato onjje in.w eSe-Aavpw ?S0Ö8Pa

A3 Ri» Piero? Cham

SouthAustrefon film Corporation

a»'

V

es

i

0

ua''a

°°'NVwei^

Las'

IC'

t&gSL. »'S,.»»“

TERRITORIES SOLD AT CANNES Dot and the Kangaroo: Spain, Sweden, Denmark, France, Peru, Central America, Venezuela, Norway, Italy, Greece, French Canada, Puerto Rico. Santa Dominico.

Germany, Belgium. Negotiating the U.S. Break of Day: Italy, Argentina, Uruguay, Paraguay, Peru, Bolivia, Germany, Ecuador.

Storm Boy: French Canada. East Africa. Belgium, Mozambique.

Norway, Germany, Italy, Denmark, Latin America (6 countries). Japan.

Oz:Italy. Canada, U.S. Deathcheaters: Middle East, Italy, Canada (French and English), Latin America (most countries). Far East (all countries except Japan), Norway, Holland.

Barney (International title: Lost in the Wild): Germany.

Don’s Party: Israel, Argentina, Uruguay, Paraguay, Peru, Bolivia, Ecuador.

The Picture Show Man: Denmark, Germany, Argentina, Peru, Bolivia, Ecuador.

Pure S: Morocco.’

Journey Among Women: Belgium, Italy, U.S, ' ' O th er territo rie s sold but a s yet unconfirm ed.

F.J. Holden: Central America, Denmark, Germany, Sweden, Columbia, Puerto Rico, Santa Dominico.

Raw Deal:Sweden, Israel, Morocco, Central America, Peru, Venezuela, Italy, Greece, Denmark, Columbia, Puerto Rico, Santa Dominico, Iran.

Fantasm Comes Again: Canada, Britain. Greece, Lebanon, Belgium, Switzerland.

Summer of Secrets: No information as yet.

Singer and the Dancer: No information as yet.

Let the Balloon Go: Latin America (four countries).

Picnic: Latin America (three countries).

Cinema Papers, July — 33

::Ì t ; K o :

illiliilil

Peter Sykes, born in Melbourne in 1939, has been living on and off in London since 1964, where he has gained a reputation as a leading horror film director. His latest film, “To the Devil . . . A Daughter”, an Anglo-German co­ production, was based on the Denis Wheatley best-seller.

Sykes first came to international attention in 1971 with “Demons of the Mind”, which was labelled ‘Horror film of the Year’ by the London-based International Times, and gained a place at the Cinema Fantastique Festival in Paris.

During his years in London, Sykes directed a number of After seeing “Demons of the Mind”, film historian David Pirie described it as, “ strange and compelling”, and said you were one of “the most promising young directors” to work for Hammer Films. How did you get started in this genre?

I have always been fascinated by German Expressionist cinema — F. W. Murnau is one of my favorite directors — and this may have influenced me. However, the chain of events that led to Demons of the Mind began with the 16mm feature documentary, Walkabout to Corn­ wall, I made for the BBC. It was about a colony of Australian surfies living at Newquay on the Cornish coast and the wild parties they held.

I offered it to the ABC following the Sydney Film Festival in 1967, but they said it was “not fit for public consumption”.

Donald Levy, a Ph.D. in physics, who had turned to making docu­ mentaries; he now teaches film at the California Institute of Arts. I was very impressed with Levy’s documentary Time Is, so I wrote to him and he invited me to join him on the production of his first feature, Herostratus, an experi­ mental film which set the Greek myth in contemporary times.

Walkabout to Cornwall was my first independent feature docu­ mentary. At the time, I was working freelance, and the following year I was commissioned to make a number of documentaries for the British Pavilion at EXPO ’67 in Montreal. The series was called Britain Around the World, and it led to me meeting Peter Brook of the Royal Shakespeare Company.

Later he invited me to be executive producer of Tell Me Lies!

Was this your first film in Britain?

Was your job as an executive producer mainly an adm ini­ strative task?

Before Walkabout to Cornwall my experience in filmmaking had been limited to an 18-month training course with the BBC as a TV and film cadet. Before that I worked with another Australian,

Working with Brook meant doing everything: staying up all night writing scripts with him, talking with writers and musicians . . . it was both adm inistrative and

34 — Cinema Papers, July

thrillers and comedies, including “The Committee” (1968), “Venom” (1971) and “The House in Nightmare Park” (1973).

Sykes, who will return to Australia this year, plans to direct “Eddie and the Breakthrough”, a film of ethnic and multi-national violence located in the opal fields ofCoober Pedy. The film will be an Anglo-American-Australian venture with an international cast Peter Sykes was interviewed for Cinema Papers, at his home in Florence, by Basil Gilbert creative. It was exhausting and in­ credibly stimulating, because he has an enormously active mind.

Tell Me Lies! was based on his musical “US”, which was very con­ troversial; it dealt with the lies per­ petrated by both sides about the war

in Vietnam. In the film we took a single idea from the play — the suicide by burning of an American Mormon protester on the steps of the Pentagon — shot a version of it in front of the U.S. embassy in London, and added further docu-

PETER SYKES

The h itc h -h ik e r (P aul Jones) a fte r decapitating the driver (Tom Vempinksi) in The Committee.

mentary material including scenes from a rather wild party which we had set up in the London home of an American millionairess.

We invited conservative British MPs along, and they were ques­ tioned on their opinions of the Vietnam war by carefully-placed actors and actresses from the Royal Shakespeare Company. There was plenty of champagne to liven things up.

Anyway, I managed to get Stokely Carmichael and his Black Power entourage to come along, and when they arrived it was like placing live hand-grenades among the guests.

The whole thing was most hectic and we caught the action with a number of cameras.

example, as the film opens, a young man is given a lift in a car, and when the car breaks down the owner looks under the bonnet, the How did you get to direct your young man decapitates him with the first feature, “The Committee”? edge of the bonnet. Later the head is sewn on again and the body is Walkabout to Cornwall had a slapped back into life. particular appeal to an American A democratic committee, not a economist living and teaching in legal judge, decides whether this is London, Max Steuer, the son of the a crime or not. It was very famous Hollywood legal family. polemical.

Max had written a macabre little The film was greeted with both story, called The Committee, and he praise and abuse by the London asked me to turn it into a film. Max critics, but R. D. Laing liked it. Ian was really a frustrated filmmaker, Wilson, the lighting-cameraman, and his legal background helped had caught the mood beautifully, give the film a Kafkaesque quality. and the next thing I knew I was The C o m m ittee is m ore offered a couple of episodes for the surrealistic than realistic, some­ B ritish Avengers series on thing of a sociological fantasy. For television.

The mesmer-surrogate Dr Falkenberg (Patrick Magee) lies at the feet of the quarrelling Paul Jones (left) and Kenneth J. Warren. Demons of the Mind.

It was my parody of High Noon, called Noon Doomsday, which got me an offer to do Venom, a little pot-boiler about sex and spiders which was shot largely on location in Bavaria. It features 19-year-old Czech actress, Neda Arneric, as a phobic young girl who believes that she is endowed with the power of a venomous spider and brings violent death to anyone she loves.

But the true villains were the spiders. We had a number of large bird-eating tarantulas flown in from Louisiana, in the U.S. You have never seen anything so vicious in your life. If they were put in the same space together they would attack each other, they were killers.

We had dozens of them, each about the size of a tennis ball. In the scenes where they had to crawl across human flesh, we had layers of wax put on the skin of the actors and actresses concerned, for the spiders gave a fairly nasty bite.

They were quite horrific, making a hissing noise just before they struck. So we had a man standing nearby with a long pole, so that if they were going to strike, he could knock them out of the way.

We also shot some interesting scenes using microcinematography, showing how the spiders fed them­ selves.

St all sounds more like science­ fiction than horror. . .

-The spiders were part of dream and fantasy sequences which form a focus of the girl’s fears. For a setting we had the usual archetypal things such as moonlit lakes with shadowy banks deep in the Bavarian forest, with the young girl clad in translucent veils trying to escape from her obsessions — running away and being caught up in spider webs . . .

Very romantic . . . in times of super-realism in the cinema. . .

Christopher Lee In Sykes' record-breaking To the D e v il.. . A Daughter.

Cinema Papers, July — 35

PETER SYKES

Venom was certain ly less realistic than recent films such as The Texas Chainsaw Massacre, but even that film has a high degree of romance in it. It is a very theatrical film, making use of wellestablished dramatic techniques.

Venom is romantic in a more traditional and conventional way, but it is part of a valid film genre.

Stylistically and visually it probably owes a debt to Murnau’s Sunrise.

blood up into the cup.

Mesmer would also hypnotize women while they were holding copper rods immersed in tubs of water and so on. His methods were not acceptable to the medical pro­ fession in Vienna, so they kicked him out.

However, Demons of the Mind is actually about a Mesmer-surrogate, Dr Falkenberg, who has Mesmer’s great flair and showmanship. He tries to justify himself by applying Who wrote the screenplay for these methods to an aristocratic “Venom”? family living in a remote part of Bavaria.

When I was asked to join the project a script already existed, but I understand the censor deleted a I was not completely happy with it. rape scene . . .

The producers allowed me to rewrite it, but when they saw the It was more than a simple text­ number of changes I had introduced book rape scene. The censor didn’t they said I had written a different like the violence where the son of film to the one for which they had the family stuffs mud and earth into re c e iv e d fin a n c ia l b a c k in g . the girl’s mouth to prevent her from However, I was allowed to make crying out. We shot this in rather certain changes in the script and the extreme close-up. It was very film looked beautiful. realistic.

Hammer Films saw Venom, Then th ere was a dream liked it, and asked me to make a sequence where the father, Baron film for them called Demons of the Z orn, is being analysed by Mind, based on the life of Mesmer, Falkenberg and he talks about from whom the word ‘mesmerize’ seeing this rather sexy girl mastur­ comes. I was given a fairly weak bating with blood over her body. It script, so I rewrote it after doing was all shot through gauze — very some research into Mesmer and his impressionistic. scientific techniques.

For instance, I went to the Would you describe the general Welcome Institute in London, style of “Demons of the Mind” as which had a medical museum, and Gothic? there I discovered a fascinating device called a scarificator. It is a I tend to film very realistically, kind of mechanical leech. but I also give the audience some In M esm er’s tim e, people chance to use their imagination. I frequently used leeches in blood­ believe I have a feeling for the letting to cure a wide range of Gothic image, that is, a love of physical and mental illnesses. The complex architectural settings, a scarificator looks like a beautifully- feeling for detail of dress, of mood, engraved musical box. You place it of lighting, all with a slight element on your arm, cock a handle, press a of exaggeration. button and seven razor-sharp bladeclaws come up from underneath Was the film shot entirely in the and dig into the flesh. The incisions studio? are tiny but deep and over each cut is placed a little glass cup which has We wanted a Bavarian castle, but been gently heated over a Bunsen rather than go to Bavaria, we burner. The suction then draws inquired in Britain and found a

Peter Sykes (with script) directing Frankie Howerd in the thriller-comedy The House in Nightmare Park.

36 — Cinema Papers, July

castle which had been built in the early 1900s near Brighton by a rich German banker ;— an architectural ‘folly’. It was huge, and I was able to put the camera where I liked.

The staircase was fabulous, the sort of thing you couldn’t build in the studio.

H ow ever, I c o u ld n ’t shoot everything there, so I unscrewed the huge thick doors and I borrowed the window panes and took them from the house and used them on the set. I was very lucky in having a 'most brilliant British designer working with me, and I learnt a great deal from him.

Who was that?

Michael Stringer. He designed not only for appearances, but also from a strictly practical point of view. The set was perfectly designed for perspective and camera angles. It was a tremendous help. Arthur Grant did the lighting — he’s the man Joseph Losey speaks so highly of — and the result was a visually exciting film.

Did “Demons of the Mind” make money?

at all like him. This is true farce, not mere slapstick. Blend in a few horror or thriller elements to this contrast and you have an exciting thriller-comedy.

For you, this was something old and something new?

That’s right. I had already learnt to handle the thriller aspect, but with this type of comedy both Frankie Howerd and I were on new ground. He was used to playing stand-up comic roles of the CarryOn type, and now he had Ray M illand and some very good supports — Kenneth Griffith, Hugh Burden, Rosalie Crutchley — a terrific cast.

Frankie Howerd had a ‘character’ role playing a broken-dow n Dickensian reader of Shakespeare, and this was quite different to stand-up comedy. He had to become accustomed to doing a number of takes, sometimes eight or more, instead of a single ‘first-take’ born of his comedian training.

For Ray Milland and the others this was familiar territory.

What about yourself?

The critics thought it was good, I have always loved comedy, and but it didn’t have the same impact favorite directors of mine such as on the public. It wasn’t a recogniz­ Howard Hawks had demonstrated able horror subject; there was no that one could make both screwball Frankenstein in it. “What is it comedies and tough gangster films. supposed to be about,” they asked, It was much the same with Billy “just some mad doctor?” It was also Wilder who made films as diverse a little confused; it had a lot of as Some Like It Hot and Sunset violence in it, perhaps too violent Boulevard. for its time.

I wanted to work in comedy, so I went back and studied all the old I believe “Demons of the Mind” silent films in this thriller-comedy was the biggest production genre, and learnt a great deal.

Hammer Films had made at this time, what was the budget. . .

How important was the story in “The House in Nightmare Park”?

The budget was £ 2 5 0 ,0 0 0 ($A392,500). That was relatively In a typical thriller-comedy, the ex p en siv e, but the film got story is relatively unimportant. This encouraging reviews and received one was an inheritance story. The the ‘Horror Film Award of the setting is a big, dark, Gothic house Year’ from International Times. with a comedian blundering in It also gained a place in Paris at among rather sophisticated people. the Cinema Fantastique Festival in Once they discover that he is due the horror film section. It has for a large inheritance, they plot become a cult film. and scheme to get it.

The whole piece is really a Where did you go from there? number of set scenes to chill and thrill the audience, and to mystify.

Clive Exton, one of the top Who is the killer? Who will the next British writers for cinema and TV victim be? That sounds like (he did 10 Rillington Place for melodrama, but it has the edge Richard Fleischer), came to me and of wit. said, “I’ve seen your Demons of the In one scene the repatriated Mind, I’m producing my first film British family from India put on a called The House in Nightmare play for the evening’s entertain­ Park with Ray Milland and Frankie ment. They all dress up like Howerd, how do you feel like doing gollywogs or nurses and do a a comedy?” macabre little dance where they all The film was to be a thriller- drop like puppets. Frankie Howerd comedy, an A m erican-created is playing the piano, and he says, genre that Hollywood found to be a “Oh, my God! What do they do for commercial smash-hit. A funny­ an encore?” Then a woman screams man is placed among straight and one of them is found with a people, and well, the twain never dagger in the back. There are also meet. They look askance at him some rather chilling twists in it, and (“Who is this oaf?”) and he assumes visually it worked very well. that they are square and strange, not Concluded on P. 95

FILM CENSORSHIP LISTINGS Reprinted from JANUARY 1977

Australian Government Gazette Published by the Australian Government Publishing Service

FILMS REGISTERED WITHOUT ELIMINATIONS For General Exhibition (G)

FILMS REGISTERED WITHOUT ELIMINATIONS For Mature Audiences (M)

March 1 — April 12 — May 10 — June 7

All This and World War II: Lieberson/Machat, U S. (2358.00 m) The Brothers Swear to Vengeance: Tehno Film, Greece (2438.40 m) I Don’t Care About Being Poor: Studio Faros. Greece (2438.40 m) ' The Flag, Class A Grade 4: Nikkatsu Corp., Japan (2441.27 m) .

I Have Suffered a Lot For You: Studio Faros, Greece (3048.00 m) His Mother’s Boy: Studio Faros, Greece (2743.20 m) The Little Mermaid: Toei Co.. Japan (1870.00 m) The Strongest Karate (16mm): Y. Kawano, Japan (965.00 m) Truth is Bitter: Bills Films, Greece (2286.00 m) Umut (Hope): Lale Films, Turkey (2194.00 m) We Are Penniless, My Love: Studio Faros. Greece (3048.00 m) The Wild Swans: C. Imada, Japan (1683.00 m) I Will Join Tarzan in the Jungle: Studio Faros, Greece (2438.40 m) "

A Mezzanotte va la Ronde del Piacere (Midnight Patrol): Not shown, Italy (2935.00 m) Burnt Offerings: D. Curtis, U.S. (3100.00 m) The Cassandra Crossing: C. Ponti, U.K. (3530.00 m) Cousin Cousine (English dubbed): (a), B. Javal. France (2688.00 m) Crazy Mama: J. Corman. U.S. (2112.11 m) Cry for Me Billie: H. Matofsky. U.S. (2518.00 m) The Domino Principle: S. Kramer, U.S. (2743.00 m) Giorni Dell’ Ira: Not shown. Italy (2907.00 m) Goto lie D’Amour: R. Thevenet, France (2554.00 m) Just a Woman (Sub-titled): (b). Y. Gasser, France (2660.70 m) The Late Show: R. Altman, U.S. (2468.00 m) Nashville Girl: R. Oppenheimer. U.S. (2469.00 m) Riding Tall: P. Murphy. U.S. (2112.00 m) Summer of 42 (16mm): (c), R. Roth. U.S. (1138.00 m) Sweet Revenge: J. Schatzberg, U.S. (2384.00 m) (a) S ub-titled version previously listed in Film Censorship Bulletin No. 11/76. (b) Dubbed version previously listed in Film Censor­ ship Bulletin No. 9/76. (c) Previously listed in Film Censorship Bulletin No. 7/71.

FILMS REGISTERED WITHOUT ELIMINATIONS Not Recommended for Children (NRC) Addio Napoli: Not shown, Italy (2413.84 m) The Assassin's Hand: Moncayo Film, Greece (2438.40 m) Cuoro Forestiero: A. Ferringno, Italy (2249.26 m) The Flesh Commands: Star Film, Greece (2286.00 m) Flood: Warner Bros., U.S. (2605.00 m) The Goddess of Vengeance: Serena Film, Italy (3200.40 m) II Bianco II Giallo III Nero: T. Sagone, Italy (2407.92 m) Kibrisli Fedailer: Bajak Film, Turkey (1645.00 m) L'Albero Di Natale: Juppiter Generale. Cinematograflca/Les Films Corona. Italy (2590.80 m) Mutual Understanding: Not shown. Hong Kong (3264.70 m) Napoli E Tutta Una Canzone: Inter Film Studio, Italy (1584.00 m) No 1 Am Not Mad — No I Am Not Wise (16mm): Not shown, Egypt (1040.00 m) Operation Thunderbolt: E. J. Scherick, U.S./lsrael (3428.00 m) ■ The Pink Panther Strikes Again (Reduced version): (a).

B. Edwards. U.K. (2832.00 m) Rivers of Sand (16mm): Film Study Centre, Harvard, U.S. (921.00 m) Rocky: Winkler/Chartoff, U.S. (3209.00 m) Victory at Entebbe: Wolper/Guenett. U.S. (3290.60 m) What After Love (16mm): Not shown, Egypt (1097.00 m) (a) Reduced by importer's cuts from 3393.03 m. (Film Censorship Bulletin No. 11/76.)

FILMS REGISTERED WITHOUT ELIMINATIONS For Mature Audiences (M) Chase Step by Step: Hai Hua Cinema Co., Hong Kong (2413.00 m) The Harder They Come: P. Hanzell, Jamaica (2824.89 m) The Little Girl Who Lives Down the Lane: Z. Braun, Canada (2630.00 m) Moving Violation: J. Corman, U.S. (2413.84 m) Raw Deal: Hagg/Edgeworth, Australia (2523.00 m) A Star is Born: J. Peters, U.S. (3842.00 m) Sunset in the Forbidden City: L. C. Hsin, Hong Kong (2637.50 m) Welcome to L.A.: R. Altman, U.S. (2880.00 m) Zitima Zois Ke Thanatou (Matter of Life and Death): K. Konitsiotis, Greece (2331.55 m)

FILMS REGISTERED WITHOUT ELIMINATIONS For Restricted Exhibition (R) Angelica the Young Vixen: R. Ekard. U.S. (1892.00 m) Bloodthirsty Butchers: W. Mishkin, U.K. (2112.11 m) Bobbie Jo and the Outlaw: M. L. Lester. U.S. (2331.00 m) The Goulve Golem’s Daughter: Welp Prods. France (2304.12 m) Koritsi Bomba: Taurus Film. Greece (2446.00 m) Land of the Brave: Safety Colour Motion Picture Film.

Hong Kong (2314.10 m) The Margin: R. & R. Hakim. France (2468.70 m) Roxane: N. Melas and Faros Films. Greece (2276.00 m) Run, Virgin, Run: H. Altman, U.S. (2413.00 m) Sex and the Lonely Woman: J. L. Ennis. Uruguay (2358.00 m) Swept Away (Italian version): (a). R. Cardarelli. Italy (3115.10 m) (a) Dubbed English version previously listed in Film Censorship Bulletin No. 10/76.

FILMS REGISTERED WITH ELIMINATIONS For Restricted Exhibition (R) Infrasexum: C. Tobalino. U.S. (2441.27 m) Eliminations: 62.7 m (2 mins 17 secs) Reason: Indecency Let Us Play Sex: O. Wallius. Sweden (2276.69 m) Eliminations: 66.4 m (2 mins 25 secs) Reason: Indecency

FILMS REFUSED REGISTRATION Every Which Way: R. Ormsley. U.S. (2002.00 m) Reason: Indecency Fly Me the French Way: L. Wallmann. France (2780.90 m) Reason: Indecency Justine De Sade: Pierson Prods. France/ltaly (2767.70 m) Reason: Indecency and Indecent violence.

La Cueillette Des Cerises: Not shown. France (2055.80 m) Reason: Indecency

Safari Express: Fono/Cinetalia. Italy/W. Germany (2743.00 m) Side by Side: R. Challis, U.K. (2386.00 m) Take it Easy: Film Polskl, Poland (2605.00 m) (a) Previously registered in 1933.

Jancso s elegantly erotic Private Vices and Public Virtues. The film was passed uncut in Australia in spite of having censorship problems in many countries.

The Making of a Prostitute: G. Ehmck, West Germany (2340.20 m) Reason: Indecency The Opening ot Misty Beethoven: L Sultana. U S (2208.70 m) Reason: Indecency

and/or M elbourne/Adelaide/Brisbane/Perth Film Festival and then re-exported.)

Los Canadienses (16mm): C. Low/T. Daly. Canada (650.00 m) Nine Months: M. Meszaros. Hungary (2500.00 m)

FILMS REFUSED REGISTRATION

FEBRUARY 1977 FILMS REGISTERED WITHOUT ELIMINATIONS For General Exhibition (G) All Friends Here: lluzjon. Poland (2116.00 m) Ebene Kitso (Get In Kitso): T. Yiannopoulos, Greece (2500.00 m) E Napoli Canta: A, Ferrigno, Italy (1827.28 m) Guardian of the Wilderness: R. Jensen/C. Sellien Jnr U.S. (3155.00 m) Home from the Sea: Shochiku Co.. Japan (2633.00 m) The Hostages: Eady/Barnes, U.K. (1706.00 m) Infinite Tenderness (16mm): Les Films Ariane. France (976.33 m) Marriage Jewish Style: Zion Films. Israel (2468.00 m) The Shaggy D.A.: Walt Disney, U.S. (2550.99 m)

FILMS REGISTERED WITHOUT ELIMINATIONS Not Recommended for Children (NRC) Bite the Bullet (Reduced version) (16mm): (a) R. Brooks.

U.S. (1332.70 m) Face to Face (16mm): Not shown. Egypt (1066.00 m) Islands in the Stream: P. Bart M. Palevsky. U.S. (2797.86 m) La Bete Humaine (16mm): Paris Film Prod.. France

Banging in Bangkok: E. C. Dietrich. Switzerland (1724,70 m) ~ Reason: Indecency.

Sex and the Lonely Woman Part II: T Leversuch. U S (2278.70 m) Reason: Indecency Up!: R. Meyer. U.S. (2181.70 m) Reason: Indecency

FILMS NOT APPROVED FOR REGISTRATION AFTER REVIEW Cadillac Named Desire (16mm): (a). Bryan/Janovich.

U.S. (592.38 m) Decision Reviewed: Appeal against rejection by the Film Censorship Board.

Decision of the Board: Uphold the decision of the Film Censorship Board.

Christy (Reconstructed version): (b). S. Harris. U.S. (2037.00 m) Decision Reviewed: Appeal against rejection by the Film Censorship Board.

Decision of the Board: Uphold the decision of the Film Censorship Board. (a) Previously listed in Film Censorship Bulletin No. 10/76. (b) Previously listed in Film Censorship Bulletin No. 11/76.

Note: Title of film notified as Inside Amy in Film Censor­ ship Bulletin No. 5/76 has been altered to Super Swinging Playmates.

(1121.00 m)

Pepe le Moko (16mm): R. & R. Hakim. France (1033.00 m) Pir Sultan Abdal: Not shown, Turkey (1645.00 m) Shahera (16mm): Not shown. Egypt (1371.00 m) Wizards: Ralph Bakshi, U.S. (2166.00 m) Zanjeer: Not shown. India (3985.00 m) (a) Reduced by importer's cuts from 3594.24 m (35mm) in Film Censorship Bulletin No. 4/75.

FILMS REGISTERED WITHOUT ELIMINATIONS For Mature Audiences (M) Anger in His Eyes: Giovani Cinematografica Prod.. Italy (2715.57 m) Break of Day (Reduced version): (a), P. Lovell. Australia (2976.28 m) Fun With Dick and Jane: P. Bart/M. Palevsky. U.S. (2550.00 m) il Prezzo Del Potere: F. D. Martino, Italy (2441.00 m) Mr Klein: A. Delon, France/ltaly (3385.00 m) The Last Tycoon: S. Spiegel, U.S. (3291.60 m) Norman, Is That You?: G. Schlatter, U.S. (2441.27 m) Sandakan No. 8: Toho-Haiyuza. Japan (3319.00 m) Lenny Bruce Without Tears (16mm): F. Baker, U.S. (860.00 m) (a) Reduced by producer's cuts from 3072.00 m in Film Censorship Bulletin No. 11/76,

FILMS REGISTERED WITHOUT ELIMINATIONS For Restricted Exhibition (R) Ceremony (Reduced version): (a), Premiar/Saga.

Sweden (2194.40 m) Chatterbox: B. J. Curtis. U.S. (2029.82 m) Eglima Sto Kavouri (Murder at Kavouri): C. Karatzopoulos. Greece (2500.00 m) Lust and Desire: Orphee Prods. France (2249.26 m) (a) Reduced by producer's cuts from 2743.00 m in Film Censorship Bulletin No. 8/76.

FILMS REGISTERED WITHOUT ELIMINATIONS Special Conditions (For showing not more than twice at Sydney

MARCH 1977 FILMS REGISTERED WITHOUT ELIMINATIONS For General Exhibition (G) The Autumn Love Song (16mm): P. Lui, China (1070.00 m) Donald Duck Goes West: W. Disney, U.S. (1619.00 m) Freaky Friday: Disney. U.S. (2715.57 m) Il Giustiziere de Mezzogiorno (Death Twitch): Not shown. Italy (2529.00 m) La Spada e la Croce (The Sword and the Cross): Liber Film, Italy (2073.00 m) Riuscirà’ L’avv. Franco Benenato a Sconitiggere il Suo Acerrimo Nemico il Pretore Ciccio de Ingras: Transeuropa Film, Italy (2468.70 m) YB-YB: C. Carajopoulos. Greece (2523.56 m) White Rock: Worldmark/Samuelson, U.K. (2029.00 m)

FILMS REGISTERED WITHOUT ELIMINATIONS Not Recommended for Children (NRC) Airport 77: W. Frye, U.S. (3017.30 m) Bound for Glory: R. Blunoff/H. Leventhal, U.S. (3977.00 m) Bouzanka Ala Eiinika (Bouzanka Greek Style): Not shown. Greece (2523.56 m) Dark Victory: J. Irving. U.S. (2688.00 m) Dromos Iro-on (Hero's Road): Not shown. Greece (2500.00 m) Eight Hundred Heroes (16mm): M. Ling. China (1655.00 m) 42nd Street (16mm): (a), Warner Bros. U.S. (1006.00 m) Fragrant Flower v’s Noxious Grass (16mm): Chinese Film Corp., China (1262.00 m) The incredible Sarah: H. Strauss. U.K./France (2963.00 m) The Last Message: Golden Harvest/R. Chow. Hong Kong (2605.00 m) " L'Emigrante (The Emigrant): Mondial Te. Fi. Italy/Spain (3139.00 m) Mr Billion: S. Bach/K. Friedman. U.S. (2633.28 m)

FILMS REGISTERED WITHOUT ELIMINATIONS For Restricted Exhibition (R) Cross ot Iron: W. Hartwig, U.K./W. Germany (3538.47 m) Milano Calibro 9: Cineproduzioni Daunia. Italy (2606.50 m) The Sentinel: M. Winner/J. Konvitz, U.S. (2469.00 m) Sex Service: E. Dietrich. W. Germany (2057.00 m) Slap Shot: R. Wunsch/S. Friedman. U.S. (3265.00 m) Under the Doctor: R. Barehan, U.K. (2316.00 m) Women Behind Bars (Prison des Femmes): Eurocine/Brux Int i. France (2139.00 m) The World’s Last Sex Act (Reconstructed version): (a), A. Weber. U.S. (1920.10 m) Young Dragons: Golden Harvest/R. Chow. Hong Kong (2496.13 m) (a) Previously listed in Film Censorship Bulletin No. 6/76.

FILMS REGISTERED WITHOUT ELIMINATIONS Special Conditions (For showing not more than twice at Sydney and/or M elbourne/Adelaide/Brisbane/Perth Film Festival and then re-exported.)

Alibis: P. Rissient, France (2819.00 m) Allegro Non Troppo: B. Bozzetto. Italy (2341.00 m) The Ambassadors: N. Ktari. Tunisia (2529.00 m) At Home Among Strangers: N. Mikhalkov, USSR (2669.00 m) Attila ’74: M. Cacoyannis, Greece (2990.00 m) Belladonna: Nippon Herald/Mushi, Japan (2560.00 m) Budapest Tales: I. Szabo, Hungary (2496.00 m) Cantata of Chile: H. Solos, Cuba (3363.00 m) Chinese Roulette: R. Fassbinder. W. Germany (2610.00 m) The Churning: G. Ghanekar. India (3436.00 m) The Confessions of Amans (16mm): G. Nava. U.S. (990.00 m) The Coup De Grace: E. Junkersdorf, W. Germany (2529.00 m) Dincolo de Pod (Beyond (he Bridge): Bucuresti Film Studio, Romania (2750.00 m) Duhul Arului (The Lust for Gold): Bucuresti Film Studio.

Romania (2549.00 m) Edvard Munch; P. Watkins. Norway (5745.00 m) Evening Land: P. Watkins. Denmark (2971.00 m) The First Time: R. Danon. France (2282.00 m) The Free Life: Marwood Productions. Hong Kong (2539.89 m) The Gypsy Camp Vanishes into the Blue: Not shown, USSR (2771.00 m) Happy Day: P. Voulgaris. Greece (3100.00 m) Harvest: 3,000 Years (16mm): (a), H. Gerima, Ethiopia (1524.00 m) The Head of Normande St. Onge: P. Lamy. Canada (2792.00 m) Hotel Pacific: J. Majewski, Poland (2831.00 m) Laager (16mm): P. Davis, U.S. (650.00 m) L’Eau Chaude L’Eau Frette: B. Lalonde. Canada (2590.00 m) The Long Holidays of 1936: J. Frade. Spain (2784.00 m) Mado: A. Genoves. France (3581.00 m) Man on the Roof: P. Berglund. Sweden (3075.00 m) Max Havelaar: F. Rademakers, Netherlands/lndonesia (4511.00 m) Meat (16mm): F. Wiseman. U.S. (1244.00 m) Mon and Ino (Brother and Sister): Toho Company, Japan (2459.40 m) Off the Wall (16mm): R. King, U.S. (884.00 m) One Man: M. Scott, Canada (2743.00 m) Partners: C. Adams/D. Owen. Canada (2590.00 m) Paule Paulander (16mm): E. Junkersdorf, W. Germany

(1100.00m)

Pleasure at Her Majesty's (16mm): R. Graef, U.K. (1130.00 m) Raise Ravens: E. Quejereta, Spain (2550.00 m) Seclusion Near a Forest: J. Menzel, Czechoslovakia (2660.00 m) Shine Brightly, My Star: A, Mitta, USSR (2468.00 m) Shirin’s Wedding: H. Sanders. W. Germany (3294.00 m) Strange Letters: Not shown, USSR (2566.00 m) The Supreme Kid (16mm): P. Bryant/D. Thompkins, Canada (975.00 m) Time of Maturing (Reifezeit): O. Kress, W. Germany (3039.00 m)

Concluded on P.92 Cinema Papers, July — 37

News th®

';WttI; ; -> W

!*V'

t

r V, r i *

whl€k

Per

,,..e<i cn:nvt‘>' lnisitws& ^ ; ri ^ U )H 1« m»%> kt .. *;■.*.# witH < Harry éi$& é%w>/ ftn kin'll^'« ]>.c. "V.tP' ir-^vv s ir ri-1r. i'fs iu'e'"1.,

t a c i n e T h tf « i » y ' | i-jih 5$? >W

,

F«r T , PHV» »

bw

I fegad p r1 f v M i | Mevmf i

UnA%

wi h v e rr $ t

:**■ -A;

ìA

KW>wt*0*i

E w«s g i t i n e *ì » ir V * l Ì

I fjon, yccerrt year

>«

I I f l i f «f F<»x

I ' Ai <n U r l h ^ P 5

H

iMayiV»- Ift;«*

I ir « « « ) L*“* H " ' ■ U*?. Jprdor« «) Hì0<-«u; ■

‘ FA/ .; ' ' ; A postscript :;: : taR ay Edmondson’s “The La$t Newswreéff

Arr.on«£

rPir-e

P

B

- pjf'54?Ti W 'C i H

I

1>< re W-**« /l V 'j

S

,n .ì A M I * - « * ' 1 <;

'* ',i

1

LEIT«

Barry King For more than 45 years, Cinesound and Movietone were synonymous with newsreels in Australia. In common with most other newsreels, they were produced as entertainment. But from 1931, until television made their closing inevitable, they provided a valuable record of Australian history.

In the 1920s, the Australasian Gazette, Paramount Animated Gazette and Pathe Animated Gazette were among the major Australian newsreels. By 1927, Paramount had reached its 500th issue, and Australasian was into its 800th. Twentieth Century-Fox also, filmed some Australian news items, but generally joined these on to their overseas newsreels.

Less significant in retrospect, but perhaps just as important to the audience, were the numerous local newsreels such as the Express Gazette, the William Weekly News, Spencer’s Gazette and the Topical Budget which uniquely reflected urban life of the twenties and earlier.

Ray Edmondson, in a tribute to Cinesound and Movietone (Cinema Papers, March-April 1976), said only Fox and Australasian survived the transition to sound — Fox as Movietone News, and Australasian as the Cinesound Review.

The Herald Newsreel, which began in 1931, might have been viable, but it was absorbed by Cinesound the following year.

Most of Movietone’s and Cinesound’s material has been preserved, though not always in complete form; but of the thousands of reels of news film issued before the 1930s, only a few remain. Most of this material has vanished, no doubt a victim of the notion prevalent in the thirties that if a film didn’t have a soundtrack down the edge, it was worthless.

At the height of the Depression, major producers such as Paramount and Pathe probably made a considered judgement not to enter the sound news field; but for the local newsreels, the reason was much more basic.

Produced on a shoestring, often a one-man operation, or allied to a small photographic studio, they had neither the resources to launch into sound, nor wide enough distribution to make 38 — Cinema Papers, July

it economically viable.

It was all the more surprising, then, to find, as reported by Ray Edmondson, that “. . . Around 1948, a newcomer even briefly joined the field, the Perth-based Westralian News, which was aimed at local audiences who were not seeing much of themselves in the Sydney-produced reels. Though of good quality, the reel lacked the economic base and production facilities necessary for survival (sound recording and printing had to be done each week in Melbourne) and it quietly foundered before its first birth­ day”.

In fact, the year was 1947, and local audiences were certainly not seeing much of their state in either of the national newsreels. But this was not the reason for the newcomer emerging. It was a rather more interesting story than that, and although its economic base was small, it suffered from the more serious disadvantage that it was an independent venture and lacked the connections with distributors and exhibitors necessary to get it into the theatres.

In its brief history in 1931 -32, the Melbournebased Herald Newsreel tried to set up a much broader base, and contents lists in the records of the National Library show that it covered about as many events in WA as Cinesound did in its first 10 years. In WA, the reel was called The Western Mail Newsreel, in association with a local paper which is still published, though its name has been changed to The Countryman. It appears that nobody there today remembers The Western Mail Newsreel.

In early 1947, a large basement restaurant in central Perth was being converted into the Mayfair Newsreel Theatrette — the first new theatre and “newsreel theatre” to be opened in Perth since the pre-war years. Newsreel theatres were operating in eastern states cities at the time, running a 60-70 minute program on a continuous basis, consisting of newsreels, travelogues, cartoons and other short films available in the distributors’ offices. Surprisingly, they were good money spinners, drawing an audience from visitors to the city.

Cinesound and Movietone had their head­ quarters in Sydney, and from their coverage, one could get the impression that from 1931 to 1975, most Australian news happened in NSW and to some extent in Victoria. Perhaps most of the newsworthy events did occur in these two states.

Certainly, the bulk of the audience was there, but it hardly resulted in a balanced view of events in Australia.

For example, the contents lists of the two newsreels for the 1930s show that Cinesound restricted its coverage of events in WA almost entirely to the arrival at the Port of Fremantle of personalities from overseas, while Movietone covered similar events and a few additional news and magazine items each year. On one occasion, at least, Movietone took their sound equipment to Perth, while Cinesound never ventured across the desert with theirs.

The promoter of the Perth venture, Joel Moss, found that overseas newsreels were available to the theatre, but the local trade had closed ranks against him, and they would not supply either Cinesound Review or Australian Movietone News. Moss and his supporters were pessimistic about the prospects of their newsreel theatre without an Australian newsreel, and they decided that a newsreel would have to be produced in Perth. This was not the first time that an exhibitor had entered into a fdm production venture to assure himself of films for his own theatre, and it wouldn’t be the last.

A new company was set up — Southern Cross Newsreels Pty Ltd, later changed to Southern Cross Films Pty Ltd. Moss and Perth accountant John Macaulay were among the founder directors, and Macaulay’s partner, Bill Duff, was company secretary. Almost all the capital was raised locally. As producer and cameraman, they engaged Leith Goodall, who had been with Hoyts for 20 years, and was until then their chief projectionist. For four years during the thirties, he had been Fox M ovietone’s freelance cameraman in WA. He agreed to work full time on the newsreel produced by Southern Cross.

There were no film processing or sound

recording facilities in Perth in 1947, and Goodall went to Melbourne to make arrangements with Roy Driver of Herschells Films for the lab work, editing and sound recording. Herschells was a long established production house, and had provided the base for the Herald Newsreel in 1931 and 1932.

The theatre could not be completed in time and more than one newsreel item was prepared and filmed prematurely. But all was ready by the second week of March. The first screening at the Mayfair Theatrette was to an invited audience on March 10, and the doors were opened to the public the next day. The program included the first issue of Westralian News.

From then until production ceased, a new issue appeared each Friday. Usually, each issue consisted of three items, but the issue of September 5 was devoted to a single event — the centenary of former WA statesman and explorer Lord Forrest.

Considering the staff, equipment and other resources available to their com petitors Cinesound and Movietone, it was no small achievement for a local company with one camera and one employee to turn out a weekly newsreel which effectively filled the niche at the Mayfair.

To West Australians it was apparently just another newsreel, and although Film Weekly referred to it as a “popular attraction” at the Mayfair, and the morning daily commented favorably on its quality, it didn’t really attract much attention.

Film Weekly described the weekly routine of production of W estralian News: “ Every Thursday night the negative is sent with the script to Sydney, where it is processed and sound recorded. It is returned by air and screened the following Thursday”.

It was sent to Herschells in Melbourne, not Sydney, and was issued each Friday. When shooting material, Goodall made notes which were sent with the unprocessed film to Herschells. He didn’t attempt to write the complete commentary for them, but gave

sufficient information, and made suggestions on how the film might be edited. Artwork for the titles was also done by Herschells. The commentary was recorded by Melbourne radio announcer Lewis Bennett.

With the filming and production done by one man with one camera, and the editing, writing of commentary and sound recording done 3200 km (2000 miles) away, it was a big achievement by Goodall and those at Herschells that 35 weekly issues were produced on schedule. If it didn’t immediately reach the standard of Cinesound and Movietone, Westralian News could surely be excused. Not the least of its difficulties was a poverty of newsworthy events. Perhaps after all, the news really did occur in Sydney and Melbourne.

Westralian News scored no scoops, but con­ scientiously covered local sporting events, visiting notables, conferences etc., and the time­ less magazine items which were the staple diet of the newsreels. The issue of July 18 included “The Drawing of a Lottery”, “Cycle Races at Maylands” and “Cigarette Paper Manufact­ uring”, but the next issue on July 25 offered more topical items: “Field Marshal Montgomery Visits Perth”, “Country Week Hockey”, and a magazine item, “Scenes at the Zoo”.

The time lag between the events filmed and appearing on the screen ought to have been a serious disadvantage in comparison with the national newsreels. But in 1947, the latter were released in Perth a week after their appearance in the east, so Westralian News was little, if at all, behind them.

Production costs were around £80 per week, and in spite of earlier expectations that it would be distributed throughout the state, the only regular screening was at the Mayfair, returning a rental of £ 10 per week. (Moss was canny enough not to commit the Mayfair too deeply.) It should have been a great success in WA, but perhaps the same closed ranks of the trade that denied the Mayfair the national newsreels in the beginning, also discouraged the exhibition of Westralian News in other theatres.

In 1947, coverage of WA events by Cine­ sound and Movietone was just as sparse as in the thirties, and it must have been a unique experience to WA people to see themselves on the screen as they had not done since 20 years earlier and were not to see again until the coming of television 12 years later.

By October 1947, it was clear that Southern Cross Films had no way of bridging the gap between the £80 production cost and the £10 rental income. Successful as the newsreel had been in the limited context of the Mayfair, they couldn’t continue to carry that sort of loss. When the distributors offered to make Cinesound Review available, it was decided to cease production of Westralian News.

Issue No. 35 appeared on October 31, and on November 5, the Mayfair screened Cinesound’s Melbourne Cup Special. By November 7, West­ ralian News had faded away, the last indep­ endent newsreel to disappear from the Aust­ ralian scene. No mention of its passing appeared in the local press or on the screen.

Southern Cross Films stayed in business another four years, and in that time made 15 documentaries for government and private sponsors. In 1952, the company ceased pro­ duction. Leith Goodall joined the WA Education Department’s film unit, continuing his career as a cameraman until his retirement. The company had been many years before its time, and if it had survived until television began in WA, it would most likely still be in business today.

Surviving negatives and prints of Westralian News are preserved in the National Film Collection, Canberra; and in the W A State Film Archive. 16mm viewing prints are available for study at both centres. ★ Acknowledgements: The assistance of the following in providing information for this article is gratefully acknow­ ledged: Leith Goodall, Roy Driver, Bill Duff, John Mac­ a u la y , Sandy H ope (W A State Film A rch iv e), Edmondson (National Library), and the Battye Library, WA.

Cinema Papers, July — 39

llillll

■,•. «■ pfSBS Pillili

BERNARDO BERTOLUCCI

be with him on his first film, because he was discovering cinema, discovering his cinematic language.

For example, when he made a close-up it was like the first closeup in film history. When he made dolly track, it was like the first.

Because he came from literature, he was very innocent on the level of cinema language. So it was a very strong experience with him.

I then made my first film at 21, La Commare Secca. The story came from a short novel by Pasolini.

You made a film of ‘The Conformisf. In what way do you repeat the rhythms of Moravia’s novel, and how far did you feel free to change it?

I told Moravia immediately we began shooting The Conformist that I wanted to re-invent the story and the characters, because I didn’t want to make a sort of illustration of the book. It’s not simple when you take a literary work, because you really have to invent again the

You once said Hemingway and Fitzgerald were decisive in your choice of cinema. In what way?

The fascist Attila (Donald Sutherland)being bailed up by peasant women on Liberation Day, April 25, 1945. Novecento.

For a director who is still only 34, you have had remarkable success both critical and commercial. . .

For you 34 means I am young.

But for me I am very old because I started at 21. I have been making films for 13 years. A different point of view on my age changes the question.

Regina (Laura Betti) kisses her husband Attila in front of several of his fellow fascists.

reason, the interior sense, of the book. And, I think, for example The Conformist the film is different from the novel. But at the same time, it’s faithful.

Has success changed you?

I don’t think so, because what does the success of a film mean? It means you have a chance to do what you want in future. That’s the im­ portant thing. All the rest is mythology or bullshit.

But a director must be faithful to himself, that’s important. I don’t think my work has changed.

When you have chosen a novel such as ‘The Conformist’ what do you find the most useful element?

Has it been a character, a rhythm or images?

What do you do when you are not working on a film?

I am like a vegetable. I think I am living only when I am shooting.

What’s the longest period you’ve had between films?

Four years, between Prima della Rivoluzione and Partner. It was very hard, very difficult. I found it impossible to find the money for the film I wanted to do. During this period I wrote three scripts I couldn’t realize. I was working in a way, though.

Your father is a poet and film critic. You were first known as a poet Why did you choose film­ making rather than literature?

Dominique Sanda and Bernardo Bertolucci,on the set of Novecento.

poetry when I started to read. It was Did I say that? . . . (laughs) I don’t something in the house; you could remember. feel it in the air. Cinema was much more something that I discovered. I was searching for a language, a Do you try and match cinematic cinematic language, so I stopped rhythms with prose rhythms when are transposing some work of writing poetry. It was like a sort of you literature into film? exorcism.

What was the decisive influence Like every boy, I used to imitate on you in this choice? my father. I began at seven writing poetry and wrote till 20. And I pub­ My father was a film critic, so lished a book. But when I started to very often I went to theatres to see make films I stopped writing poetry. films. When I was 20 a friend, Pier It was impossible to do both things. Paolo Pasolini, made his first film, The poetry was some kind of Accatone; he asked me to be his inheritance. It was in the family; my assistant. father was a poet, and I used to read It was an important experience to 42 — Cinema Papers, July

At the beginning, the poetry ex­ perience was very important. When I made the first film, I made sure to use the same experience as the poetry for film language. Now I don’t want to use the literary ex­ perience for the cinema. I think the cinema is closer to music than to literature; or closer to poetry than to theatre.

-

Sometimes you may make a film and be interested in something which does not appear as the reason for the film. For example, in The Conformist it was my great love for the cinema of the end of the thirties.

A lot of critics and journalists asked me: I was born in 1941, how could I recreate the atmosphere of 1937 and 1938? They said it was so real.

I think the cinema is a collective memory. So all the films made of this period (I must say films I liked), I used as my experience, my memory. At the same time, when you make historical films like The Conformist you speak about the past, but you are also speaking about the present. It was important for me to describe this character of The Conformist like a modern character, like someone who can exist today. T hat’s im portant, because I also think you have only one verb in the cinema, it is the present, even when you are shooting the past. It is always the present for the audience.

What do you see as the differences o f language in cinem a and literature?

ZT This is a strange moment for literature. Perhaps all moments are

BERNARDO BERTOLUCCI

I change a lot of my script when I am shooting. If I don’t want to illustrate a novel, I also don’t want to illustrate a script. So the script is something I don’t open while I am shooting, I go ahead on the memory of the script, changing lots of things.

The moment I am shooting is important — the space where I am shooting, the feeling of the people who are in front of the camera, and also the feeling of the people who are at the back. It means, I want to be very open. If there is a cloud and you have not foreseen it, you must use the cloud passing in front of the sun. The light is changing, but if you can capture this change of light in the film it’s very important because for me Vhasard (chance) is the most important thing in making films.

women; I choose them for strange reasons, because I feel something when I meet them. Maybe some­ thing they don’t know, but some­ thing which is inside them. I can choose an actor in 10 seconds.

Have you ever made a mistake?

Oh . . . (laughs) maybe always!

It’s something very instinctive.

When I began to make films I used to think a lot about the language.

But all the program was a sort of censorship in front of reality. I am trying to forget about a program now. Maybe I am more sure now.

And plan less. . .

Yes, I live myself.

What is your next project? Are you going to film Dashiell Hammett’s novel ‘Red Harvest’ as you said you would?

I don’t have to do it. Maybe I am too weak in front of what is happen­ ing; besides, there are a lot of films about the thirties in the U.S., about the gangsters, and I am bored by them. I want to make a film about this moment in this country.

How far have you advanced?

How far can you go when you have 170,000 metres of film in the editing room? I have some ideas, but Novecento is not finished . . . that’s the problem.

A scene from The Conformist. Bertolucci’s “re-invention" of Moravia’s novel.

strange, but this is particularly so. I look around and at what happens to me: it seems books are disappearing or, at least, books in a home have a different meaning from what they once had. There has been a change, that is, in the relations between people and literary language.

I believe it depends to a large degree on a kind of bombardment we’ve had in the past 10 to 15 years, a b o m b a rd m e n t from n e o ­ capitalism, consumerism and so on.

There has been a kind of violence against all of us, particularly against local cultures — popular culture.

The face of the world has changed.

Cinema is a language which registers always the present; there are so many examples — nothing is so tied to the present, nothing gives you so much the feel of ’38 in France as Renoir’s La Regie du Jeu, or of ’42 in Italy as Visconti’s Ossessione. I see it as a great archive in which the monstrosity of this moment is recorded.

The most painful thing is to see how popular culture is in danger of being suffocated. What can literary language, which has existed for a thousand years, do against this?

Nothing. In fact, if we look around in the past few years, the past few months perhaps, we can see that literary language is inadequate in handling this problem.

Cinema survives because of its great capacity to absorb and digest reality. It is not mere chance that cinema was invented in this century. For example, Novecento is

not just the story of two men — one a farm proprietor and the other a farm laborer — throughout the century. Above all, it is the story of Italian culture which so far has managed to resist the pressure from consumerism, neo-capitalism — all because of its links with socialism.

At the beginning of this long, confused explanation I wanted To say — without comparing in the n a rro w ly q u a lita tiv e sen se cinematic and literary language — that there is an objective impossi­ bility, I believe, for literature at the present moment to give any picture of what is happening. Cinema manages to do this perhaps because it’s a hybrid language in which you get music, images and everything mixed up, which succeeds in con­ veying the feeling of the period.

I have just finished 11 months working on N ovecento. And, coming out of that experience, in which I was cut off from everything, looking around at the other arts is like looking at a battlefield after the battle has been lost. Music is down some deep well from which you hear cries coming every now and again, painting is slaughtered on the canvas, literature is dying, if not already dead. I feel filmmakers are privileged at this moment because of cinema’s hybrid nature, which is made of all other arts and contains all other arts.

Before shooting, do you have it all plotted — the gestures, the actions — ?

What would you like to achieve as a filmmaker?

The Conformist, a film inspired by Bertolucci's love of the thirties' cinema.

I would like to answer with a tautology: a filmmaker is a film­ maker. When I was shooting Last Tango in Paris it was very different from w hen I was sh o o tin g Novecento. I am used to nascere e morire (be born and die) with every film; and the reason I make them is that they are born and die too.

Ultimately there is a different reason each time for making a film.

Renoir once told me: “You must H aven’t you an overrid in g always leave a door open on a set passion? because you don’t know, someone can come inside. Something can Yes, to materialize my dream. It’s happen. You must be ready. a beautiful . . . er . . . joke. ★ Destiny.” saa—

Do you aim at stylistic unity in your films? And, if you do, do you think you have achieved it?

I don’t know if there is a stylistic unity. I know that there is a stylistic proposition, but also the style can be changed by chance. Also, if you have a precise style in mind, some­ thing may happen which can change everything. You must be ready because I think every film that is very structured is a sort of docu­ mentary. Every film should be cinema verite.

You must find a sort of direct relationship with things. I want to capture the actors, the man and the

nim m >■m —

■ ■ ■ » ■ ■ ■ ■ ■ ■ ■

BERTOLUCCI FILMOGRAPHY 1962 La Commare Secca (The Grim Reaper) 1964 Prima della Rivoluzione (Before the Revolution) 1965 La Vie del Petrolio — three-part documentary 1966 II Canale — documentary partially directed by Bertolucci 1967 Vangelo 70 — Il Fico Infruttuoso episode 1968 Partner 1970 La Strategia del Ragno (The Spider’s Strategy) 1970 II Conformista 1971 I Poveri Muoioro Prima — docu­ mentary 1972 L’Ultima Tango a Parigi 1976 Novecento (1900)

Cinema Papers, July — 43

FEATURE DIRECTORS CHECKLIST ADAMS, Phillip Jack and Jill: A Postscript (co-director—70) AUZINS, Igor Stopover (episode of Homicide — 75), The Big Backyard (76), Upstream, Down­ stream (76), All at Sea (television film — 77), The Night Nurse (television film — 77), High Rolling (77) BAKER, David Spyforce (26 episodes of the television series), Thè Family Man (episode of Libido— 73), Squeaker’s Mate (73), The Great MacArthy (75). Current project: Needles BENARDOS, Peter No. 96 (74)

In this issue, C in e m a P a p e rs begins a series of checklists on film directors. It includes all those who are Australian or are permanently resident here.

The first instalment, featured below, covers all directors who have made at least one feature since 1970. (A feature is here defined as any film of more than 60 minutes of basically fictional nature.) The listing for each director also includes any shorts made during this period.

Subsequent issues will feature checklists on documentary film­ makers, those who have made short features since 1970 (45 mins and over) and those who have directed at least two short films. All makers of surfing films will be listed in the documentary section unless they have made a film which has some form of fictional narrative.

C in e m a P a p e rs welcomes and requests additions, corrections, etc, to the list below, together with any information relating to future listings. The next issue will concentrate on directors of short features.

BERESFORD, Bruce The Adventures of Barry MacKenzie (72) , Barry MacKenzie Holds His Own (75), Side to Side (British — 75), Don’s CROMBIE, Donald Jenny Langby (74), Caddie (75), Do I Party (76), The Getting of Wisdom (77) Have to Kill my Child ...? (television film — 76). Current project: The Irishman (77) BILCOCK, David Alvin Rides Again (co-director — 74) DANIELS, Marc Squeeze a Flower (70) BOURKE, Terry Night of Fear (71), Inn of the Damned (75), Plugg (75), Murcheson Creek (tele­ DELING, Bert Dalmas(72), Pure S(75). Current project: vision film — 76). Current project: Child of My Time Crocodile BRITTAIN, Frank The Set (70) BRUCE, Richard (alias for Richard Franklin) Fantasm (76) BUESST, Nigel Dead Easy (70), Bonjour Balwyn (72), Come Out Fighting (73), Up the Garden Path with the Lowland Brothers (73), Darly Turner Film (75), Humes Pipes (76), Walter Wright movement Engineers (77) Current project: Albert Jacka V.C. BURSTALL, Tim Stork (71), The Hot Centre of the World (71), The Child (episode of Libido — 73), Alvin Purple (73), Petersen (74), Three Old Friends (74), End Play (75), Eliza Fraser(76) CANTRILL, Arthur and Corinne Eikon (70), White-Orange-Green (70), Bouddi (70), Pink Metronome (70), Gold Fugue (70), Poem of Machines (70), Fragments (70), 4000 Frames (70), Harry Hooton (70), Boiling Electric Jug (70), Earth Message (70), Blast (71), Exercise for a Grid Screen (71), Black and White Disc Films (71), Milky Way Special (71), Meditations (71), Filed Film (71), Video Self Portrait (71), Island Fuse (71), Zap 4000 (71), Batik Films (71), New Move­ ments Generate New Thoughts (71), Looking for the Desert (72), Skin of Your Eye (73), At Eltham (73), Reflections on Three Images by Gordon Spencer (73), Negative/Positive on Three Images by Gordon Spencer (73), Simple Observa­ tions of a Solar Eclipse (76), Near Coober Pedy (76), Touching the Earth — and the Uluru (77), Touching the Earth — at Point Lookout (77) COWAN, Tom Story of a House (Canada — 70), Australia Felix (70), The Office Picnic (73) , Promised Woman (74), Wild Wind (India — 75), Journey Among Women (77) COPPING, Robin Alvin Rides Again (co-director — 74) COX, Paul Mirka (70), Calcutta (70), Phyllis (71), The Journey (72), Island (75), All Set Backstage (75), Illuminations (76), We’re All Alone My Dear (76), Inside Looking Out (77)

44 — Cinema Papers, July

DUIGAN, John The Firm Man (73), The Trespassers (75), Metal Finishing (76), Building a Bridge (76). Current project: Mouth to Mouth EDDY, Paul The Box (75) EGGLESTON, Colin Fantasm Comes Again (77), The Long Weekend (77) FRANKLIN, Richard And His Ghost May be Heard (73), Old Man’s Eyes (73), Convention Checkout — Melbourne (73), The True Story Of Eskimo Nell (75), Fantasm (76). Current project: Patrick FREEMAN, Warwick Demonstrator (72) FRIEDRICHS, Peter Made In Australia (75). Current project: Black Red, White HANNAM, Ken Sunday Too Far Away (75), Break of Day (76). Summerfield (77). Current project: Dawn HARBUTT, Sandy Stone (74). Current project: The Drums of Mer HOWES, Oliver Toula (episode of Three To Go — 70), Wokabout Bilong Toten (74), Let the Balloon Go (75), Opera Company (76)

The Warning, Cruisin’ (74), Sweet Feed (74). Oz (76). Sweet Meat (76) MANGIAMELE, Giorgio Beyond Reason (70) MAREK, Dusan And the Word was Made Flesh (71) MARSDEN, Ralph Sabbat of a Black Cat (74), Tell Tale, Heart MAXWELL, Peter Country Town (71), Polly Me Love (tele­ vision film — 76), Is There Anybody There? (television film — 76), Mama’s Gone A-Hunting (television film — 77).

Current project: Mutiny at Castle Forbes McCALLUM, John Nickel Queen (71) McCULLUGH, Chris Avengers of the Reef (75) METCALFE, Edgar The Olive Tree MILLS, Ian Solo Flight (75), Hurdling (76), The High Jump (76), A Day at a Time (77), What is Spina Bifida (77) MORA, Philippe Trouble in Melopolis (British — 71), Swastika (British — 74), Brother Can You Spare a Dime (British — 75), Mad Dog Morgan (76) MURRAY, John B. The Naked Bunyip (71), The Husband (episode of Libido — 73) OHLSSON, Terry Scobie Malone (75), The Green Machine (76) PATTERSON, Gary Retreat, Retreat (71), How Willingly You Sing (75), Here’s to You Mr Robinson (co-director — 76)

JEFFREY, Tom The Removalists (75). Current project: The Reckoning

POMERANZ, Hans Stockade (71)

KAVANAGH, Brian A City’s Child (71). Current project: The Mystery of a Hansom Cab

PORTER, Eric Marco Polo Junior versus the Red Dragon (71)

KUYULULU. Ayten A Handful of Dust (73), Golden Cage (75). Current project: Battle for Broken Hill

POWER, John Billy and Percy (72), They Don’t Clap Losers (74), The Picture Show Man (77)

SALVAT, Keith Private Collection (71) Modern Masters: Manet to Matisse (75), Painted Horses (76) .

SCHEPISI, Fred The Priest (episode of Libido — 73), The Devil's Playground (76). Current project: The Chant of Jimmy Blacksmith SHARMAN, Jim Shirley Thompson Versus The Aliens (71), The Rocky Horror Picture Show (British — 75), Summer of Secrets (76) STORM, Esben In His Prime (71), 27A (73). Current project: In Search of Anna THORNHILL. Michael Girl From the Family of Man (70), The American Poet’s Visit (71). The Machine Gun (71), Between Wars (74). F.J. Holden (77) . Current project: Dominique and Scott THOMS, Albie Octopus (70), Scarfs Suits (71), Sunshine City (73), Synesthetic Cinema (74), Blue Poles, Hot Rats (74), Journey to the Centre of the Earth (74), John Grissim (74) , Clem Van Leeuwen (74), Culture Shock (74), Gill Eatherley (74), Paul Witzig Story (74), Elvis — 20 Years King of Rock (74), Words and Music (74), Ladies and Gentlemen, the Rolling Stones (75), Rock ’n’ Roll Ballroom (75), Starr/from R’N’R to C and W (75), Boy from the Stars (75), Living in the Seventies (75), Double Jay (75), Terry Hannigan (75), Yesterday’s Hero (co­ director— 75), Gordon Mutch and Eddy Van der Madden (75), Terry Taplin (75), Tommy (75), Lucy in the Sky with Diamonds (75), Consumer Report: Stereo Sets (75), Bryan Ferry (co­ director— 75), The Removalist: Margaret Fink (75), Aborigine (75), 22nd Sydney Film Festival (75), Autobahn (75), Jukebox Video (75), Veruschka (75), Daddy Cool’s Last Concert (75), Rock ’n’ Roll Nostalgia (75), Ike and Tina Turner Revue (75), Peppermint Twist (75), Come On Home (75), Bob’s Book Launch (75), Simon Heath (75), GTK (television series — 75), Target (television series — 75), Something Old, Something New, Something Borrowed, Something Blue (76) , Rosanna (76), Expanded Hollywood (77) , Australischer Filmindustrie Report (77).

TRENCHARD SMITH. Brian Noel en Australie (television special — 70), A New Way to Look (television special — 70), Movie 72 (72), The Big Screen Scene (72), For Valour (72), The Stuntmen (73), The World of Kung Fu (television special — 73), The Kung Fu Killers (television film — 74), The Love Epidemic (75), The Man from Hong Kong (75) , Dangerfreaks (four television specials — 76), Deathcheaters (77).

Current project. The Siege of Sydney WADDINGTON, David S. Barney (76). Current project: The Last Station WEIR, Peter Michael (episode of Three to Go — 70), Stirring the Pool (70), Homesdale (71), Incredible Floridas (72), Three Dimen­ sions in Australian Pop Music (72), What­ ever Happened to Green Valley (73), The Cars That Ate Paris (74), Picnic at Hanging Rock (75). Current project: The Last Wave

LAMOND, John Australia After Dark (75), The Alphabet of Love and Sex (77)

ROBINSON, Brian Jack and Jill: A Postscript (co-director — 70), A Fine Body of Water (70), Game (70), Some Regrets (71)

WEIS, Bob Daddy Cool (72), Children of the Moon (74)

LOFVEN, Chris 806/The Beginning (71), Eagle Rock (72),

SAFRAN. Henri Listen to the Lion (75), Storm Boy (76)

YOUNG, Gary Nuts, Bolts and Bedroom Springs (72), Cosy Cool (77)

ROTTERDAM FILM FESTIVAL ’7 7 Jan Dawson Within the sphere of international film festivals, Rotterdam’s 10-day marathon is as far removed from Cannes as London is from the Antipodes. The event is housed in a labyrinthine arts-laboratory complex, liberally studded with closed-circuit video receivers, piped music, light shows, and o th e r e m b le m s of a v a n is h in g psychedelic age. .

Its audiences are primarily young, local and enthusiastic (at least enthusiastic enough to tolerate good-naturedly the makeshift projection facilities and last­ minute program changes); and if there is among them a predominant style, ft suggests the shabbier side of the alternative society— a genuine refusal of consumerism, rather than the frivolous consumption of eccentric fads and fancy dress.

This earnest unconcern with flash and filigree is closely reflected In the festival’s p ro g ra m m in g . A m em ber of the Federation Internationale des Festivals Independents (which includes Edinburgh, Perth, the Cannes Quinzaine and Berlin Forum), and affiliated to a generously subsidized distribution company of the same name, Film In te rn a tio n a l is c o m m itte d to the s c re e n in g of independently produced films and to building an alternative circuit for that overworked umbrella, the “ alternative cinema’’. Although this policy precludes the selection of big-budget, big-studio productions — and also tends to limit the participation of big-name directors to the occasional minor work (new quickies by Chabrol, Herzog and Borowczyk) or film m a u d it (Dennis Hopper’s The Last Movie) —- it’s a measure of Rotterdam’s effec­ tiveness as a preview of emerging talents and barometer of emerging trends, that so many of its obscure selections later find their way into the different sections at Cannes.

This year, perhaps more than in the past, the new names proved a stronger cause for excitement than the old. The future appeared, very properly, to rest with the avant-garde.

Of the better-known directors, the only one to be running on form was Jean­ Marie Straub. Made in Italy primarily for a domestic audience, his Fortini/Cani reworks the central idea of his earlier Not Reconciled (the subtle survival of fascism in a post-war society committed Jo the politics of oblivion) through the rigorous Marxist techniques of his more recent History Lessons.

The tone is authoritative, if not down­ right dogmatic. The thesis is that antiArab feeling has replaced anti-semitism as the instru m e n t th ro u g h w hich totalitarian capitalist interests/superpowers divide and rule, distracting oppressed minorities from the true nature of the class struggle. The narration is provided by the Italian communist writer Franco Fortini, reading without emotion from his book Th e D o g s o f S in a i (/ C a n i d e i S in a i) . And what brings the rather d e m a g o g ic te x t p a s s io n a te ly , persuasively to life, is, incongruously, its relationship to the film’s barely moving images.

The abstractions of political argument are balanced by the dense concreteness of the Italian locations, which force home the connection between fascism and the material “ theatres” in which it has more manifestly erupted. Fortini’s recitation of his Jewish father’s war-time arrest takes on an unbearable suspense from being heard over a long-held shot of the street in Florence where it took place, and where ominously little has changed.

The oblique, questioning relationship between text and images brings out the links between past and present, Europe and the Middle East. The camera stays in

Claude Chabrol's Alice, ou la Derniere Fugue with Sylvia Kristel: a magical mystery of a character's unconscious nightmares.

The festival's film maudit. The Last Movie, the rarely seen second feature of Dennis Hopper.

Tuscany, but the subject extends well beyond Sinai.

Fortini/Cani is unashamedly an intellectual film; and, paradoxically, one intellectual idea, which the superficially incongruous camerawork makes palpably concrete, is the impossibility of showing economic interests in action. Of the unacceptable face of capitalism, perhaps the hardest feature to accept is that the face itself remains invisible.

Other known directors working abroad proved less effective. Had Borowczyk’s Letter from Paris been his first film, it would most probably have been his last.

Its record-breaking montage (800 shots in 40 minutes), accelerating through traffic, monuments and pedestrians to a dizzying descent into the Metro, comes across; less as the “ ideological film” he has claimed than as a Look at Life with a bad case of the DTs. As a possible indictment of the overcrowding and inhuman speed of a modern metropolis, it fails: its tactics are those of the society it is presumably

attacking, and its exaggerations render that urban experience almost too inhuman for human eyes to watch without blinking.

More amusing, but also something of a disappointing monotone, is How Much Wood Would a Woodchuck Chuck, Werner Herzog’s documentary about the world auctioneering championship in New Holland, Pennsylvania. The play-off of some of America’s fastest talkers has a certain eerie fascination (the film is subtitled “ Observations towards a new language” ), but Herzog’s fascination with the extremes of human behavior leads him to misjudge just how much of a woodchucking litany the public can stand.

Meanwhile, P ennsylvania’s Amish community, a more dignified but no less extreme group, remain tantalizingly on the fringes of the central observation, neglected but suitable subjects for a ‘real’ Herzog picture, unadulterated by the influence of the Leacock/Pennebaker school.

Chabrol s Alice, ou la Derniere Fugue was a disappointment of a graver order; a confidence trick so dazzled by its own sleight of hand as to bypass all the subtler transferences of guilt and comedies of provincial manners that have marked its maker's finest.

Its opening is splendid: the title character packs her bags and walks out on her self-absorbed husband to drive off, alone and distressed, into a stormy night.

The dim lighting of the conjugal apart­ ment; the slightly austere decadence of its furnishings; above all, the oblique angles from which the opening quarrel is photographed, so that — instead of a confrontation — the characters appear to be dwelling in separate spaces: all these suggest an almost palpable evil, from which Alice’s retreat is as strong an impulse towards reparation as Janet Leigh's ill-fated night-drive in Psycho.

Indeed, the Hitchcock reference is cleverly sustained to the point where the heroine seeks shelter in a dimly-lit chateau whose elderly proprietor seems frozen in the manners of a bygone age.

But with the first dawn, bringing with it a succession of vanishing characters, moving walls, animate objects, dead birds and mysteriously materialized people who refuse to answ er questions, Hitchcock goes through the looking glass, and the heroine’s name — Alice C arroll — takes on a portentous significance.

Instead of his usual network of relation­ ships, Chabrol this time offers us a magical mystery tour of one character's unconscious nightmares. Unfortunately, this character is played by Sylvia Kristel, whose mamillary charms scarcely com­ pensate for the ta b u la ra s a of her facial expressions. The “ surprise ending", If not exactly a surprise, comes as a welcome relief.

More simple on the surface, and in­ finitely more challenging in its simplicity, was Rene Allio’s Moi, Pierre Riviere* (not to be confused with the Christine Lipinska film, Je suis Pierre Riviere, which was shown at last year’s Perth Film Festival). Where Lipinska acknowledged the Influence of Bresson, Allio owes more to Brechtian materialism. And his recon­ structed account of the young French peasant who, in 1835, murdered his mother, sister and brother, carefully eschews sublime or dramatic emotion in favor of an understanding that, if sociology had not become such a tainted word, might best be described as sociological.

Extracts from Riviere's prison journals — combining detailed accounts of his family life with an almost messianic inter­ pretation of his own act — alternate with the testimony culled from his neighbors by the Calvados authorities to provide the film’s spoken texts. The question of Riviere’s possible schizophrenia remains unresolved, and largely irrelevant.

For Allio’s film is materialist in both senses. Using a local and non­ professional cast to recreate the living conditions of more than a century ago, he imposes Riviere’s abnormal act as a normal response to the brutal conditions of a life of loveless labor — life to which father Riviere makes barely a passive resistance.

Allio’s matter-of-fact reportage — of a child rejected by his mother almost from birth, of a mother, more attached to her furniture than to her family, who uses her husband as a day laborer from whom to extort money, of a husband faithful to the institution of marriage while deriving none of its benefits — so establishes the mean ' Full title Is Moi, Pierre Riviere, ayant égorgé ma mere, ma soeur, et mon frere.

Cinema Papers, July — 45

ROTTERDAM FESTIVAL

and grinding poverty of peasant lives as to exonerate all his characters. We see no v illa in s , only v ic tim s . P ie rre 's c ru c ify in g of frogs, u n e m o tio n a lly recorded in long-shot, is more an act of protest or cry for help than an act of brutality. A set of incontrovertible effects and causes, Allio’s nineteenth century costume drama remains equally open for Freudian or Marxist interpretation.

The device of the play or film within a film was a feature of progressive cinema long before Rivette’s innovatory use of it in Out One Spectre (a standby of the Hollywood musical — a bunch of people getting together to put on a show — as well as a staple strategy in Bergman’s early works). It emerges with a new twist, however, in 1977, with rehearsals for an imminent performance deputizing for group political activity: fast in danger of becoming a contemporary cliche, is the motif of a bunch of people getting together to put on a revolution. Or even a counter-revolution.

In countries where freedom of speech is drastically curtailed or outlawed, the recourse to theatre-as-metaphor makes sound historical sense. (Angelopoulos’ O Thiassos/The Travelling Players can be easily understood in these terms.) But where the device has outlived its his­ torical necessity, it often leaves behind it a generation of filmmakers unwilling to differentiate between allegory and direct speech.

The most extreme case of this was represented at Rotterdam by the Greek director Pandelis Voulgaris, whose first feature, The Engagement of Anna (1972), showed such precision of observation.

After AnnaVoulgaris was arrested by the junta and deported to the island of Gyaros; and this experience provides the basis for his new film, Happy Day. Its setting is a Greek island which serves as a training ground for press-ganged army recruits and an interrogation centre for the recalcitrant.

In spite of the recurrent intimations of torture, humiliation and brutality, the film's focus of interest is the preparation of a concert party for a group of visiting officials of whom one tight-lipped female dignitary will be honored as a surrogate for Mother Nature. The slogan-shouting drilling of the choir, the role of a rather degenerate priest as stage director, the grotesque American influence evident in the final performance — all these connote the ingredients of a fascist regime. But they also serve to minimise its horror. It’s not just the idyllic settings which lend a rosy glow even to scenes of torture; rather, it’s the formal, choreo­ graphed quality of so much of the move­ ment. The inescapable sense of highspirited boy scouts preparing a camp-fire concert lends an air of innocence to a shameful moment of history: intended, perhaps, to exonerate the misled masses, but here extending even to the execu­ tioners themselves.

Frank Cassenti’s L’Affiche Rouge also relies heavily on the element of per­ formance, albeit more self-consciously.

The title refers to the notorious poster produced by the Gestapo in France to discredit the Resistance as a terrorist movement comprised of Jews and foreign agitators, and to the execution of 23 immigrant resistance fighters, later known as the Manouchian group, which followed the poster’s publication.

Cassenti’s own uncertainties — about the possibility of describing events which occurred before he was born, and of integrating a rigidified moment of history into the continuous present — become a part of the film’s text, and also of its method. His characters are a group of actors trying to stage a re-enactment of the 1944 executions, and seeking to deepen their characterizations through discussions with the victims' surviving relatives.

A lte rn a tin g between the illusory realism of the past tense, and the no-less contrived reality of the fictitious present, the film juggles with the spectators' disbelief in emulation of the Brechtian

46 — Cinema Papers, July

Claude Hebert as the peasant murderer in Rene Allio s Moi, Pierre Riviere, ayant egorge ma mere, ma soeur, et mon frere.

On completing his earlier film. Anna. Greek director Pandelis Voulgaris was arrested by the junta and deported to the island of Cyprus. This experience proved the basis of his new film. Happy Day (above).

tradition. Unfortunately, the balance is miscalculated: the problems of dramatic representation receive fuller considera­ tion than do those of political repression.

The past remains essentially an historical tableau, eclipsed by a present tense whose prim ary co lo rs and sunny phila n th ro p ists d icta te a dominant carnival mood.

Of the films which used dramatic production as a narrative element, the m ost e x c itin g w as by E d g a rd o Cozarinsky, whose 1971 first feature, .. is still banned in his native Argentina. Cozarinsky — more fortunate than many of his former associates — is now working in Paris; and the experience, and mythology, of exile provide the basis for The Apprentice Sorcerers.

The title characters are a loose-knit group of Latin Americans educated in a displaced facsimile of European culture

and now trying, in an essentially phantom setting, to realize their dreams of art or revolution. A deliberate echo of Walter Benjamin’s sunken city, the Paris they inhabit is photographed like an exquisite ghost town, a series of monuments to imperial greed which now serve merely as the backdrop to foreign fantasies. (The one Parisian we meet, a Proustian hostess played by Marie-France Pisier, goes under the improbable name of Carmen Umlaut.)

The film’s central intrigue involves a stolen briefcase containing evidence that Latin America’s '‘parallel police" are also operating in Europe; and a succession of mysterious disappearances, kidnappings and assassinations among the young idealists who come into contact with it, though photographed in the best melo­ dramatic tradition of the film noir, evoke the grim political reality from which the characters have thought to escape and w hich proves more te rrify in g for remaining — within the film's own terms

' Pronounced "Dot Dot Dot".

of reference — totally unexplained.

Meanwhile, on a third level, one of the exiles records on black-and-white film the rehearsals for his production of D a n to n 's D e a th , Buchner’s text, and his feverish dream of history feeding on its own makers, provides an authoritative model for the characters' more shadowy activities. At the same time, it offers a false correspondence: for Raoul (the stage director, played by Peter Chatel), it becomes a last-ditch attempt to escape through culture and the rig id ifie d mythologies of a past revolution from the elusive struggle in which, unwillingly and unconsciously, he is grimly involved.

The formal, dramatic elements are fully integrated into the scenario; and one reason Cozarinsky’s film works so beauti­ fully is that the tenuous relationship of art to revolution is one of his central themes.

Drama is less clearly defined as a distinct formal element in Tras-osMontesi, a loving portrait by Antonio Reis and his wife Margarida Martins Cordeio,

Frank Cassenti's uneasy recreation of the trial and execution of the famed Manouchian resistance group of World War 2.L’Affiche Rouge. * Laslo Kovacs (left) and Pierre dementi.

ROTTERDAM FESTIVAL

Cozarinsky s The Apprentice Sorcerers with its ghost-like Paris, where monuments to imperial greed serve as backdrops to foreign fantasies.

of a desperately impoverished region in the north-east of Portugal, and a hymn to the peasant power to survive both feudal conditions and successive colonizers.

Using a local cast of non-actors, the film interweaves folklore, fairytale and docu­ mentary observation to flesh out, through very different methods, many of the same arguments raised by Glauber Rocha and Robert Kramer in their separate, and separately disappointing, agit-prop accounts of Portugal's recent revolution.

The slow-moving narrative, taking its rhythms from the lifestyle it records, makes no distinction between myth and reality. That the region's principal export is people is stated only obliquely, and is rather to be deduced from Reis' portrait of a village inhabited only by women, children, the elderly and infirm. The absent husband is represented by the occasional letter home, or invoked by the messenger who brings news of the nearby mining disaster which adds to the village’s toll of widows and orphans.

For those villagers who have never

Luc Mollet s startlingly innovatory Anatomie d ’un Rapport, a comedy about the obsolescence of the vaginal orgasm.

travelled beyond the mountains to the relative prosperity of Spain, there can be no distinction between the garbled Celtic legends which provide their traditional bedtime stories and the news of current fashions or political upheavals in Lisbon.

Exploring the surrounding countryside, the village children are as likely to come upon a mediaeval princess as upon their own descendants. Material reality and exotic imagination are confused, and at first confusing. But gradually Reis' own vision, of a reality in which imagination plays a sustaining part, imposes itself and convinces. By the time his camera re a c h e s the grim re a lity of the demolished mine, we have learned— like him — to see these peasant lives as embodying, not passive resignation, but rather the principle of patient resistance that is a potential source of revolutionary strength.

some entertaining skirmishes with the women’s movement. Visually, the most powerful of these skirmishes was Un Reve plus long que la Nuit, the second feature by Niki de St. Phalle, who combines some of her own wittily erotic sculptures with a construction by kinetic sculptor Jean Tinguely, one of whose monster works here provides the set for an erotic equivalent of Dante’s inferno.

The film's theme is a young girl's initia­ tion into womanhood/sexual experience, with the girl played by St. Phalle's daughter Laure Conominas (last seen as Bresson's Guinevere). Like St. Phalle's first film, Daddy, this one is obsessive about the beastliness of men (all muscle power and prancing ego). But where Daddy was primarily a verbal assault on the potency myth. Reve is stunningly pictorial: an Hieronymus Bosch vision modified to the mechanical obsessions of the twentieth century. The male organ is One other trend emerged from this depicted as a metal machine whose year's Rotterdam selection: Freud is alive orgasm releases gold confetti, limp red and well, and apparently programmed fo r . balloons, or even a jack-in-the-box. In a

The Apprentice Sorcerers, by Edgardo Cozarinsky. a film which includes among its themes the tenuous relationship between art and revolution.

final holocaust, pink cannons shaped like phalluses are the weapons men use to destroy one another.

St. Phalle’s dream may sometimes appear too long for a single night’s viewing, but its best moments have a truly haunting poetry.

Cerebral rather than visual, but also extraordinarily funny, is Anatomie d’un Rapport, co-directed by A ntonietta Pizzorno and former C a h ie rs critic Luc Mollet. The latter stars as an unsuccess­ ful filmmaker whose relationship with his girlfriend (Christine Hebert) is inhibited, disrupted and all but destroyed by her liberated conversion to the clitoral orgasm and his own inability to achieve satisfaction other than in the traditional missionary position.

Although anatomical in theme as well as title, the film is anything but prurient.

Its real subject is the gap between intellectual and physical responses, and the inhibiting power of the intelligence: the Mollet character subscribes fully to the theory of the women's movement, but finds himself castrated by its practice.

The harder he tries to adapt to it, the more 'unspontaneous' his girlfriend finds him: the more she criticises him, the more impotent he becomes; and when she lets him have his way, the more abused and frustrated she feels. Their problem is that they like each other enough to believe it should be possible to share sexually fulfilling relationship. Underlying the scenario is a worrying assumption of the basic incompatibility of male and female sexualities. But this clinical despair is always presented in humorous and human terms.

The style of the film, with its claustro­ phobic setting and obsessive self­ analysis, recalls Eustache’s Mother and the Whore, though the idea of making a comedy about the obsolescence of the vaginal orgasm is startlingly more innovatory.

Finally, just as claustrophobic, but more cynically detached from the sexual neuroses it so wittily choreographs is Local Colour, in which New York avant­ gardist Mark Rappaport charts the incestuous relationships of six selfdramatizing obsessives to Freud and to one another. Like an extended comic strip for highbrows (and with a few in­ jokes about Resuais and Godard less s u c c e s s fu lly in te g ra te d in to the exquisitely sustained idiom of New York pretension), Rappaport's film commutes between dreams (as in analysis of), fa n ta sie s and u n s a tisfyin g sexual realities. His characters are uniformly more interested in analysing their feelings than experiencing them. Their aspirations are to some grand opera of the uncon­ scious, and they treat them selves heroically in this vein, unaware that their activities consign them more properly to the realm of bedroom farce. ★

Cinema Papers, July — 47

INTERNATIONAL PRODUCTION ROUND-UP RAYMONDDANON. ROBERT KtlPERBLRG. JEAN-PIERRE LABRANOE present

THE

CAT

co u y M i s r i i f !

A FILM BY IIIIAMArAVANI IN

Jack O’Halloran (Non). The actress who will play Lois Lane is still to be announced.

Ex-Warhol director Paul Morrissey to direct The Hound of the Baskervilles, starring Peter Cook and Dudley Moore.

Crazy-Horse, a film based on the famous Paris stripclub

FRANCE Romy Schneider has three films lined up: Liliana C avani’s Lulu, Claude Sautet's Simple Story and Joseph Losey’s Take Over, which is to be scripted by David Mercer (Providence).

Bertrand Blier is to be re-united with Gerard Depardieu and Patrick Dewaere (they made Going Places together) on Blier s Get Your Handkerchiefs Ready.

Film will also star actress Carole Laure.

Francois Truffaut has signed with United Artists to do Flenry James’ The Vanished Fiancee.

One-time horror director Jean Rollin, has turned to porno with Sexual Vibrations.

Claude Zidi to d ire ct Jean-Paul Belmondo and Raquel Welch in L’Animal, and Louis de Funes to return to the screen in Une Pie Dans L’Poirier (Robert Dhery).

Bertrand Tavernier has completed Les Enfants Gates with Michel Piccoli, while J e a n -L o u is B e rtu c c e lli w ra p s -u p L’lmprecateur New French films will include Edouard M olinaro’s L’Homme Presse; Pierre Schoendoerffer’s Le Crabe Tambour; Luis Buñuel s That Obscure Object of Desire; Bob Swain’s La Nuit de Saint Germain de Pres; Paul Morrisey’s Tore; and Liliana Cavani’s Les Mots Pour Le Dire

ITALY Mauro Bolognini’s new film is to be Pot Luck with Shelley Winters and Max von Sydow.

Director of Slum Boy Giulio Paradisi, is preparing The Old Man and his Little Bird; while Dino Risi. Mario Monicelli and Ettore Scola prepare a three-part film entitled The New Monsters. After this Monicelli will follow with Rosie, The Whirlwind Luigi Comencini to direct The Cat for Sergio Leone which will star Mariangela Melato and Ugo Tognazzi, with music by Ennio Morricone.

New Italian films include Tonino Valerii’s Sahara Cross; Dario Argento’s Suspira; and Salvatore Samperi s Nene.

Particularly interesting among recent Italian films is I Belong to Me with Stefania Sandrelli, Maria Schneider and Michele Plácido. The film is promoted as being, “ written, produced, directed, photographed, designed, editored and scored exclusively by women.’’ The director is Sofia Scandurra.

Protege of Pasolini, Sergio Citti, has com pleted Cassotto with Catherine Deneuve, Jodie Foster and Mariangela Melato.

48 — Cinema Papers, July

LU LU FROM FRANK WEDEKIND

BRITAIN After the disappointing Schizo, Peter Walker is back with The Day the Scream­ ing Stopped; and Jack Gold is directing The Medusa Touch. Film stars Richard Burton, Lee Remick and Lino Ventura.

After a considerable absence Peter Brook returns with Meetings with Rem arkable Men w hich includes Terence Stamp, Dragon Maksimovic and Warren Mitchell.

John Guillerman to direct EMI's second Agatha Christie thriller, Murder on the Nile. This time Hercule Poirot is to be played by Peter Ustinov.

Joseph Strick has finished his second film based on a James Joyce novel, A Portrait of An Artist as a Young Man Film s ta rs John G ie lg u d and T. P. McKenna.

The cast is now almost finalized on Superman which is presently being filmed under director Richard Donner: Marlon Brando (Jor-E1), Gene Flackman (Luthor), Christopher Reeve (Superman), Glenn Ford (Jonathan Kent), Peter Boyle (Otis), Trevor Howard (The First Elder), Susannah York (Lora), Maria Schell (Vond-Ah), Terence Stamp (Zod), Sarah Douglas (Ursa), Valerio Perrin (Eve), and

u.s.

Robert Mulligan's new film will be Bloodbrothers. which Stephen J. Fried­ man will produce for Warner Bros.

David Helpern, director of Hollywood on Trial, is to produce The Boss’ Son. Film will be directed by Bobby Roth.

Billy Wilder and I.A.L. Diamond have again teamed for Fedora. Based on Thomas Tyron’s C r o w n e d H e a d s , it stars William Holden and Marthe Keller.

Shooting is on Corfu.

Robert Altman is presently shooting A Wedding for 20th Century-Fox. Director of Photography is Vilmos Zsigmond who shot McCabe and Mrs Miller, Images and The Long Goodbye.

Don Siegel is filming Teiefon from a script by Peter Hyams who directed Peeper, Our Time and Busting Film stars Charles Bronson, Lee Remick and Donald Pleasence.

Louis Malle's first American film is Pretty Baby with Brooke Shields and Keith Corradine.

Paul Mazursky returns after Next Stop Greenwich Village with An Unmarried Woman. Staring Jill Clayburgh and Alan Bates, it is from Mazursky’s own script.

L o r d o f th e R in g s is being made as an animated feature by Ralph Bakshi.

Britisher Karel Reisz is making his second American film, Dog Soldiers, from the best-seller by Frederick Forsythe.

Ali MacGraw returns to the screen for

Akio Jissop s Utamaro's World

the first time since The Getaway, in Sam Peckinpah’s Convoy, a film inspired by the hit song of the same name.

Screenwriter of Taxi Driver, Paul Schrader, is to direct his first film, Blue Collar. Telly Savalas is making a similar step with Mati.

Clint Eastwood returns with Gauntlet; Sidney Poitier with A Piece of the Action; Herbert Ross with Neil Simon's The Goodbye Girl.

Gordon Willis to photograph Alan J. Pakula’s new film, Comes A Horseman Wild and Free. It toplines James Caan and James Fonda.

GERMANY Rainer Werner Fassbinder is to film Vladimir Nabokov s D e s p a ir. Scripted by Tom Stoppard {J u m p e r s ) , it stars Dirk Bogarde, Andrea Ferreol and Peter Kern.

Werner Herzog to follow Stroszek with Kautschuck. New films include Hans Jurgen Syberberg's Hitler, a film from Germany; Wim Wender s The American Friend; F J. Gottlieb’s Joy of Flying; Bernhard Wicki’s The Bridge; and Peter Patzak’s The Bait.

SWEDEN Ingmar Bergman's next 'Swedish film will be Autumn Sonata which will commence shooting in Norway in Sept­ ember. ' Jan Troell will follow Bang! with The Flight of the Eagle.

New Swedish films include Jan Halld o ff’s What the Hell, Jack; Arne Mattsson’s The Lorry; and Mats Arekn’s The A ssig nm ent (fro m a Per Wahloo novel).

ELSEWHERE Claude Chabrol is to direct Blood Relatives in English, in Canada. It stars Donald Sutherland, Jodie Foster and Stephane Audran.

Jean Genet is to script and direct After Nightfall. The $US1.2 million film will be shot over eight weeks in Spain.

Director of Topkapi, Jules Dasin, is in Athens filming Melina Mercouri and Ellen Burstyn in Maya and Brenda.

New Japanese films include Kon Ichik­ awa’s The Inugamis; Akio Jissoji’s Utamaro’s World, and Le General et son Empire des Sens with star of Empire of the Senses, Eiko Matsuda, New Dutch film s include Adrian Ditvoorst’s Cloak of Love; Nikolai van der Heyde’s The Man in the Bowler Hat; Pim de la Parra’s Double Play; Paul Verhoeven’s $2 million Soldier of The Q ueen; and H e r b e r t— C u r ie l’ s Cancer Rising.

CONTRIBUTORS INDEX ADLER, SUE Costume Design in the Movies and Hollywood Costume Design 370-371 (br) ANDERSON, KEVIN David Greig (e) 47-49 (i. st) BAILL1EU, IAN Income Tax Law and its Application to the Australian Film Industry 314-315. 382(a) Guide for the Australian Film Producer: Financing the Production (Part 2) 324-326. 380-381 (a) BEILBY, PETER The Filming of Mad Dog 66-69 (a. st) John Scott (e) 339-341.343. 369 (i. st. f) BISHOP, ROD John Scott (e) 339-341.343. 369 (i. st, f) BRANDES, DAVID Roman Polanski on Acting 226-229 (i. st. f) BRENNAN, RICHARD A Pain in the Industry? 218-219 (a) CLANCY, JACK Conversation Piece 40 (r) Caddie 71 (r) The Trespassers 74 (r) COLE, MARCUS Buffalo Bill and the Indians 268-269 (r) CONNOLLY, KEITH The Tenant 265 (r) Eliza Fraser 362-363 (r) DAWSON, JAN Robin Spry (d) 42-43.93 (i. st) Nagisa Oshima(d) 106-111 (a. st. f) Australian Film Culture 307. 373 (a) v DERMODY, SUSAN Jean-Marie Straub and Daniele Huillet: Politics of Film Practice 126-130. 184-185 (a. i. st) Raw Deal 365. 367 (r) DONALDSON, BERYL Mad Dog Morgan 168-169 (r) Oz 172 (r) Bert Deling (d) 316-319.377 (i. st) Break of Day 361 (r) DUIGAN, VIRGINIA Seeing Red and Feeling Blue 267-268 (r) Stirring 267-268 (r) Films About Children 320-321 (a) EDGAR, PATRICIA Film and China 123-125 (a) Network and the Self-Regulation Inquiry 302-303.

376 (a) ELFICK, DAVID Bob Evans: Obituary 373 (a) FITZPATRICK, KATE Milos Forman (d) 10-14.86 (i) GILBERT, BASIL Bertolucci's 1900220-222. 282 (a) The Fourth Wish 364 (r) GINNANE, ANTONY I. Andrew Gaty (ds) 30-33 (i. st) Guide For The Australian Film Producer: The Screen­ play Agreement 44-46 Guide For The Australian Film Producer: The Role of the Agent 131-133 Cannes 1976 144-146 (r) Alan Wardrope (ds) 147 (i) Samuel Z. Arkoff (ds) 215-217. 286 (i. st)

Guide For The Australian Film Producer: Financing the Production (Part 1) 230-232. 324-326.

380-381 Joan Long (p. sc) 244-245 (i. st) Rod T ay lor (ac) 247 (i. st) John Meillon (ac) 248 (i. st) Geoff Burton (c) 251 (i. st) GLAESSNER, VERINA Fifth International Festival of Fantastique and Science Fiction Cinema 152-154.165 (r) GLEASON, MICHIE Underground: Emile de Antonio and the Weatherpeople 202-205. 276 (i. st) GLENN,GORDON John Heyer (p. d) 120-122. 190 (i. st. f) Joan Long (p. sc) 244-245 (i) Rod Taylor (ac) 247 (i. st) John Meillon (ac) 248 (i. st) Geoff Burton (c) 251 (i. st) GORR, LEON Guide For The Australian Film Producer: The Screen­ play Agreement 44-46 Guide For The Australian Film Producer: The Role of the Agent 131-133 Guide For The Australian Film Producer: Financing the Production (Parts 1 and 2) 230-232. 324-326.

380-381 GRIGGS, IAN C. De Forest Phonofilm System 16-20. 91 (a) Arthur Hansen (t) 20 (i) Len Jordan (t) 20 (i) HALL, SANDRA Summer of Secrets 368 (r) HARRIS, MIKE Philippe Mora (d) 112-114. 188 (i. st) HORSFIELD, BRUCE The Persistence of Vision 223-225. 285 (a) HUNTER, IAN One Flew Over the Cuckoo’s Nest: A Cultural Inter­ pretation 15. 87 (a) .

HUTCHINSON, IVAN The British Soundtrack 79 (a) Jerry Goldsmith 277 (a), st) LANGER, JOHN Mad Dog Morgan 168-169 (r) Oz 172 (r) Bert Deling (d) 316-319. 377 (i. st) LASCELLES, DAVID New Zealand Report 355. 376 (a) LONG, JOAN Historical Survey of Women in Australian Film Production (Parts 1.2 and 3) 34-38. 89.138-141.

180. 310-313 (a) LOWE, BARRY Scarlett. Rhett. and a Cast of Thousands and The Selznick Players 279. 286 (br) MACKIE, FIONA Promised Woman 364-365 (r) Mc l e n n a n , g r a n t Des Draydon 330 (i. st) Comment on Queensland Films Board of Review 383 MARTIN, PETER International Taxation Legislation and Film Invest­ ment Incentive 314-315 (a)

MOGG, KEN Family Plot 172-173 (r) MORRIS, MEAGHAN Lipstick 271 (r) MURRAY, JOHN C. The Adventures of Sherlock Holmes’ Smarter Brother 75 (r) The Omen 266-267 (r) MURRAY, SCOTT Chris Lofven (p. d. st) and Lyne Helms (p) 51-53 (i. st) Joy Dunstan (ac) 54 (i. st) Gary Waddell (ac) 55 (i. st) Ross Wilson 56 (i. st) Les Luxford (e) 57. 59 (i. st) Krzysztof Zanussi(d) 134-137. 182-183 (i. st. f) Alan Wardrope (ds) 147 (i) Melbourne and Sydney Film Festivals 1976 148-151 (r) Je Suis Pierre Riviere 170-171 (r) The Oxford Companion to Film 173 (br) Perth Film Festival 1976 233-235 (r) Vlh Tehran International Film Festival 327-329 (r) O'DONNELL, VINCE Max Lemon (e) 21-23. 94 (i. st) O'HARA, JOHN Miklos Jancso: Circles and Plains 24-29.91 (a) The Devil’s Playground 72-73 (r) Pure S 167 (r) Taxi Driver 170 (r) Queensland 269 (r) Ken Loach: Days of Hope 298-301 (i) Television 344 (a) Days of Hope (TV) 344-345 (r) PIKE, ANDREW Here McIntyre: Showman 1890-1976 164-165 (a. st) PLANE,TERRY Jill Robb (p) 209-211 (i. st) PURDON,NOEL Gay Cinema 115-119. 179 (a) Storm Boy 272 (r) REID, J.H. Stanley Kubrick: A Film Odyssey 279 (br) Creators of Life: A History of Animation 370 (br) ROSSER,ED Saul Bass 238-239 (i. st) RYAN, TOM Dog Day Afternoon 74 (r) Innocents With Dirty Hands 77 (r) All the President’s Men 171-172 (r) Mother Kuster’s Trip to Heaven 171-172 (r) The John Ford Movie Mystery 173 (br) John Ford 173 (br) The Story of Adele H 273. 275 (r) Television 344 (a) SCHAR,ROBERT Luchino Visconti (d) 39-41 (i. st. f) Marco Ferreri (d) 142. 187 (i. st) Marco Bellocchio (d) 143.187 (i. st) Donald Sutherland (ac) 308-309 (i. st) Piero Tosi 322-323. 378 (I) SCOTT, KEITH The American Film Institute Catalog of Motion Pictures: Feature Films 1960-1970 279 (br) SHEEDY, BRIAN Supertoy 370 (br)

SHIRLEY, GRAHAM The P.D.G.A. Seminar 1976 212-214. 284 (a) STACEY,TOM The Case For Subsidy 347. 369 (a) STANLEY, RAYMOND Don’s Party 266 (r) John Dankworth 332-335 (i. st. f) STEWART, MEG A Historical Survey of Women in Australian Film Production (Part 3) 310-313 (a) STOCKS, IAN John Heyer (p. d) 120-122. 190 (i. st. f) Tom Haydon (d) 304-306. 372. 377 (i. st) STODDARD,RANSOM Restrictive Trade Practices Legislation and the Film Industry 156-157 (a) A Reply to the M.P.D.A. 278 (a) STRATTON, DAVID J. Milos Forman (d) 10-14. 86 (i. st) STRICKLAND, JANET How Australian Film Censorship Works 206-208 280 (a) TITTENSOR, JOHN A Woman Under the Influence 273 (r) THORNHILL, ROGER O. Deathcheaters 362 (r)

INDEX KEY 1. Film titles appear in bold type.

Magazine, play and book titles appear in italics.

2. The following appear after .index items (where applicable) d — director p — producer c — cameraman e — editor t — technician ac — actor sc — scriptwriter 3. The following appear after page numbers (where applicable) a — articles i — interviews f — filmography st — stills c r — production credits r — reviews br — book reviews

Cinema Papers index Volume Three — 1

INDEX VOLUME 3

GENERAL INDEX Abakanowicz in Australia 63 (cr) Aboriginal Education 62 (cr) Action 42-43 (st) Actors and acting 12. 13. 54. 55, 118-119. 124. 179. 183.

227-229, 369 Acts of Marusia 144 Adamson. Judith 180 Addinsell, Richard 79 Addison. John 79 Adjani. Isabelle-228 (st); 229. 275 Adoption 151 (st) Adult Literacy 257 (cr) r Advanced Production Fund 201 Adventure Unlimited (TV); 141 Adventures of Barry McKenzie, The 81. 219. 369 Adventures of Sherlock Holmes' Smarter Brother 75 (r) Advisory Committee on Program Standards 303 Aesthetics 127-130. 184-185. 300-301 AFDC 146 Affiche Rouge, L‘ 329 Agent, Role ot the 131-133 Agnes is Going to Die Agnus Dei 28 (st) Alexander. J. O. 280 Aliens Amongst Us 161 (cr) All the President's Men 171 (r) Allen, Irwin 8 Alternative, The 352 (cr) Altman. Robert 268-269 Alwyn. William 79 American Film Institute Catalog of Motion Pictures: Feature Films 1960-1970 279 (br) American International Pictures 215-217. 286 Andrien. Jean-Jacques 150 Angel 255 (cr) Angelopoulos. Theodor 151.336 Animation 81, 238-239, 370 Antczak, Jerzy (d); 328 Antidote, The 19 (st); 91 Antonelli. Laura (ac) 148 (st) Antonioni. Michelangelo 125. 187 Apache Woman 216. 217 Archives 81. 83. 91. 297. 374. 376 Argent de Poche, L’ 327-328 Arkoff. Samuel Z. (p. ds); 215-217, 286 (i) Arkush. Allan (d) ■. .

Armstrong, Alun (ac); 301 (st) Armstrong, Gillian (d); 235. 310 (st); 312-313 Army Balcombe 258 (cr) Arnheim. Rudolf 223. 224 Arnold. Malcolm 79 Art 163 (cr) Asia Behind the Smile 63 (cr) As We Talk We Learn 257 (cr) Aslanl. Mohammad Reza (d); 328 Association For A National Film and Television Archive 81. 83. 283. 297. 374 Association ot Independent Filmmakers 200 Association of Teachers of Film and Video. The 283.

374 Australian Cinematographers' Society 81 Australian Film Commission 65. 146. 147. 163. 177. 200.

201. 283. 258. 284. 297. 319. 325-326. 374 Australian Film Institute Awards 191 Australian Film and Television School 375 Australian Industries Commission 201 Australian International Film Corporation 201 Australian Writers' Guild. The 177 Awards 8 . 81. 191. 120. 200. 238. 297. 327

Baby Cart at the River Styx 153-154 Back of Beyond 22 (st): 120. 121. 190 Backroads 351 (cr) Baker. David (d): 340. 369 Baker, Suzanne (p); 267-268. 310 Balance 351 (cr) ' Balance, The 136 (st). 137. 149, 182-183

2 — Cinema Papers Index Volume Three

Barney 160 (cr); 254 (cr); 320 Barrett. Franklyn 177 Barrett. Ray 219 (st) Barrier Reef 190 Barry. John 79 Bartel. Paul (d); 146. 153 Bass, Saul 238-239 (i) Battle of Broken Hill, The 313 Battle of Chile; Coup D’Etat 145. 234 Beat Goes On, The 349 Behets. Briony (ac); 74 (st) Behind the Wall 183 BeizaTs. Bahram 151 Bell. Greg 23 Bellbird (TV); 352 (cr) Bellocchio. Marco (d); 143. 187 (i); 150 Benjamin. Arthur 79 Bennett. Richard Rodney 79 Bentley. Thomas 91 Beresford. Bruce 266. 340. 369 Bernstein. Leonard 333 Bertolucci. Bernardo (d); 144. 187. 220-222. 282. 309.

336 Berwick Collective 234 Best Each Way 253 (cr): 349 (cr) Betrothal, The 329 Between Wars 22 (st); 94 Bevilacqua. Alberto 329 Beyond The Black Stump (TV episode): 305. 372 Big Backyard, The 65 (cr) Bill & Co. 62 (cr) Bitter Springs 79 (st) Bjorkman. Stig 150 Black. Karen 165 Black Peter 1 1 . 12. 13 Blake. Sally (sc); 313 Blind 257 (cr) Bliss. Arthur 79 Blom. Per 151 Blood Feast 279 (cr) Blood of a Poet 118 Bloody Mama 216 (st) Bluestone Boys (TV): 352 (cr) Bluey (TV): 352 (cr) Bobbi Joe And The Outlaw 146 Boddington. Adrian 140 (st) Boddington. Jennie 139. 140 (st) Bolognini. Mauro (d); 328 Bonnie and Clyde 115 Boom 335 Borowczyk. Walerian 151 Box, The (TV); 352 (cr) Box Car Bertha 144 Box office 8 . 296, 337. 355. 376 Boy 109 Break of Day 159 (cr); 180. 254 (cr); 263 (cr. st); 296.

361 (r) Breaking of the Drought 177 Breaking With Old Ideas 125 Brejchova. Hana 12 (st); 13 Bresson. Robert 171. 173 Bridegroom, the Comedienne, and the Pimp, The 184-185 Bridge On The River Kwai, The 79 British Board of Film Censors. The 208 Britten. Benjamin 79 Broadcasting Inquiry Into Self-Regulation 302-303. 376 Brooks, Mel (d): 75 Brooksbank. Anne (sc); 313 Brother Barry and the Boys 351 (cr) Brother Can You Spare A Dime? 188 Brute Syndrome, The 146 Bubble, The 91 Buckley. Anthony (p); 180 Buffalo Bill And The Indians 268-269 (r) Bull. Phillip 235 Burke. Simon (ac); 72-73 (st) Burra Sahib 234 Burstall. Tim (d); 362. 363 Burton. Geoff (c); 249 (st); 251 (i); 272. 364 Butler. Bill (c); 86

c Caddie 71 (r): 85. 180. 200 Caesars 8 Calender of Dreamings, A 62 (cr)

Camino. Jaime 329 Campbell. C. J. 280 ’ Canada 42-43. 93. 141. 147. 180. 336 Cani del Sinai, I 185 Cannes Film Festival 8 . 144-147. 296 Carnegie. Margaret 66 Cars That Ate Paris, The 216 (st) Casanova 308-309 Casavetes. John (d): 273 Cassenti. Frank 329 Castle. John (ac): 363 Castle. Lilias 139 (st): 140 Castle. Norman 140 Cavill. Joy (p). 140 (st): 141. 180 Cazale, John (ac); 74 (st); 75 Censorship. 8 . 105. 145. 191; 206-208 (a); 221-222. 237.

267. 282. 319. 330. 331.355. 377. 383 Ceremony 47-48. 49 Ceremony, The 108 Chabrol. Claude (d): 77. 104. 261 Chaffey. Don (d); 364 Changes In The Office 163 (cr) Chantons Sous L Occupation 233 Chapman. Penny (d): 310-311 (st); 312 Chauvel. Charles 89. 164 Chauvel. Elsa 89 Cheaters, The 89 Chess of the Wind 328 Chesty 8 Children. Australian films about 320-321 (a) China 125 China. People's Republic of 123-125 (a) Chinatown 226 (st); 227 Chord For Voices, A 163 (cr) Chronicle of Anna Magdalene Bach 127. 128 (st): 130.

184 ' Cinematography 81. 251. 323. 378 Cinesound Review 81 Circus 48 (st): 49. 62 (cr) City Blues 62 (cr) Clever. Edith (ac): 144 (st) Cocteau. Jean 117-118 Cohen. Richard 234-235 Collmgs. Dahl (d); 140-141 Collings. Geoffrey (d); 140-141 Come Into My Parlour, Said The Spider . . . 161 (cr) Companero 234 Confessions of Winifred Wagner, The 223 Confirmation 62 (cr) Conformist, The 282 Connor. Kevin 154 Context, The 282 Conversation Piece 40 (r). 187 Copley. Paul (ac); 301 (st); 345 (st) Copping. David 249 (st) Copping. Robin (c); 363 Coral Labyrinth, The 351 (cr) Corman. Roger 146. 215-216. 286 Costume Design in the Movies 370 (br) Costumes 140-141. 148. 172. 322-323. 370-371. 378 Council 65 (cr) Craig. Michael 364 Crawford. Joan 370 Crawford Productions 311 Creators of Life: A History of Animation 370 (br) Creeping Flesh, The 154. 165 Crocodile 159 (cr); 253 (cr); 349 (cr) Cuba: Todo Ba Bien 255 (cr) Cummins. Peter (ac); 272 (st) Czechoslovakia 12-14

Deep Throat 208 De Forest. Dr. Lee 17. 91 . de Gregorio. Eduardo 234 de la Ruze. Juliette (p): 89 Deli-g. Bert 167: 316-319. 377 (i); 340. 343 De Niro. Robert 144 (st): 170. 222 (st) De Palma. Bria "1 145 Depardieu. Gerard (ac): 142 (st) Dersu Uzala 151 Deserto dei Tartari, II 328 De Sica. Vittorio 187 Dewaere. Patrick (ac): 143 (st) Devices and Desires 234 Devil Crows 154 Devils, The 207 (st) Devil's Playground, The 72-73 (r): 145 (st): 146. 21 ’9 Dieu le Veut 329 Dig A Million, Make A Million 305 (st): 306. 372 Digram. Arthur (ac); 72-73 (st); 368 Directing 13-14. 8 6 . 116-118. 126-130. 135-137. 182-183.

184-185. 218-219. 227-229. 230-232. 333. 341. 369 Distribution 30-33. 164-165. 188. 200-201. 205. 209-211.

215-217. 240-241. 278. 286. 355. 364. 374 Documentary 120-122. 139. 140. 151. 190.202-205.233.

234. 267-268. 276. 304-306. 312. 316-319. 328. 372.

377 Dog Day Afternoon 74-75 (r) Do I Have To Kill My Child? 161 (cr): 258 (cr): 312 Donaldson. Mona (e): 89 Donner. Richard 266-267 Don’s Party 160 (cr): 219 (st); 254 (cr): 266 (r) Dot And The Kangaroo 255 (cr) Double Headed Eagle, The 112 Doyle. Stuart 164 Draydon. Des 330 (i) Drift Away 255 (cr) Duigan. John (qy 74 Dunaway. Faye 226 (st): 228. 302 (st) Duncan. Catherine (ac. sc) 138 Dunes 163 (cr) Dunstan, Joy. (ac); 54 (i): 172 Duras. Marguerite ( d ) 233

Dalmas 319 (st) Damned, The 323 (st) Dangerous Moonlight 79 Dankworth. John 332-335 (i. f) Dante. Joe 146 Darling 332 Davidson. Harry 375 Dawn. Norman 89. 91 Day The World Ended 216 (st) Days of Hope (BBC-TV series); 298-301. 344-345 Dean. James 179 De Antonio. Emile (p. d); 202-205. 276 (i. f) Dear Michael 327 Death By Hanging 109-110 Deathcheaters 159 (cr). 219. 253 (cr): 362 (r) Death Race 2000 153 Death Wish 271 „

F

E East of Eden 179 Eaton, Wallas 113-114 Edgworth. Pat (sc); 365, 367 Editing 21-23. 57. 59. 81, 94. 339-341. 343 1 Educational Smorgasbord Or The Old Facilitor Strikes Again 351 (cr) Edwards. Reg 91 Eisenstein, Sergei 116-117 Electric Candle, The 159 (cr); 349 (cr) Elements 65 (cr) Eliza Fraser 104. 159 (cr); 218-219 (st); 254-255 (cr); 362-363 (r) Empire of the Senses 109. 110, 111. 145 Entertainer, The 32 (st) Escape From Singapore 248 Eureka Stockade 139. 141 Eva 332 Evans. Bob (d); 373 (a) Ewart. John 245 (st) Exhibition 200. 201. 208. 240. 283, 355. 374, 379 Exner. S. 224-225. 285 Experimental Film Fund 201 Exploits of the Emden 375

Falk, Peter (ac): 273 (st) Family Life 136 (st); 137. 183 Family Plot 172-173 (r) Fantasm 160 (cr); 200. 207 (st); 250. 296 Fantasm 99 254 (cr); 350 (cr) Far Paradise, The 89 —_ Fascists 151 Fassbinder, Rainer Werner (d); 145 (st); 171. 172 Fauna Productions-141. 180

K O D A K (A ustralasia) PT Y . L T D .

M otion P ictu re & A udiovisual M ark ets D ivision

I

IL

â&#x20AC;¢t.

sals

Robin Copping, Director of Photography on‘Eliza Frazer,’ talks about Eastm an color film.

“It was E astm an 5247 Color N egative all th e w ay through . . .

W e w ere dealing with the 1830 period and it had to look totally genuine, so we w ere using lots of lamps, fires, m oonlight and lanterns.

Overall, we w ere trying v ery h ard to get the actual light th a t would have existed at th a t tim e. This is w here the com bination of very m odern lenses and the new 5247 really paid off.

W e w ere able to w ork to very very low light levels, in fact lower th an I’ve ev er w orked at before. If I h a d n ’t p re-tested for this particular technique, I don’t think I would have believed w hat sort of sensitivity the film stock h ad .”

“W e carried out fairly extensive tests for about a w eek or ten days before we actually started shooting, and we found th a t the sensitivity of the em ulsion to this kind of lighting was quite rem arkable, so we used it throughout the film. Overall, I would say th a t it was the most difficult thing I have had to photograph . . .

I’m v ery happy with the end resu lt.”

Eastman 5247 Color Negative* a remarkably sensitive film*

KODAK (Australasia) PTY. LTD. Motion Picture & Audiovisual Markets Division K 7/9345

;

KODAK (Australasia) PT Y . L T D M otion P icture & A udiovisual M ark ets Division

INDEX VOLUME 3

Federal Communications Commission 376 Federation of A ustralian Commercial Television Stations 303 Federation of Australian Radio Broadcasters 376 Fellini, Federico (d); 187, 308-309. 322 Female is the Deadliest of the Species, The 329 Femme Infidele, La 77 Ferreri, Marco (d); 142, 187 (i) Ferrier, Noel (ac); 363 Fe stiva l of F a ntastique and S cien ce Fiction Cinema 152-154, 165 (r) Festivals, list for the quarter 297 Film and Television Production Association of Australia.

The 200 Film Australia 139, 140, 163, 180, 200, 258, 267, 310-311.

352 Film Books, published in the quarter 371 Film Censorship Board 206-208, 280 Film Editors' Guild of Australia 81 Film Industry, Australian 218-219, 347, 369 Film Music 56, 79, 190, 277, 332-335, 343 Filmographies John Scott 369; Roman Polanski 229; Nagisa Oshima 111; John Heyer 122; Krzysztof Zanussi 183; Luchino Visconti 41; John Dankworth 335 Film Services and Facilities Guide — laboratories 357 Films Board of Review 206-207, 280 Fink, Margaret (p); 180 First Guns West 216 First Swallow, The 151 First Years, The 138 F.J. Holden, The 253 (cr) Flake White 161 (cr) Flame Stone, The 159 (cr); 253 (cr) Flaus, John (ac); 269 (st) Floating — This Time 255 (cr) Food From The Reluctant Earth 163 (cr) Ford, John 8 Forman. Milos (d); 10-14, 8 6 (i) For The Term Of His Natural Life 89, 283 Forty Thousand Horsemen 164 Foster, Giles 234 Four Nights Of The Dreamer 171 Fourth Wish, The 62 (cr); 160-161 (cr); 211, 364 (r) Fraker, William (c); 86 France, cinema in 9, 104, 261. 336 Francis, Freddie 154. 165 Frankenstein 165 Fraser-Castle Films 140 Frenzy 173 From Beyond The Grave 154, 165

G Garden Jungle 161 (cr) Gattopardo, II 323. 378 Gaty, Andrew (ds); 30-33 (i); 104 Gay Cinema 115-119. 179 (a) Gehulfe, Der 235 Gessner. Nicholas 146 Getting of Wisdom, The 253 (cr); 359 (cr. st) Ghost of the Mirror 235 Ghosts of Yerrenderie, The 253 (cr): 349 (cr) Gifford. Nick 234 Gillies. Max (ac); 319 (st); 340 (st); 369 Giusti, Paolo (ac): 77 (st) Goke Body Snatcher From Hell 154 Goldsmith. Jerry 277 (a) Goliath and the Barbarians 217 Gone To Ground 352 (cr) Gone With The Wind 286 Goodbye Norma Jean 200 Goodwin, Ron 79 Grafcom Two 161 (cr) Grainer. Ron 79 Grand Prix 239 Grande Bouffe, La 187 Great Britain, cinema in 9. 79. 81. 105. 261.296 Great McCarthy, The 33 (st): 340. 369 Greater Union Theatres 296 Green Machine, The 63 (cr): 349 (cr) Green Pine Tree Ridge, The 123 (st): 124 Green Report 201. 303. 376 Greig. David (e. d): 47-49 (i) Grierson. John 121 Guerrilla On The Plain, The 124 (st) Gulpilil, David (ac) 272 (st) Gurr, Ann (e): 180 Guzman. Patricio 145. 234 Gyngell. Bruce 303 (st). 376 .

H Halimi. Andre 233 Hall. Peter (d): 334 Hannam. Ken 361 Hansen. Arthur 20 (i) Hard Knocks 235

Harness Fever 160 (cr) Harry and Walter Go to New York 329 Harwood. A. R. 91 Hathaway. Henry (d): 334-335 Haunted Barn, The 206 (st) Hawes. Stanley 139. 140. 180. 280 Hawkins. Stanley W. 19. 20. 91 Haydon. Tom (d): 304-306. 372. 377 (i. f-) Head. Edith 172 Helms. Lyne (p): 51-53 (i) Helpern. David (d); 145. 235 Hemingway. Kathy 271 (st) Herbert. Xavier 122 (st) Here's To You, Mr. Robinson 235 Heritage 89 Hexagon 104. 201. 213 ” Heyer. John (p. d); 120-122. 190 (i. f): 138. 139. 284 Hift. Fred 296 Highet. D. A. 355 High Roll 254 (cr): 350 (cr) Highway One 351 (cr) History Lessons 126 (st): 129 (st): 185 Hitchcock. Alfred 172-173. 239. 365 Hollywood Bouvelard 146 Hollywood Costume Design 370-371 (br) Hollywood, Hollywood 351 (cr) Hollywood On Trial 145. 235 Holt. Seth 154 Hope 351 (cr) Hopper. Dennis (ac): 66-69 (st): 113-114. 145. 169. 200.

219. 340 (st): 369 Hot To Trot -350 (cr) Howard. Trevor (ac): 363 Howes. Oliver 23 Hoyts Theatres 200. 296 Hua Shen 154 Hudson. Rock (ac): 179 Huillet. Daniele 126-130. 184-185 (a): 235 Hungary, cinema in 27. 81 Hurry Tomorrow 234-235 Hussein. Waris 165 Huyck. Willard 153

Idyle, The 161 (cr) Illumination 136 (st): 182. 183 I’m In Love Again 91 Independent Production 200 India 63 (cr) India, film censorship in 208. 336 Indians 268 India Song 233 Indonesia Calling 138 Inheritance, The 328 Innocente, L’ 148. 282. 378 Innocents With Dirty Hands 77 (r) In Search of Anna 349 (cr) Inside Story of the Ching Court 124 Integration 163 (cr) Introduction to Arnold Schoenberg’s Accompaniment to a Cinematographic Scene 185 Invasion of the Saucer-Men 216 (st) Iracema 234 Iran 327-329 Irene, Irene 327 Irishman, The 159 (cr): 253 (cr): 349-350 (cr) Isaacs. Janet 311-312 Islands in the Stream 62 (cr) Italy, cinema in 9. 41, 143. 187. 261.308-309. 336 It’s Love Again 19 (st) Ivens. Jons I Was A Teenage Frankenstein 217 (st)

J Jackman. Terry 296 Jaglom, Henri (d): 145 Jancso. Miklos (d); 24-29. 91 (a. f): 145 Japan, cinema in 107-108. 208 Jara. Victor 234 Jazz Singer, The 17 Jedda 89 Jeremy and Teapot 62-63 (cr): 257 (cr) Je suis Pierre Riviere 170-171 (r) Jewelled Nights 36 (st): 37 John Ford 173 (br) John Ford Movie Mystery, The 173 (br) Johnson. Lamont ( d ) 271 Jolson., AI 17 Jones. Caroline (p): 310 Jones. Harry 20. 91 Jordan. Len 20 (i) Journey Among Women 254 (cr). 357 (cr. st) Journey of a Nation 138 Jubilee 352 (cr) Judge and the Assassin, The 149 Just Another Night 351 (cr)

K Kahn. Madeline (ac): 72-73 Karl. Bob 269 (st) Katz. Gloria 153 Kelly. Gene 8 Keneally. Tom (ac): 72-73 Kesey. Ken 8-9 Kastelman. Sara (ac): 361 (st) Kimioui. Parviz (d): 328 Kinane. Kay 140 King of the Road 148. 149 (st) Kingsland. Debbie (d): 311 Kirk. Tommy 179 Koerfer. Thomas 235 Kokoda Front Line 297 Komorowska. Ma]a (ac): 135. 136 (st): 183 Kopit. Arthur 268 Kubrick. Stanley 279 Kuyululu. Ayten 310 (st): 313

Lame. Cleo 332 Lake of Dracula, The 152 (st); 154 Lalai — Dreamtime 257 (cr) Lancaster. Burt (ac): 221 (st) Landeck. Ben 91 Land of Promise 149. 150 (st) Language At Twelve 163 (cr) Lasseter's Reef 159 (cr): 253 (cr): 349 (cr) Last Hard Men, The 271 Last Hope 63 (cr) Last Safari, The 334 Last Tango in Paris 221 Last Tasmanians, The 257 (cr): 304 (st): 351 (cr): 372 Last Wave, The 253 (cr): 350 (cr) Latallo. Stanislaw (ac): 136 (st): 137 (st): 182 Lattuodo. Alberto 329 Lauste. Eugene A. 17 Leaud. Jean-Pierre 233-234 Legend of Ubijara, The 329 Legend of Yowie, The 257 (cr); 351 (cr) Lehman. Ernest 172-173 Leisure 297. 310 Lemon. Max (e); 21-23. 94 (i) Leone. Sergio 8 .

Leopard, The 322-323 (st) Lester. Mark 146 Let the Balloon Go 23 (st); 200. 320. 321 Letter From An Unknown Woman 273. 275 Levi Strauss Story 257 (cr) Li Hsiu-ming (ac): 124 Life Dreams 63 (cr) Life of Wu Hsun, The 123-124 Lilies of the Field 277 Lindley. Audra 14 Lipinska. Christine 170-171 Lipstick 271 (r) Listen to the Lion 63 (cr) Littein Miguef 144. 145 Little Girl Who Lived Down the Lane, The 146 Little Raoul 150 Living Goddess, The 160 (cr): 351 (cr) Loach. Ken (d): 298-301 (i) Lofven. Chris (p. d); 51-53 (i): 172 Logan’s Run 277 Loney. W. G. 240-241. 278 Long. Joan (p. sc); 141 (st): 180. 244-245 (i) Longford. Raymond 33-34 Long, Long Walkabout, The 305-306 Long Vacations of '36, The 329 Long Weekend 350 (cr) Lorraine. Marie — see McDonough. Isobel Losey. Joseph (d): 144. 332-333. 335 Love Letters From Teralba Road 351 (cr) Lovell. Pat 139 (st); 180 Lovely. Louise (ac); 34 (st); 36 (st); 37 Love's Old Sweet Song 17 Loves of a Blonde 13.14 Luiz. Andre 329 Lumet. Sidney 74-75 Luxford. Les (e); 57. 59 (i) Lyell. Lottie (ac. d); 34-35

McBride. Joseph 173 McDonagh. Isobel 37 (st); 38. 89 McDonagh. Paulette (d): 34 (st): 37-38. 89. 139 McDonagh. Phyllis 37 (st); 38. 89 McDonald. Gary 245 (st); 249 (st)

McFarlane. Andrew (ac): 361 (st) McIntyre, Hercules (ds); 164-165 (a) McKern. Leo (ac); 75 Machine Gun Kelly 216 (st) Machorka-Muff 130. 184 Mad Dog Morgan 62 (cr); 66-69 (a. st): 112-114. 146.

161 (cr); 168-169 (r); 188. 200. 219. 340. 369 Magic Coin Queen, The 63 (cr) Magic Lantern, The 328 Making of Anna, The 352 (cr) Making Tracks 352 (cr) , Mamma’s Gone A — Hunting 352 (cr) Man From Hong Kong, The 362 Man Who Fell To Earth, The 206 (st) Manpower Training 62 (cr) MaoTse-tung 123.124 Marquise d ’O, The 144 (st); 145. 234 ■ Master of the World 255 (cr) Matsuda. Eika (ac); 107. 108. 109. 110 (st): Mchelidze. Nana 151 Medium Cool 42 Meillon. John (ac): 244. 245 (st): 248 (i); 364 Melbourne Film Festival 1976 148-151 (r) Melbourne Filmmakers' Co-operative 81. 177. 284. 374 Menace 352 (cr) Messiah of Evil 153 Meszaros. Marta 151. 328 Middle School 257-258 (cr) Middleman, The 150 Migrant English 163 (cr) Mikhalkov. Nikita (d); 327 Millhouse: A White Comedy 204 (st): 205 Mind 161-162 (cr) Mineo. Sal 119. 179 Minnelli. Vincent 118 Miro. Pilar 329 Misumi. Kenji 153 Molloy, Mike (c); 114. 200 Moments In Time 163 (cr) Monheim. Luc 329 Monicelli. Mario 327 Monster From The Ocean Floor 215-216 Montaldo. Guido 329 , Mora. Philippe (d): 66-69; 112-114. 188 (i): 146. 168-169.

340. 369 Morgan. Daniel 168 Morris. John 297 Morse. Helen (ac): 71 (st); 138 (st) Moses and Aaron 185. 235 Mostyn. John 200, 296 Mother Kuster’s Trip To Heaven 171-172 (r) Mother’s House 151 Mother's Millions 164-165 Movietown News 81 Motorcycle Safety 163 (cr) MPDA 156-157.240-241.278.379 Mr. Klein 144 Munsterberg. Hugo 223-224 Murcheson Creek 162 (cr) Murnau. Friedrich 117. 179 Murphy. Mervyn 138 Murua. Lautaro (d): 150 Music Films 162 (cr) Musicians' Union of Australia 283. 374 Musico Promotions 374 Muti. Ornella (ac): 142 (st) My Best Time see Fantasm 99 My Name's Mick 63 (cr)

N Naidini, Nico 151 Nanny, The 154 Nashville 269 National Library of Australia. Archive in the 81.177, 283.

297, 375 Native Earth 121 (st) Ned Kelly 114 Nelson. Margaret (ac); 141 (st) Nemec, Jan 14 Nero, Franco 143 (st) Network 302 New Games 63 (cr) New South Wales Interim Film Commission 236. 244.

278. 296, 326 New Zealand, censorship in 208. 355. 376; archive.

374-375 New Zealand Federation of Film Societies 376 Newman, Paul 269 Nichols. Mike 335 Nicholson, Jack (ac); 216, 226 (st); 228. 261 Nicholson, James H. 215-217 Night and Fog Over Japan 107-108 Nightcleaners 234 Night Prowlers 351 (cr) Nights and Days 328 Nine Months 328-329 1900 144, 220-222. 282. 336 Niugini, Culture Shock 310. 311 (st) No. 96 (TV); 352 (cr) North By Northwest 173. 365 Nosferatu 117 Not Reconciled 128. 129. 130. 184 Novarro. Ramon 118-119 Now You See Me, Now You Don't 162 (cr) Nuts, Bolts and Bedroomsprings 62 (cr); 161 (cr)

Cinema Papers Index Volume Three — 3

INDEX VOLUME 3

O Oakley, Gwen 138-139. 140 Obsessions 145 Oehr. Jane (d); 267-268. 311 Off the Deep End 349 (cr) Oh Serafina 329 Olbrychski, Daniel (ac); 137 (st) Olive Tree, The 162 (cr) Ombre des Anges, L’ 145 (st) Omen, The 200. 266-267 (r); 277 ‘On the Track of Unknown Animals'. 377 On The Waterfront 333 One Flew Over The Cuckoo’s Nest 8-9, 13. 15. 86, 87 120 Days In Sodom 206 (st) Ondficek. Miroslav (c); 86 O'Hara. Gerry 146 O'Reilly. Cresswell 280 Opera Company 63 (cr) Ophuls, Max 273. 275 Organization 163 (cr) Osborne. Marjorie (ac); 35 Oshima, Nagisa (d): 106-111 (a. f). 145 Othon 128, 184. 185 Out of the Shadows 91 Out One Spectre 233-234. 234 (st) Out They Go 63 (cr) Outback Airman 352 (cr) Outsiders, The (TV); 352 (cr) Oxford Companion to Film 173 (br); Oz 51-57. 59 (production report, cr); 161 (cr); 172 (r)

Pacino. Al (ac); 75 Page. Grant 362 (st) Pakula. Alan J. 171. 172 Paradisi. Giulio 151 Parer. Damien 297 Patterson. Garry 235. 284 Peck. Gregory 267 (st) People of Everest 257 (cr) Perceptual Handicap 258 (cr) Percy 207 (st) Perfect Friday 334 Performance Contract 376 Personal Matter, A 163 (cr) Perth Film Festival 170. 233-235 (r) Petersen 372 Petty. Bruce 297 Phantom From 10,000 Leagues, The 216 Phantom Stockman, The 138 Phar Lap 89 Phi phenomenon 223-225. 285 (a) Philby. Kim 261 Phonofilms 16-20.91 (a) Picnic At Hanging Rock 21 (st); 22. 23. 72. 146 180.

200. 210. 286. 297 Picture Show Man, The 159 (cr); 243-251 (production report, st. cr) Planet of the Apes 277 Play 258 (cr) Poignant. Roslyn (e): 180 ■ Poland 135. 183. 228 Polanski. Roman (d); 226-229 (i. f). 265 Portrait of an Australian 140 Possession of Joel Delaney, The 165 Powell. Lillian 91 Power. John (d): 245 (st): 247 (st): 248 Predators On The Move 351 (cr) Price, The 89 Prima Della Rivoluzione 282 Prisoners 162 (cr) Private Parts 153 Private Vices and Public Virtues 24-25 (st): 145 Producers' and Directors Guild of Australia. The — 1976 Seminar 212-214. 284. 347. 369 Producers and producing 8. 44-46. 52-53. 131-133.

209-211. 218-219. 230-232. 314-315. 324-325. 347.

369. 380-381. 382 P ro du ctio n R eports: Oz 51-57. 59; Mad Dog Morgan 66-69; The Picture Show Man 243-251 Production Surveys 61-63. 65. 159-163. 253-255.

257-258. 349-352. 354 Prologue 42-43 Promised Woman 200. 364-365 (r) Prowse. R. J. 280. 319. 377 Psycho 239 Pure S 167 (r): 317-319. 340. 369. 377

Q Queensland 269 (r) Queensland Film Corporation 296. 326 Queensland Films Board of Review 280. 330. 383

4 — Cinema Papers Index Volume Three

R Racing On The Rock 352 (cr) Raetihi 355 Rampling. Charlotte 323 (st) Ramster, P. J. (t) 89 Rape 271 Raw Deal 365. 367 (r) Ray. Satyajit 150 Reaction 42, 93 Rebel Without A Cause 179 Red and the White, The 28-29 (st) Red Psalm 26. 29. 91 Red Terror, The 89 Redford Robert 171 (st) Reef, The 120. 122 (st); 162 (cr) Refn. Peter 151 Reisz. Karel 332 Remick. Lee 266 (st) Removalists, The 33 (st); 180. 266 Return 47-48 * Reypur. Bahram (d); 328 Richter. Hans 81 Ride A Wild Pony 320. 321 Rivette. Jacqyes 233-234 Roadshow 217. 286 Robb. Jill (p); 140 (st): 180. 209-211 (i) Robbery Under Arms 374 Rochefort. Jean (ac); 77 (st) Rodeo 352 (cr) Rohmer. Eric 145. 234 Roma 187 Ron Taylor Productions 141 Rosi, Francesco 187.’ 282. 261 Round-Up, The 28 (st) Rowe. Greg (ac): 272 (st): 320 (st) Rowlands. Gena (ac): 273 (st) Royal Commission into the Film Industry —- 1927 35. 91 Ruane. John (d); 269 Rural Studies 65 (cr) Rush (TV); 352 (cr) Russell Affair, The 89 Russell Braddon — Epitaph To A Friendship 372 Rydell. Mark 329 Rydge. Norman 164

s Safran. Henri (d); 272 Sakurada, Masuo (ac): 108 (st) Sandrelli. Stephama 222 (st) Sargossa 247 Sarris. Andrew 173 Satan Bug, The 277 Saunders, Don 94 Sautet. Claude 149 Scarlett, Rhett, and a Cast of Thousands 279. 286 (br) Schepisi. Fred (d) 72-73. 145. 219 Schlesinger. John 332 Schlondorff. Voiker 171 Schmid. Daniel 145 Schneider. Romy (ac); 77 (st) Schrader. Paul 144 Science Fiction Cinema Festival 152-154. 165 (r) Scooby Doo 255 (cr) Scorsese. Martin 144. 170 Scott. John (e): 339-341.343. 369 (i. f-) Screenplay — legal agreement 44-46. 131 Script Development Fund 201. 284 Sea Crew 258 (cr) Second Coming, The see Messiah of Evil Secret of Paradise Beach, The see Summer of Secrets Sedlacek. Pavel 12 (st) Seeing Red and Feeling Blue 65 (cr): 267-268 (r): 311 Sellers. Peter 112 Selzmck. David O. 279. 286 Selznick Players, The 279. 286 (br) Semp Series 63 (cr) Sentimental Bloke, The 34. 35 (st) Serail 234 Servant, The 332 Seven Beauties 151. 379 7 Keys 30-33. 104 Shadow Sister 257 (cr) Shapes in Space 65 (cr) Sharman. Jim (d); 368 Sharpe. Jan 311 Sheperd. Cybill 144 (st): 170 Showgirl’s Luck 91 Sign of the Gladiator 217 Silence and Cry 27 (st) Singer and the Dancer, The 63 ten: 235 Slave of Love, The 327 (r) Sleeping Dogs 355 Slum Boy 151 Small, Rhonda (d) 139-140 Small Town in Texas, A 216 (st)

Smart. Ralph (d): 79 Smith. Brian Trenchard (p. d): 362 Smith. Martin 234 Snow White and the Seven Dwarfs 206 (st): 297 Soft Soap 162 (cr) Solo 350 (cr). 355 Son of Amir is Dead, The 150 Sons of Matthew 164 Sound Recording 16-20. 91.94. 128-129. 339. 343 South Australian Film Corporation 65. 104. 147. 163.

178. 209-211. 244- 257-258. 272. 296. 297. 312. 312.

326. 364 Southern International 180 Souvenirs d'en France 234 Sparks 159 (cr) Spence. Bruce 172 (st) Spiesser. Jacques (ac): 170 (st) Sporting Life 258 (cr) Spring Sprout 124-125 Spry. Robin (d): 42-43. 93 (i) .

Stanley Kubrick. A Film Odyssey 279 (br) Steiger. Rod (ac): 77 (st) Stewart. Meg (d). 310-311. 312 (st) Sticks and Stones 163 icr) Still Life 312 (st) Stirring 267-268 (r): 311 Stone Garden, The 328 Storm Boy 159 (cr): 255 (cr): 272 (r): 320-321 Story of Adele H, The 273. 275 (r) Story of Sin 151 Story of the Kelly Gang, The 81 83 Stranger and the Fog, The 151 Straub. Jean-Marie 126-130. 184-185 (a): 235 Structure of Crystals 134 (st): 135. 183 Sullivans, The (TV): 352 (cr) Summer City 159 (cr): 254 (cr) Summer of Secrets 62 (cr): 160 (cr). 255 (cr). 262 (cr. st): 297. 368 (r) .

Summerfieid 350 (cr) Sunday Too Far Away 210 Sung Tsun Shou 235 Super Infra Man, The 154 Supertoy 370 (br) Supreme Films 138 Surf Films 373 .

Sutherland. Donald 221 (st): 308-309 id Swastika 112. 188 Sweden 9 Syberberg. Hans Jurgen id). 233 Sydney Film Festival 1976 148-151 (r) Sydney Filmmakers Co-operative 178. 374

Taking Off 13. 14 Tammer. Peter 235 Tate. Nick (ac): 73 1st) Tavernier. Bertrand (d): 149 Tax Legislation and Film 314-315. 324-326. 382 Taxi Driver 144. 170 (r) Taylon Rod 245. 247 (i) Tea and Sugar Train 258 (cr; Techine. Andre 234 Tehran Film Festival 327-329 (r) Television 121. 122. 123. 141. 200. 208. 211. 214. 215.

221. 280. 296. 298-301. 302-303. 344. 365. 370. 376 Tenant, The 227-229. 265 (r) Terror at Red Wolf Inn 154 (st): 165 Test Pictures 355 Thiassos, O 151 Thompson. Jack (ac): 66. 71 Thomsen. Christian Braad 327 Thornhill. Mike 23. 297 Those Who Love 37. 38. 89 Thring. Frank (ac): 113. 168. 169 (st) To Shoot A Mad Dog 162 (cr) Tomb of Ligeia, The 216 1st) Tommy 31 (st) Tosi. Piero 322-323. 378 (i) Touch of Evil 8 Towards A Balanced View 63 (cr): 163 (cr) Townsend. Bud 165 Tracks 145 Trade Practices Commission 156-157 Tragedy Reef 351 (cr) Treating People As People 258 (cr) Trespassers, The 72. 74 (r): 200 Trilogy of Terror 165 Truffaut. Francois (d): 273. 275. 327-328 Tullamarine Jetport 352 (cr) Twelve Chairs, The 32 (st) Two In The Family 350 (cr) Two Minutes Silence 38 (st): 89

United Artists 296 United States, cinema in 8. 9. 104. 201, 202-205. 208.

261.276. 296. 314-315. 336 Universal International 164-165 Upstream Downstream 65 (cr)

V Valentino. Ruldolph 118 Valley Is Ours, The 121 (st) Vampyres 207 (st) Venturini. Dr.. 156-157. 240-241 Vertigo 173 Victorian State Film Corporation 104. 236, 278. 296. 326 Victory March 143. 187. 150 Vincent, Francois, Paul et Les Autres 150 (st) Violets Are Blue 151 Visconti. Luchino (d); 39-41 (i. f). 148. 187. 322. 323. 378 Vision, persistence of 223-225. 285 (a)

w W. Anchor and W. Ann Kerr 63 Waddell. Gary (ac): 55 (i). 167. 317 (st) Wagner. Winifred 233 Wa|da. Andrzej 149 Walk On The Wild Side 238-239 Walsh. Maureen (p); 140 (st); 141 Walton. William 79 Warden. Jack 171 (st) Wardrope. Alan (ds): 147 (i): 200. 296 Warsaw Concerto 79 Waterman 163 (cr) We Aim To Please 352 (cr) We Are The Lambeth Boys 332 Weather Underground. The 202-205. 276 Weir. Peter 21-22 Well-Spring Of My World 327 Welles. Orson 8 Wender. Wim (d); 148-149 Wertmuller, Linda 151 West Germany 9. 184. 336 Wexler. Haskell (c): 86. 205 (st); 276 Where The Action Is 352 (cr) Whiplash (TV); 141 White Death 121 (st) White Wall, The 150 Who Do You Think You Are? (TV): 352 (cr) Who Knows? 258 (cr) Wild Angels, The 216 (st) Wild Party, The 32 (st) Wilder. Gene (ac); 75 Will You Join 163 (cr) Williams. Ralph Vaughan 79 Wilmington. Michael 173 Wilson. Ross 56 (i) Witness 48 Woman Under The Influence, A 273 (r) Women in film production 9, 34-38, 89, 138-141. 180.

267-268. 310-313. 375 Wong Sing Loy (d); 154 Woods, Jenny 296 Workout 140 Writers and writing 8-9, 11-12. 44-46. 136-137, 187, 190.

333 Wrong Movement 148. 150 (st)

Yamamoto. Michio 154 York. Susannah (ac); 363

y

z

Ultima Donna, L' 142. 187. 282 Umbrellas of Cherbourg, The 334 Uncivilized 89 Underground 202-205 276

Zanussi. Krzysztof (d); 134-137. 182-183 (i, f); 149-150 Zigon. Yelena (ac); 365 (st) Zurlini, Valerio (d); 328

I

Box*Office Grosses* $

0) 3 7T

Weeks in release

TITLE

LAST QUARTER 3.10.76to 1.1.77

THIS QUARTER 2.1.77 to 1.4.77

0(1)1 (/>'

(2) 3 1 ,9 5 4

1 4 3 ,9 4 5

3

15

(-)

(-)

(-)

(1 2 ) 6 2 ,6 0 1

(-)

(-)

(-)

(-)

(-)

(-)

(1 2 ) 9 5 ,9 2 5

(1 2 ) 1 2 1 ,7 7 4

(-)

(7) 3 6 ,9 1 3

(8) 5 0 ,5 1 0

(-)

(-)

(-)

(6)* 5 4 ,5 8 5

(-)

7

(2)* 6 ,2 5 6

(-)

(-)

(— )

(-)

8

(2) 1 0 ,7 2 2

(U * 8 ,0 4 9

(-)

(-)

5 6 ,6 3 9

(2)* 4 ,8 3 6

9

(-)

(— )

(-)

4 4 ,3 7 1

10

(2) 4 ,9 9 9

(2)* 7 ,8 6 3

(2)* 5 ,2 9 9

(2)* 4 ,5 7 6

(-)

2 6 ,5 9 8

11

(-)

(-)

(-)

(-)

(-)

2 1 ,1 2 4

12

(U * 3 ,6 9 4

(-)

(-)

(U * 3 ,7 2 0

(-)

11 ,3 6 1

13

(-)

(-)

(-)

(-)

(-)

1 1 ,0 0 0

14

(-)

(1 2 ) NA

(8) 4 2 ,3 1 9

(-)

(-)

5 ,3 7 5

15

(-)

(-)

(-)

(-)

NA

Er c o

SYD.

MLB.

PTH.

ADL.

BRI.

RS

(13)* 1 9 0 ,1 0 3

(13)* 186,2 7 1

(13)* 1 3 0 ,0 7 5

(1 0 ) 7 7 ,4 7 2

(7) 6 8 ,7 6 2

6 5 2 ,6 8 3

1

GUO!

(7)* 4 3 ,9 2 2

(13)* 1 5 1 ,4 2 2

(6)* 4 ,8 5 3

(6) 2 7 ,4 2 1

(5)* 2 7 ,3 4 6

2 5 4 ,9 6 4

2

RS

(13)* 1 1 9 ,9 7 7

1 2 1 ,7 6 9

0)

(-)

(-)

(-)

2 4 1 ,7 4 6

Don’s Party

MCAi

(13)* 1 2 4 ,8 7 5

(-)

Devil’s Playground

RS

(13)* 6 5 ,8 0 8

Storm Boy

SAFCi

Let the Balloon Go

Eliza Fraser Break of Day

Caddie

(2)

MLB.

PTH.

ADL.

BRI.

(2)* 2 8 ,2 6 9

(2)* 4 1 ,6 8 5

(2)* 2 2 ,1 7 3

1 9 ,8 6 4

(-)

(-)

(-)

(-)

3

(1 2 ) 1 1 7 ,5 8 5

(1 2 ) 1 0 4 ,5 9 0

2 0 8 ,1 5 9

4

(4)* 4 9 ,3 5 5

1 7 9 ,4 0 8

5

1 2 7 ,6 3 4

6

6 7 ,2 1 5

(1) 1 ,2 1 7

(2) 6 ,7 7 9

(-)

(13)* 1 1 3 ,6 0 0

(-)

(-)

(— )

(-)

(-)

FOX

(5) 5 3 ,3 3 9

(1) 1 3 ,8 7 6

(-)

RS

(4 ) 2 1 ,8 9 4

(4) 3 3 ,5 2 8

(-)

Raw Deal

GUOj

(2) 4 ,6 4 0

(6) 3 2 ,9 5 2

(-)

Barney

COL

(4) 1 1 ,2 9 2

(3) 1 1 ,0 3 6

(1) 2 ,1 2 5

(1) 2 ,1 4 5

(-)

Highway One

IND

(5) 2 1 ,1 2 4

(-)

(-)

(-)

<— )

Summer of Secrets

GUO

(2) 6 ,7 9 9

(-)

Pure S

IND

(4) 1 1 ,0 0 0

(-)

Fantasm

FW

(-)

(1 3 ) NA

(1) 5 ,3 7 5

(-)

(-)

Stone

(-)

< ->

(-)

(-)

-

(2) 4 ,5 6 2

(-)

(-)

(-)

(-)

(1) NA

(-)

(-)

(-)

(-)

4 9 ,3 5 5

6

17

3 0 5 ,1 2 2

1

33

5 4 ,5 8 5

5

19

6 ,2 5 6

14

15

9

15

—

8

2 3 ,6 0 7

NSW

VIC

WA

SA

QLD

All States

13

51

(-)

10

15

—

12

13

14

(-)

7 ,4 1 4

(-)

4 2 ,3 1 9

—

8

9 36

(-) —

6 7 4 ,7 7 3

6 6 4 ,4 5 4

2 2 5 ,7 1 2

2 3 9 ,2 3 4

1 0 4 ,1 0 4

1 ,9 0 8 ,2 7 7

3 4 0 ,0 8 2

3 4 4 ,8 5 8

1 8 0 ,7 5 6

1 3 1 ,3 1 9

9 1 ,0 0 5

1 ,0 4 7 ,2 0 6

3 ,5 4 5 ,0 1 4

2 ,8 9 9 ,8 0 3

1 ,6 3 3 ,4 9 3

8 6 8 ,8 5 5

8 4 1 ,4 9 9

9 ,7 8 8 ,6 6 4

2 ,0 8 0 ,6 9 6

2 ,2 9 1 ,5 5 7

1 ,1 1 6 ,9 6 5

7 1 7 ,8 5 7

7 3 5 ,8 9 9

6 ,9 8 3 ,7 8 8

4 ,2 1 9 ,7 8 7

3 ,5 6 4 ,2 5 7

1 ,9 0 8 ,2 7 7

1 ,1 0 8 ,0 8 9

9 4 5 ,6 0 3

1 1 ,6 9 6 ,9 4 1

2 ,4 2 0 ,7 7 8

2 ,6 3 6 ,4 1 5

1 ,2 9 7 ,7 2 1

8 4 9 ,1 7 6

8 2 6 ,9 0 4

8 ,0 3 0 ,9 9 4

• Box-office grosses of individual films have been supplied to Cinema Papers by the Australian Film Commission. o This figure represents ihe total box-office qross of all foreign films shown during the period in the area specified. y , $ Not Available. ’ =Continuing into next period. ‘ • =Figure for one of 3 weeks in period only.

—

2

2 8 4 ,7 7 6

2 2 ,7 3 7

(-)

00

NA

(1) Australian theatrical distributor only. RS— Roadshow; GUO — Greater Union Organization Film Distributors; FOX — 20th Century Fox; UA - United Artists; CIC - Cinema International Corporation; FW - Filmways Australasian Distributors; 7K - 7 Keys Film Distributors; COL— Columbia Pictures; REG— Regent Film Distributors; CCG— Cinema Centre Group; AFC— Australian Film Commission: SAFC— South Australian Film Corporation; MCA — Music Corporation of America; S — Sharmill Films. (2) Figures are drawn from capital city and inner suburban first release hardtops'only. (3) Playing period in weeks for given city. (4) New Season.

BOX OFFICE GROSSES

Cinema Papers, July — 49

Australian Total Foreign0 Total Grand Total

GUO

(-)

(-)

(-)

(-)

$

3

(-)

M3S* 1 2 7 ,6 3 4

(-)

Total

30

fi>

SYD.

(10)* 8 3 ,2 8 4

Deathcheaters

Total

TOTAL $ TO DATE

THE MEASURE OF COLORFILMES COMPETENCE The Age of Consent Squeeze a Flower Don Quixote The Cars That Ate Paris The Hands of Cormack Joyce Night of Fear Colour Me Dead That Lady From Peking Sidecar Racers Inn of the Damned The Man From Hong Kong W illy Willy Promised Woman Rolling Home The True Story of Eskimo Nell Scobie Malone The Removalists Let the Balloon Go The Great McArthy

Picnic at Hanging Rock Caddie Mad Dog Morgan Oz The Trespassers Deathcheaters The FJ Holden Summer of Secrets Break of Day Eliza Fraser Don’s Party The Devil’s Playground Raw Deal The Picture Show Man Pure S Highway One Between Wars Demonstrator

Colorfilm ensures optimum quality in grading negatives by using modern Hazeltine Color Analysers. This obviates the need to resort to old fashioned pilot printing methods which endanger your negative whilst printing individual frames. Everybody at Colorfilm realizes “ You can’t do today’s job with yesterday’s methods and be in business tomorrow.”

colorfilm

A SPECIAL KIND OF PERSONALIZED SERVICE

COLORFILM PTY. LIMITED, 35 MISSENDEN ROAD, CAMPERDOWN, N.S.W. 2050.

Telephone: 516 1066. Telex: AA24545.

PRODUCTION REPORT 1

IN SEARCH OF ANNA “The basic story is of a character named Tony who comes out of prison and confronts the people from his past who have, more or less, been negative influences on his life till then. The second story is about him hitch-hiking to Sydney to find Anna, who respresents the positive values of the past As he hitch-hikes to Sydney he gets picked up by Sam, a woman in an 1939 Buick, They fall in love; Sam leaves the guy she is living with and they head off to Queensland to find Anna. But Anna becomes something else and the need to And her gets less important “It’s a story about coming to terms with one’s past and then with the present, accepting the here and now and moving into the future with a positive attitude towards life.”

m

Judy Morris (Sam) and Richard Moir (Tony).

m

Cinema Papers, July — 51

ESBEN STORM PRODUCER / DIRECTOR In an interview you did at the “In Search of Anna” is Esben Storm’s second feature as a time of “27A”, “In Search of director, and follows “27A” made in 1973. It was shot in Anna” you mentioned as a pilot seven weeks, on the road from Melbourne to Surfers for a television series. . .

Yes, I had an idea for a television series about a young guy who leaves home in search of Anna. Each week would find him in a different place and the hook was that he was getting closer to finding Anna who was then, and still is, symbolic of the woman one dreams about. Just as the partner in one’s first relation­ ship is idealized in time and becomes something unreal.

Anyway, we were just about to shoot the pilot when Hayden * and I suddenly felt we didn’t have enough faith in the script. Perhaps, the story was not ready to be told at that stage.

Paradise, with a crew of 20. “In Search of Anna”, which is now in the editing stage, represents for Esben Storm “a film which tells people how good it is to be alive. A realistic film about coming to terms with one’s past and present, it is a rejection of the negativity of my generation”.

The following interview was conducted by Gordon Glenn and Scott Murray at the offices of Smart Street Films, Sydney.

You had the finance already arranged?

tracking vehicle with an A Frame and a three-metre crane on the back. If we were on the long frame, for instance, we could sit in front of the car’s nose, go down to the wheels, then crane up as they start their dialogue.

If we were on the short A frame we could be sort of sitting on top of the bonnet, swinging around as they travel along. That crane proved to be really effective. Sometimes we just ran it loose and had the Buick come towards us as we sat out over the freeway. We would then go up, look through the sun-roof and finally let it go away again.

We also did a few shots where Mike* was strapped to the side of the car; he would swing right down next to the road, bring the camera up over the bonnet and then into a two-shot or single on the side. These worked brilliantly; it was a really fluid movement.

We were financing it ourselves — we had just won a $5000 award for 27 A.

What are you doing for sound in these scenes?

Why did you decide to shoot the film on the road, all the way from Melbourne to Surfers Paradise, when I imagine you could have cheated and shot it within 100 km radius of Sydney?

We have to post-synch all the car interiors as the Buick was not as quiet as it was in 1939. There was a lot of rattle and noise, so we decided to post-synch at the start.

We are doing that here at Smart Street, and I am excited by the prospect of post-synching. I think we will get a very good soundtrack.

We could have done that and just had a second unit do some wide shots of the car. But it seemed to me that if we could do it og. the road, then there would be a lot of advantages. The whole film was shot in sequence and there was a strong feeling of travelling. We would shoot one scene in the car, then drive 50 km to do another. So, day by day people got to know each other, just like the two main characters get to know each other in the film. The hope was that this sort of rhythm of shooting would have an effect on the overall result.

Esben Storm (producer/director) and Michael Edols (director of photography) on the Aframe.

of effect on how he acted in that scene. After all, Tony is coming out after six years in prison and it must be quite a shock.

The argument against shooting in sequence is that while the early material is generally the weakest, it is still what the audience sees first. . .

We have a structure whereby the two weeks shooting in Melbourne and the five weeks shooting on the road are of two virtually separate Do you like to shoot in sequence stories. The first scene in the film is Tony on the highway; the second is within a scene as well? him coming out of prison; the third Yes, we appeared to do that a lot. him on the highway; the fourth him It adds much to the overall result — back in Melbourne, and so on. especially to the performances.

It is two weeks out of his life, but With someone like Richard Moir, we have taken the first week and the for whom this was the first time out second week concurrently ; so we go as a lead actor, we shot the first M onday, M onday; T uesday, scene of the film first. I kept him Tuesday; Wednesday, Wednesday, separate from the whole crew on etc. Both stories then climax at the the first day and when he walked end and both climaxes relate to him out of jail there was the whole crew coming to terms with the past. confronting him, and this had a lot By having this crosscut structure we were able to throw in a lot of tensions, because the audience * Hayden Keenan, owner of Smart Street gradually gets information which Films with Storm.

52 — Cinema Papers, July

makes them think that Tony is not actually looking for Anna, but is on the run after having killed Jerry. It is not till near the end, when there is a final confrontation between Tony and Jerry, do you realize what happened.

This tension also relates to the theme of the film: that of being torn between the past and the present.

Do the characters change much because of the road aspect of the film?

They change through being together; being alone and always moving. Sam is the spirit of the present, taking him along, teaching him about love and women and life.

Are there many scenes of the car travelling?

Yes. We used basic equipment like a limpid mount. Noel McDonald, the grip on the film, had just done F. J. Holden and was very au fait with that sort of shooting, though we did quite a lot more than was in F.J. We also had a

You like the effect of postsynching . . .

Yes. I used to be totally into 100 per cent location sound, but I have gone right off that now.

Was that because of the problems on location?

No, it was because of the final product. When you lay the tracks you have to put in a base level of sound to cover the bad spots and cuts. You don’t have complete control over your track and I don’t like that base level. I prefer to have a completely silent track into which you put only what you want. That seems to me the best way to control what people hear.

Is there music in the film?

Alan Stivell who plays a Celtic harp was out here recently, and he recorded a lot of music for the film.

We put him in a studio and he gave us an hour of music. He saw all the sequences that were to have music * Mike Edols, director of photography.

PRODUCTION REPORT

On Judy Morris. . .

We had a lot of difficulty finding Sam. I talked to every actress I could think of and searched Brisbane, Sydney and Melbourne. In all, I interviewed over 100 actresses and screentested about 30 of them.

I hadn’t at first considered Judy Morris because I had an image of her, which I later found out to be incorrect, that related to things like Between Wars and Libido. I and we explained what sort of feeling we wanted. He was brilliant — the music gives the film a whole new feeling.

Why did you decide to produce the film yourself?

Originally I approached Natalie Miller and asked her if she would produce it for me, but she didn’t want to. Then I talked to Cecil Holmes who said, “Do it yourself, it is not such a big deal.” I have a lot of respect for what he thinks and so I tried it.

Eventually I talked Natalie into becoming an associate producer as I felt I needed someone else’s name on the whole deal to give it a little more legitimacy. I then put a sub­ mission to the Australian Film Commission asking for half the budget; as well as a submission to the Victorian Film Commission for $40,000, which we later increased to $50,000. At the same time I approached private investors in Melbourne, Sydney and Brisbane and got letters of intention from them. Then before the AFC met, I told them: “I have half the budget, will you give me the other half?”

So, it was up to the AFC. I didn’t use the AFC to lever the others, I used the others to lever the AFC — and it worked. And in about two months we had the money.

had always found her too soft and, therefore, didn’t feel she would be right for the part.

Then, I went to Crawfords in Melbourne to look at another film where someone suggested I con­ tact Judy. After I talked to her I realized she had the strength that none of the other actresses had; it mwas like she sat down and she | didn't have to tell me she was | equal or anything like that — she | just assumed that she was. I asked <3 her if she would do a screen test and she said "no”, because she thought she would be fucked around. I thought that was fan­ tastic — that she could say "no”.

Eventually, I had two or three girls, and Judy was one of them. I asked her again if she would do a screen test and this time she agreed. I had another girl tested as well and I showed the tests to a lot of people. Their reaction to Judy was fantastic. I then asked her if she would do the film, and she said she would.

During shooting she continually amazed me by the number of times part. I also felt that because I hadn’t produced anything before they might think I wouldn’t be able to get my shit together with the private investors. If I could prove to them before they met that I could get private money, then they would think I was okay.

she stretched herself beyond what know each other quite well.

I had expected of her.

Richard was at the National Judy is a very strong woman — Institute of Dramatic Arts but had very willing and able to pull things decided he did not like that kind out of herself and express what of learning process. He gave it she needs. I think she is a person away after a year and got into who is worthy of a lot of respect. editing. I knew he wanted to get back into acting, but did not want to go through the normal channels.

So when we made 27A, I wrote him the small part of the junkie at the asylum.

Richard carried the role off really well and the reaction to him, especially from women, was very interesting. I enjoyed working with him and I thought he had a lot of potential. He has a certain presence.

So, two and a half years ago when we were doing the pilot of In Search of Anna, I wrote the lead for him. In the intervening period Richard and I developed the script On Richard Moir. . . together, Richard acting as my script editor.

I first met Richard Moir when I 1 wrote In Search of Anna was at Film Australia, where we always with Richard in mind; I were production assistants. And knew he could do it, and that he over the next few years, we got to would be very good. was the big devaluation: Kodak went up, as did many other things.

Consequently, a lot of my con­ tingency fund of 15 per cent was chewed up before we shot a foot of film. '

for a road movie was very tight. I also budgeted for a seven to one ratio, but ended up shooting ten to one — which is comfortable for me and I don’t think I would go for less in the future.

How did you feel making the film What was the budget at that time? on a tight budget?

Was this figure the minimum needed to make the film or because you felt it represented a possible return in film hire?

We went in with $231,000, but it I believe you can make a really looks as if it will go over about good contemporary film set in one $30,000. This was mostly because location and with generous shooting after I had raised the money there ratio for about $300,000; $230,000

You obviously have a very strong commitment to your film. . .

Did you have any specific reasons for approaching the AFC this way?

I hadn’t approached the AFC for any script development money and I didn’t talk to anyone until I was able to present a whole package. I wanted to be judged on the script without any preconceptions on their

If the rule of thumb is that you have to earn four times as much as you budget to break even, it seemed to me that the cheaper the film, the better. But also, if the film was gutsy and accessible, with a down-toearth approach and no fancy frills, I felt it could take $1 million at the box-office and break even. It seemed to me a financially good proposition, and the investors obviously thought so, too.

Richard Moir and Judy Morris during the party scene at Balmain.

My commitment is total. I will do anything I can to assist the film in becoming as good as I hope it will be.

Also, I have only directed films that I have instigated or been a party to instigating, and only from scripts I have written. So I can’t say how it might be different if I directed a film for someone else, written by someone else.

But if you decide to write, produce and direct a film, you know that it is going to be two or three years out of your life. And if you are going to spend this amount of time, what is the use of doing it if you are not really committed to it.

There are a lot of people for whom the aim of the object is just to make a film. But the aim should be Cinema Papers, July — 53

EDWARD McQUEEN-MASON Freelance Film Editor . ' - : Credits: Picture Editing

’ ■ :,

' V;v : ’ •«

»STORK »ALVIN »ALVIN RIDES A GAIN »END PLAY »ELIZA FRASER »HIGH ROLL

TOP FLOOR - 2 EDEN STREET,CROWS NEST, N.S,W. 2065

Sound Editing

;

»PETERSEN »ENDPLAY •DEVIL’S PLAYGROUND

COMPLETE POST PRODUCTION ON COMMERCIAL & DOCUMENTARY WORK

Ph o n e Melb o u r n e 69 o 2420 or 2321378

EQUIPPED I6mm/35mm CUTTING ROOMS FOR HIRE

EDGE NUMBERING SERVICE PRINTED ONTO ACETATE OR POLYESTER BASE

F STOP PRODUCTIONS P/L COMPLETE POST PRODUCTION FACILITIES

(0 2 )9 2 0 2 4 4 CONTACT

EDITING ROOMS AND EQUIPMENT, PRODUCTION OFFICE

MARK WATERS

OR KARL SODERSTEN (0 2 )9 2 8 0 7 7

PHONE MELBOURNE 690 2420

JOHMMIW

GROUP INTRODUCES TO AUSTRALIA THE

T

O

D

D

-

A

O

3

MOTION PICTURE EQUIPMENT SALES • RENTAL • SERVICE

5

ANAMORPHIC LENS SYSTEM The *T0DD-A0 35 system was recently ac­ quired by Cinema Products Corporation of Los Angeles, and the John Barry Group, who are their sole representatives in Australia, have purchased a range of lenses together with the Exclusive Rental Franchise for Australia, New Zealand and South East Asia.

These high quality anamorphic 35mm lenses were designed by Dr Richard Vetter (of the TODD-AO Corporation), who received an *U.S. and foreign patents pending.

Academy Award in 1973 for their improved anamorphic focusing system — a system which results in the lowest distortion yet achieved by any anamorphic lenses.

TODD-AO 35 anamorphic (scope) lenses are computor designed to the highest standards of the motion picture industry. In addition to unex­ celled quality, their optics have the added ad­ vantage of maintaining a constant squeeze ratio (2:1) of the image at all focus distances without distortion.

LENSES IMMEDIATELY AVAILABLE FOR RENTAL EX STOCK SYDNEY

35mm WIDE ANGLE. 50mm NORMAL ANGLE. 75mm NORMAL ANGLE. 100mm TELEPHOTO. 200mm MACRO-TELEPHOTO. 50-500mm ZOOM. MOUNTS AVAILABLE

MITCHELL - BNC MARK II, ARRIFLEX.

All TODD-AO 35 lenses were designed with the objective of incorporating maximum flexibili­ ty without sacrificing picture quality. All lenses may be used interchangeably on standard BNCR, BNC, Mark II and Arriflex cameras. Other features aimed at reducing production costs in­ clude a 200mm macro-telephoto lens capable of focusing from a few inches to infinity, and a zoom lens (10 to 1) with focal lengths ranging from 50mm to 500mm.

105 Reserve Road, Artarmon Sydney, N.S.W. 2064 Telephone: 439 6955 Telex: 24482 Cable: BIRNSAW-SYDNEY All correspondence: P.O. Box 199 Artarmon, N.S.W. 2064 Australia.

Carol Jerrer

PRODUCTION REPORT

During rehearsal: Richard Moir and Esben Storm.

Maurie Fields who plays Bert (right) and director of photography Michael Edols.

to make a film because you have something to express — it is not the film itself that is important, it is what the film expresses.

Many Australian directors don’t remember that; they cop out by saying that you have to get your films to an audience and that they would need mass appeal. But I believe, unless a film has something to say, has a direction in mind — which all comes from the spirit of the person involved initially — then the film is not going to do well anyway. You can have some sort of preconception of what the market will pay to look at, and you can try to make a film to that preconcep­ tion. But the chances are that it won’t pay off because you are doing it with the wrong aim in mind.

of cards, we should be in a good position to deal.

How do you see the film’s com­ mercial potential?

I think the film has a directness and a purpose; it has an entertaining reality and the audience will enjoy it. It has a dog, it has cars; it has violence, love, sex, humor and music; it has two very interesting people, and 3200 kilometres of highway.

It is a very complex story which will come across as being very simple. I think the structure of the film will be one of the basic strengths.

The look of the film is also different. Break of Day, Summerfield, Getting of Wisdom and Picnic at Hanging Rock, for instance, are all full of yellows and browns, faded or muted colors, soft focus and so on. The look of our picture is different: it has blues, hard contrast, hard focus, saturated colors. It is a very contemporary look.

Have you decided on a marketing approach at this stage?

We didn’t sign up with a dis­ tributor at the start or during production; we thought it would be better to be independent. We have complete control, and if we are lucky and end up with a good hand

Would you be tempted to side­ step the distributors, like Fred Schepisi planned to do on “Devil’s Playground”?

We are considering that, too. We are in a good position to do that in Melbourne, because of Natalie Miller’s knowledge of Melbourne.

In any case these are problems no one is pressing us to make instant _ decisions on, and that’s the way I f like it. I am thinking of doing a 1 couple of test runs with the film in a | theatre and seeing how people react c to it. They may react completely different to what we expect; they Judy Morris (Sam), Richard Moir (Tony) and Billie (the dog). may not catch what we thought they would, yet they may catch some­ thing else. Their reactions will, to a degree, determine the sort of theatre we put the film into, and the sort of push we give it.

The kind of audience we want is one that enjoys thinking, enjoys laughing, enjoys being distracted, without being treated as morons. It is for people who, when they spend $3.50, like to feel as if they have been taken somewhere — in every sort of way.

Take a film like Carrie or Obsession: they are not great films, but they are good American films — they are solid. Obsession bored me until the last 15 minutes, but that last 15 minutes was worth $3.50.1 liked Carrie a lot more, but The photographer’s studio where Sam leaves Peter to go with Tony. there were only two moments in that. The last 15 minutes were also Continuity.................................... Jo Weeks boring until the last flash. But that Grip....................................................... NoelMcDonald flash was worth $3.50.

Stunt Co-ordinator......... Graham Matherick Assistant Editor..........................Hugh Piper Director.............................................. EsbenStorm There isn’t one Australian film Still Photography.................. Carol Jerrems Screenplay/Scriptwriter.. . . . . Esben Storm that has had a flash like that. You Best Boy.................................. Paul Gantner Producer............................................ EsbenStorm don’t get any highs, any lows, or any Make-up..................................................AnnePospischil Associate Producer............................ NatalieMiller Director of Photography....... Michael Edols flashes. There is no purpose behind Editor..................................... Dusan Werner the making of most films here.

Production Manager................... Jane Scott Art Director......... ,............... Sally Campbell Nobody seems to have anything Production Secretary......... Robyn Bucknall relevant to say and as a result the Location Manager................ Kate Grenville Tony......................................... Richard Moir Sound Recordist............... Laurie Fitzgerald Sam............................................Judy Morris film has no impetus, no direction Sound Editor........................ Michael Norton Jerry................................... Chris Haywood and, therefore, no guts. And if a film Production Assistant. . . . Zelda Rosenbaum Peter......................................... . . Bill Hunter doesn’t grab you by the balls, you Assistant Directors............................... IlianTiano.

Maxie..................................... Gary Waddell George Miller Buzz............................................. Ian Nimmo feel you have wasted your $3.50.

Focus Puller............................Paul Murphy Bert......................................... Maurie Fields What I am hoping is that our film Clapper/Loader.......................... Grant Fenn Tony's Father.............................. AlexTaifer Gaffer................................ Brian Bansgrove Undertaker........................ Richard Murphett will have balls and people won’t feel they have wasted their $3.50.*

CR EW

CA ST

Cinema Papers, July -— 55

John Daniell who has spent a lifetime in the film industry came to the Commission 44 There are several aspects to our work following 9years with A jax/A PA during but it’s reasonable to think that script which time he servedfo r 2 years as development is where it all starts. The President o f the Film Producers Project branch consults a pool of outside Association o f Australia. - assessors as well as circulating these 4 4 1 suppose the first thing to sort out is projects within the Commission. The the difference between Lachie Shaw5s assessors are drawn from professionally Creative Development Branch and the active script writers, directors, producers, Project Branch in the Commission. exhibitors and distributors. As well as Basically Lachie’s branch handles grant making those types of recommendations situations whereas we look at investment we also get involved in a stage between or loan proposals in the commercially script development and production viable script development and production investment, i.e. advising a producer on areas. 3 3 realistic budgetting. 3 3

441 suppose we’re investment brokers in a sense but only in as much as this branch must process all investment applications to the commission. Also we are in the business of advising producers how to attract other investors to the project. One thing that is proving attractive to private sector investors in Australian features, is the Project branch’s role in monitoring all production expenses. W hilst there’s no way that we will get involved in creative decision making, we do use our production accounting and film legal

personnel and experience to see that every dollar gets a dollar’s worth of product.

At least the project branch never sees a lukewarm customer, everybody is dead keen to get their project going. So if s important to have some idea of the application deadlines. July 22nd for the August Commission meeting. September 23rd for October and November 18th for the December meeting. 33 y/iustmfiang'ifmcommission?

PRODUCTION SURVEY 35mm PRE-PRODUCTION BLUE FIRE LADY Prod Company........... Blue Fire Productions Pty Ltd for Australian International Film Corporation Dist Company................................... Filmways Director.................................................... RossDimsey Screenplay................................ BobMaumill Producer.......................... Antony I. Ginnane Assoc Producer..........................................BillFayman Photography............................. Vince Monton Editor............................... Tony Patterson Prod Manager............................Barbi Taylor Racing Co-ordinator................... Ron Green Budget............................................. S300.000 Length................................................ 95 min Color Process................................. Eastman Progress................................Pre-production (shooting August 1977) Release-Date........................ Christmas 1977 Synopsis: A young girl with a deep love for horses comes to the city and gets a job in a racing stable. She meets Blue Fire Lady' and together they share a series of exciting, funfilled and sometimes tearful adventures.

BODY COUNT

Gaffer..................................... Miles Moulson Continuity............................. Lyn McEncroe Casting Consultants........... M and L Casting Grip.........................................Ross Erickson Stunt Co-ordinator.................... Heath Harris Asst. Editor........................ Jamie Robertson Hairdresser.............................. Jenny Brown Best Boy................................... Eddy Hendel Makeup................................... Peggy Carter Scenic Artist............................ Ned McCann Electrician................................. Bill Edwards Runners..................................... Scott Hicks.

Mark Patterson Titles..................................... Adrienne Rolfe Budget............................................. $700.000 Length.............................................. 110 min Color Process........................ Gevacolor680 Progress......................................... Shooting Release Date............................. March. 1978 Cast: Michael Craig. Robyn Nevin, Simon Burke, Lou Brown. Gerard Kennedy, Tony Barry, Vincent Ball, Bryan Brown. Roberta Grant.

Synopsis: The Irishman is basically a story of people during a time of change and the effect of that change on the lives of one family in particular. It is also the story of one man who would not accept the change and who decided to exit at the same moment as the times had had know and loved . .

Hairdresser................................. Jose Perez Best B o ys....... Alan Dunstan, Mick Morrise Makeup....................................... Jose Perez Makeup Asst............................. Lloyd James Special Effects...................... Monty Fieguth.

Bob Hilditch Electrician ............................ Keith Johnson Runner........................Mark Patterson (S.A.) Budget............................................ S750.000 Length.............................................. 100 min Gauge.................................................. 35mm Progress............................................ Editing Release Date........................December 1977 Cast: Richard Chamberlain. Olivia Hamnett.

David Gulpilil. Nandjiwara Amagula MBE. Frederick Parslow. Michael Duffield.

Synopsis: A man experiences a series of premonitions. In his study he sees a man who is not really there — next day he meets him.

He sees water flowing down the walls of his house — a week later a storm floods the property. He sees a city street flooded to a great depth. Is this premonition going to come true? He is no street-corner prophet announcing the end is nigh, but a successful Sydney lawyer, a product of rational culture.

There is only one man in Sydney who knows the meaning of these premonitions — Charlie, an old tribal aborigine. But he will kill to keep the secret.

THE MANGO TREE

LONG WEEKEND

Prod Company.......................... Second Film Finance Pty Ltd for Australian International Film Corporation Dist Company................................... Filmways Director.................................... Ross Dimsey Screenplay.......................... Forrest Redlich.

Ross Dimsey from the novel Reservation Cowboys

by Forrest Redlich Producer.......................... Antony I. Ginnane Exec Producers.................. Robert F. Ward.

Mark Josem Assoc Producer.......................... Leon Gorr Photography............................Vince Monton Length............................................... 105 min Gauge................................. 35mm Todd A-0 Color Process................................. Eastman Progress..................................Pre-production (shooting October 1977) Release Date.............................. March 1978 Cast: Rainbeaux Smith, ■ Synopsis: An unscrupulous sergeant in a small Victorian town attempts to frame a war veteran for the murder of the town's homosexual, who was in fact killed by the sergeant himself. The veteran teams up with a pair of misfits from the city and then all mayhem breaks out as they take on the local police as well as army units sent in to hunt them down in the bush.

Prod Company........... Dugong Films Pty Ltd Prod Company...............Pisces Productions Director.............................. Colin Eggleston Pty Ltd Dist Company......................... GreaterUnion Screenplay........................Everett De Roche Geraldine Fitzgerald and Robert Helpmann on the set of The Mango Tree Producer............................ Richard Brennan Film Distributors Music.......................................Michael Carlos Director................................... Kevin Dobson Photography........................Vincent Monton Screenplay............................. Michael Pate Asst. Director.......................... Mark Egerton Gaffer.......................................... Pete Miller Editor................................... Brian Kavanagh Producer.....................................Michael Pate Camera Operator........................John Seale Continuity............. Penelope Hope-Edwards Prod Manager.........................................Julie Monton Assoc Producer...............................

Michael Lake Focus Puller...................... David Williamson Grip.............................................. Ross Eaton Music.................................... Mark Wilkinson Art Director.......................... Larry Eastwood Continuity.............................. Lyn McEncroe Stunt Co-ordinator.................................... EricPaterson Prod Secretary...........................................Lyn Galley Photography........................................

Brian Probyn Grip.............................................Ross Erikson Still Photography........... Michelle Anderson Editor............................................ John Scott Costumes Wardrobe............. Kevin Reagan Technical Advisor..................... Dawn Fraser Hairdresser............................ Denise Catlow Prod Manager.................................TomBjnns Sound Recordist......................

John Phillips Hairdresser............................... JennyBrown Makeup............................ Bronwyn Connolly Asst. Directors..........................................TomBurstall.

Art Director................................... Les Bmns Make-up.....................................Peggy Carter Stunts........................................................ EricPaterson Chris Maudson. Ross Hamilton Budget............................................ S684.124 Budget............................................ S400.000 Prod Co-ordinator................................... IreneKorol Camera Operator........................Louis Irving Producer's Assistant............... Felippa Pate Length.............................................. 115 min Length................................................ 90 min Focus Puller............................David Brostoff Costumes Wardrobe ................ Pat Forster Color Process................................. Eastman Color Process..................................... Kodak Sound Recordist.....................................BarryBrown Camera Asst......................... Robert Powell Progress..................................Pre-production Progress......................................... Shooting Boom Operator.........................................

PhilSterling Asst. Directors..........................Michael Lake.

Release Date..................................April 1978 Release Date........................November 1977 Gaffer................................... Robbie Young Toivo Lember. John Hlpwell Cast: Bronwyn Mackay-Payne as Dawn.

Cast: Janette Collins. Graeme Orr. Faye Continuity.................................................. JanTyrrell Synopsis: Drama based on the personal life Mitchell, Ron Murphy. Anna Bennett. Don Camera Operator..........................Peter Moss Asst. Art Director................................... IvanDurrant Focus Puller........................................... PaulMurphy story of Australian swimming champion Snows, Arthur Larkin. Pete Sidler. Monica Set Decorator ..........................Tony Hunt Boom Operator.................... MarkWasiutak Dawn Fraser.

Bennett. Barbara Simpson. Daniel Fellowes.

Grip...........................................................Noel Mudie Clapper Loader....................Harry Glynatsls Roger Armstrong, Andrea Armitage, Alan Second Grip................................... Ian Park Gaffery..................................................... AlanWalker NEWSFRONT Keyes, Jan van Hagen. Paul Cotter.

Wranglers......................

Brian Beaverstock.

Continuity..........................

Barbara Burleigh Synopsis: Australia's major pop singer is Prod Company........................Voyager Films June Doggett kidnapped and held to ransom. The drama Grip................................... Grahame Mardell Director........................................Phil Noyce Asst. Editor............................................. KenSallows unfolds as police attempt to free the singer Still Photography..................... GeorgeMiller Screenplay..................................... Bob Ellis Hairdresser.................................. LollyPerez Still Photography..................... DavidParker. from his captors. The story depicts aspects Producer.....................................David Elfick Best Boy............................. John Cummings Phillip Morris of the personalities of those close to the pop Progress..................................Pre-production Best Boy..................................... Ian Dewhurst Makeup........................................ JosePerez industry while occasionally interspersed with Makeup...............................

Derek De Niese Budget............................................

S650.000 film featuring near riotous scenes at Transport................................... JohrvChase pop/rock concerts as fans continue to Length.............................................. 110 min RUSTY BUGLES Color Process....................................Eastman Runners................................................ MarkWilliams maintain devotion to rock bands/artists CROCODILE Prod Co........................Mariner Films Pty Ltd Progress............................................ Editing Budget............................................ S270.000 despite the possible fate of the kidnapped Prod Company........... Jenbur Films presents Director...............................

David Stevens Release Date........................ December 1977 Length.............................................. 100 min pop star. a Samurai Production Screenplay..........................Michael Jenkins C a s t: G e ra ld in e F itz g e ra ld . R obert Gauge............................... 35mm Panavision Director................................................... TerryBourke Producer............................. Henry Crawford Color Process................................. Eastman Helpmann. Christopher Pate. Gloria Dawn.

COSY COOL Screenplay and Story.............................TerryBourke Budget................................. ; ......... S400.000 Progress............................................ Editing Gerard Kennedy, Denise Drysdale, Diane Producer................................................. TerryBourke Prod Co..........................Film Factory Pty Ltd Length.............................................. Feature Craig, Barry Pierce. Gerry Duggan, Ben Release Date........................November^ 977 Exec Producers................. James G. Jenner Progress............................... Pre-production Dist Co............. Garron International Pty Ltd Cast: John Hargreaves. Briony Behets.

Gabriel, Jonathan Hardy, Maggie Millar, (Jenbur). Des Dawson (Samurai) Screenplay................ T. C. Field. Alan Bond Synopsis: Based on the highly successful Tony Bonner.

Synopsis: A couple whose marriage has Assoc Producer................................ PatrickClayton Producer...................................... Alan Bond stage play of the same title by Sumner deteriorated decide to get away from it all Synopsis:Based on Ronald McKie's book of Music........................................... Bob Young Exec Producer........................... Gary Young Locke-Elliot. Set In an army supply camp in over a long weekend. They travel to a the same title, about a boy growing up in a Photography......................................... BrianProbyn Photography................................. Jim Davis Queensland town in the early 1900s.

1942. it concerns a group of men in an secluded spot and realize too late that nature Underwater Photography................ Ron and Editor................................................Rod Hay isolated and hostile environment. Their has decided to get her own back on them.

Valerie Taylor enemy is their own insanity.

Prod Manager.................... Malcolm Pollard Art Director................................. Barry Adler Sound Recordist................ Malcolm Pollard THE LAST WAVE Prod Secretary..................... PenelopeWells Continuity.......................... Pamela Jackman Prod Company.................. Ayer Productions Special Photographic Effects.Toel Studios THE SIMMONDS AND NEWCOMBE Grip............................................. Greg Upton Pty Ltd 35mm POST-PRODUCTION (Tokyo) Casting. . . Alan Bond. Spotlight Productions Dist Company..........................United Artists STORY Continuity.................. Margaret-Rose Dunphy Resident Bikie...................... Brad Goodham (Australasia) Pty Ltd Prod Company.............................

Verite Film Still Photography.................................. ChicStringer Budget............................................ S150.000 Director.........................................Peter Weir Productions Pty Ltd Technical Advisor.............Dr Graham Webb Length................................................ 80 min Screenplay................................. Peter Weir..

BEST EACH WAY Director......................................Phil Noyce Make-up............................. Deryck de Niesse, Progress............................................ Editing Tony Morphett. Petru Popescu Prod Company.................. Andrew Vial Film Screenplay............................. Ken Cameron Rena Hoffmanis Release Date..............................August 1977 Producers...............

Hal and James McElroy Productions Pty Ltd In association with Les Newcombe Scenic Artist......................................... WalterStackpool Synopsis: Cosy Cool and Gracious Grytt are Producers' Secretary...........Fiona Reynolds Dist Company................ Seven Keys Pty Ltd Photography............................ Russell Boyd Stunts......................................................PeterArmstrong, bikies in a different sense of the word, Prod Accountant..........................Penny Carl Director.....................................

Andrew Vial Music....................................... Robert Murphy Frank Lennon, Herb Nelson they're definitely right — it s the rest of the Photography........................... Russell Boyd Screenplay............................... Andrew Vial Editor..................................... David Huggett Titles................................... WalterStackpool world that's wrong and they're out to prove it. Editor..........................................Max Lemon Producer................................... Andrew Vial Progress............................... Pre-production Budget......................................... $1.6 million Great bikes, great music and some blood.

Prod Manager...................... Ross Matthews Assoc Producer..........................Ann Folland Length.............................................. 120 min Art Director............................... Neil Angwin Length................................................ 12 min Progress..................................Pre-production THE IRISHMAN Prod Designer............................Goran Warff Progress............................. Post-production Cast: U.S. and British leads (to be signed).

Prod Company................ Forest Home Films Prod Assts...........................Phil Hearnshaw.

Synopsis: The deflowering of a myth — a Australian cast includes: Michael Craig, Pty. Ltd. Rod McMorran history of Australian sport interwoven in a 35mm IN PRODUCTION Joseph Furst, Cornelia Francis, Gordon Dist Company............................. G.U.O. Film Prod Secretary............................................ SuArmstrong fictional way with the growing tendency for M a cD o u g all. Je w e ll Blanch, Rowena Distributors Wardrobe............................. Annie Bleakley Australians to opt toward spectatorship. The Wallace, Alfred Sandor, Robert Quilter, Keith Director................................................ DonaldCrombie Standby Wardrobe............... Daro Gunzburg build up of the myth — and a look at the Lee, Gus Mercurio, Tom Richards, Reg THE BEAT GOES ON Screenplay...........................................DonaldCrombie Sound Recordist.................... Don Connolly reality.

Gorman, Roger Ward, Kit Taylor, Lionel Producer............................. AnthonyBuckley Dubbing Editor..............................Greg Bell (Working Title) • Long, Terry Camilleri. Dennis Miller, Sandra Prod Company.....................................DorcliffFilmMusic............................. Charles Marawood Construction Managers. . . Herb Pinter (S.A.).

Lee-Paterson, Barry Eaton, Mark Edwards, Photography.................. Peter James A.C.S. Greg Brown (N.S.W.) HIGH ROLLING Productions Sandy Harbutt, Jay Paul, Phil Avalon, Tom Prod Company........... Hexagon Productions Dist Company...........................................EpicFilmEditor....................................... Tim We ¡cum Asst. Directors.........................................JohnRobertson.

Oliver, John Nash, Barry Barkla, Ken Prod Manager...................... Ross Matthews Ian Jamieson. Penny Chapman Pty Ltd Productions Goodlet, Mark Hashfield. Peter Thompson, Art Director.......................... Graham Walker Camera Operator........................John Seale Dist Company........... Roadshow Distributors Director................................... Mike Konrads Alan Cassell and introducing Lois Cook.

Prod Designer..................................... OwenWilliams Focus Puller...................... David Williamson Pty Ltd Assoc Directors........................

Graeme Orr. S yn o psis: A 20-foot rogue crocodile Unit Manager................... Beverley Davidson Boom Operator........................David Cooper Director.................... .................. IgorAuzins Arthur Larkin terrorizes an outback town in far Northern Prod Secretary............................................ SuArmstrong Clapper/Loader.................... David Foreman Screenplay.............................

Forrest Redlich Screenplay....................

Arthur Larkin (U.S.) Australia. Shooting on location in Chillagoe, Costumes/Wardrobe............. Judith Dorsman Gaffer.......................................... Tony 'egg Producer.................................................... TimBurstall Producer................................. Ross Wallace Cairns and Brisbane.

Sound Recordist....................... GaryWilkins Continuity............................. Gilda Baracchi Associate Producer.................. Alan Finney Exec Producer........................ Gerry Dorcliff Mixer.......................................... PeterFenton Casting Consultants..........M and L Casting Assistant to Producer............. Christine Suli Music.......................................Jean Collinge DAWN! Sound Editor........................................... BobCogger Second Unit Photography........... Ron Taylor Music................................................ Sherbet Photography.................... Michelle Anderson Asst. Directors........................Mark Egerton, Props Buyer.............................................JohnCarroll (formerly "Off the Deep End") , Photography.............................. Dan Burstall Editor............................................... Neil Hyde Mark Turnbull. Penny Chapman Props Standby.......................................... KenJames Prod Company...................... Aquataurus Film Prod Manager................................Peter Kane Editor.................. Edward McQueen-Mason Camera Operator........................John Seale Key Grip............................ Merv McLaughlin Productions/S.A.F.C. Art Director. . . ............................ Mai Phillips Prod Manager............................. Tom Binns Focus Puller........... .......... David Williamson Asst. Grip............................... Michael White Director......................................................KenHannam Prod Co-ordinator..........................Peter Kane Art Director............................... Leslie Binns Boom Operator...............Julian McSweeney Asst. Editor............................. Peter Fletcher Screenplay...................................... Joy Cavill Costumes/Wardrobe.................... Colin Sett Prod Secretary..............................Jo Stewart Clapper/Loader......................................DavidForeman Still Photography.................... David Kynoch Producer.......................................... Joy Cavill Sound Recordist............................ Neil Hyde Prod Accountant........................ Phillip Corr Exec Producer............................................ JillRobb Mixer..................................... Kenneth Talbot Costumes/Wardrobe.......................... KevinReagan Assoc Producer............... Sandra McKenzie Sound Recordist........................Barry Brown Sound E d ito r............................... Neil Hyde Prod Associate...................................... GloriaPayten Mixer......................................... Peter Fenton Asst. Directors.......................... Graeme Orr, SOLO IN SEARCH OF ANNA Photography............................ Russell Boyd Arthur Larkin (U.S.) Asst Directors.......................... Tom Burstall, See Production Report, pages 62-66.

Prod Manager................... Ross Matthews See Production Report, pages 51-55.

Camera Asst............................... JimSmales James Parker Costumes/Wardrobe............. Judy Dorsman Boom Operator........................Keith Wilmott Camera Operator...................... Dan Burstall

Cinema Papers, July — 57

PRODUCTION SURVEY Focus Puller........................................... IvanHextor Boom Operator.................... Mark Wasiutak Clapper/Loader.......................... Grant Fenn Gaffer..................................... Stewart Sorby Continuity............................... Gilda Barrachi Key Grip................................... David Cassar Second Grip.............................. Paul Holford Stunt Co-ordinator.................Errol Archibald Assistant Editor.......................Peter Burgess Choreography........................ Kevin Reagan Hairdresser................................. TerryWorth Best Boy...................................Ian Dewhurst Make-up..................................................TerryWorth Special Effects.................... Lachlan Wilson Stunt Co-ordinator........................Grant Page Stunts (vehicles).................. Errol Archibald Budget............................................ $400.000 Length.............................................. 100 min Progress.....................................Answer Print Release Date....................................... August1977 Cast: Joseph Bottoms, Grigor Taylor, Judy Davis, Wendy Hughes, Sandy McGregor, Gus Mercurio, John Clayton, Robert Hewitt, Roger Ward, Christine Amor, Katie Morgan.

Synopsis: High Rolling is the story of two young men enjoying a Butch Cassidy and the Sundance Kid type of relationship. Itfollows their adventures from a North Queensland country town to the bright lights and excitement of Surfers Paradise.

SUMMERFIELD Prod Company................ Clare Beach Films Pty Ltd Dist Company............................. G.U.O, Film Distributors Pty Ltd Director.....................................Ken Hannam Screenplay............................................... CliffGreen Producer............................... Patricia Lovell Assoc Producer.................................... PomOliver Music.................................................. BruceSmeaton Photography............................ MikeMolloy Editor....................................................... SaraBennett Art Director.......................... Graham Walker Prod Co-ordinator.................. Jenny Tosolini Prod Accountant.....................Treisha Ghent Assistant.................................KateChantler Costume Designer.................. Ron Williams Wardrobe Asst............................ Robin Hall Producer. Antony I Ginnane. with two of the leads from Colin Eggleston s Fantasm Nell Campbell (left). Robyn Moase Tom Cowan (director). Peter Gaily. Rose Lilley and Jeni Sound Recordist...................... Ken Hammond Comes Again Thornley during the filming of Journey Among Women.

Mixer........................................ Peter Fenton Sound Editor............................. Bob Cogger Standby Wardrobe............. Judy Whitehead Color Process........................ Eastmancolor Asst. Directors........................................ MarkEgerton.

Mixer...................................... Studio Tracks Sound Recordist......................... Jeff Dormg Still Photography................................ GeorgeMiller MarkTurnbull. Steve Andrews Progress........................

Awaiting Release Sound Editor......................... TonyPatterson Sound Editor................................... Greg Bell Wardrobe Asst....................................... TerryRyan Camera Operator.................................... GaleTattersall Cast: Captain Goodvibes. Astro the wonder Asst. Director................ Tom Jacobson (LA) Camera Asst.........................Jenny Thornley .

Hairdresser..........................Anne Pospischil Focus Puller............................................PeterRogers dog, A lizard orchestra. Nubile South Pacific Camera Operators................ Stuart Dell (LA).

Lighting............................. Brian Bansgrove Assistant Gaffer................................... PeterMaloney Boom Operator..................... Chris Goldsmith pig ladies.

Luis Brown (Melb) Additional Photography.. Malcolm Richards Make-up.....................................................VivMepham Clapper/Loader....................... David Brostoff Synopsis: "A tasteful, sensitive and Gaffers........................... Frank Silveira (LA).

Props.....................................Sally Campbell Unit Runners............................... Tim Smart. meaningful film that will arouse intelligent Gaffer...................................................... TonyHoltham John Brennan (Melb) Architect...................................... Jan Felton Andrew Lesnic audiences" — Hog Breeders monthly.

Continuity.............................. Lyn McEncroe Continuity........................... Julie Hines (LA) Grip............................................ Jim Godsall Construction Manager...... Bill McDonough Design Consultant.................................JennyGreen Asst. Art Director....................Chen Paul (LA) Asst. Editor.................................Hugh Piper Construction Crew........... Guy McDonough.

Standby Props........................ Bruce Barber Grips............................... John Murphy (LA).

Titles................................. Harry Williamson Robert Doecus Props Buyer............................. Chris Webster INSIDE LOOKING OUT Terry Jacklin (Melb) Length............................................. 102 min Asst. Props..........................................PaulineWalker Still Photography....................... Ron Batzdorf(LA).Painter.....................................Matthew Philip Prod Company.................. Illumination Films Color Process.................................Eastman Laboratory Liaison...................... Bill Gooley Director................................................. PaulCox Progress........................... Awaiting Release Grip..................................... Graham Mardell Earl Mante (Melb) Asst. Grip........................... Graham Litchfield Best Boy.....................................Ron Batzdorf(LA) Catering........................................ Anna-MaryCatering Screenplay...............................................PaulCox.Cast: Lillian Crombie. June Pritchard. Martin Budget............................................ $500.000 Asst. Editor................................... TedOtton Makeup...................... Debbie Maxwell (LA).

Phelan. Rose Lilley. Diane Fuller. Nell (Little Susan Holly-Jones Length.............................................. 100 min Still Photography............................. Ian Potter Nan Dunne (Melb) Neil) Campbell. Lisa Peers. Jude Kuring. Kay Producers............. Paul Cox. Bernard Eddy Progress........................................... Awaiting Assoc Producer.........Tony Llewellyn-Jones Construction Manager..............................RayBrown Catering.................................Robyn Preston Self. Robyn Moase. Tim Elliot. Kenneth Laird.

Release Photography........................................ PaulCox Ralph Cotterell.

Carpenter...................................Phil Warner Casting................ REB Sunset International Cast: Barry Humphries. Patricia Kennedy. Editor........................■.................. Paul Cox Script Consultant...................... Moya Wood Prod Assistants......................... Hunt Lowry.

Synopsis: A group of incorrigible convict Candy Raymond, Jan Friedel. Monica Art Director .................. Alan Stubenrauch Hairdresser.......................... Cheryl Williams Sindy Hawke. Judy Friend. women escape into the wilderness taking Maughan, Dorothy Bradley, Diana Greentree. Prod Co-ordinator..........

Best Boy.............................................. PeterMaloney Dave Degeus with them the judge advocate's daughter Set Bernard Eddy Julia Blake, Noni Hazelhurst, Margot Sound Recordist.......

Makeup................................. Deryck de Niese Prod Secretary...........Christine Knapp (LA). in a British penal colony in 1792. .. Russell Hurley McLennan, Gerda Nicholson, Terence Asst. Director........................ Bernard Eddy Electrics 1............................................. MickEwan Marlane Pearce (Melb) Donovan, Stephen Oldfieid, John Waters, Camera Operators................ Peter Tammer.

Generator............................... Simon Purton Titles.................................... Howard Pearce SUMMER CITY Celia de Burgh. Sigrid Thornton, Kerry Runners........... Ralph Storey. Mark Williams Budget.............................................. S80.000 Bryan Gracey Prod Company. .

Avalon Films and Armstrong, Stephanie Blake. Richard Butler, Focus Puller............................. William Kerr Budget............................................ S560.000 Length................................................ 94 min Summer City Productions Kim Deacon, Michael Edgar. Kay Eklund. Camera Asst.................

Length........................................... 100 min Progress........................... Awaiting Release . . JohnTwegg Director...............

Christopher Fraser Max Fairchild.

Susannah Fowle.

Cordelia Color Process........................ Eastmancolor Cast: Rick Cassidy. Mary Gavin. Con Covert.

Boom Operator.................... Bruce Lamshed Screenplay......................

Phillip Avalon H a rris o n , S h e ila H e lp m a n n , Roma Clapper Loader...................... SandraIrvine Progress............................. Post-production Bill Margold. Uschi Digart. Serena. Dee Dee Producer PhillipAvalon Johnstone.

M aggie K irk p a tric k .

A lix Cast: Nick Tate. John Waters, Elizabeth Levitt. Rainbeaux Smith. Clive Hearne. John G a ffe r.....................................................RossLander Assoc Producers .

Fontana Films.

Longman, Jo-Anne More. Amanda Moore. Continuity............................. Julie Millowick Alexander. Michelle Jarman. Bud Tlngwell.

C. Holmes. Angela Menzies-Wills. Tom Happy Investments Hilary Ryan, Janet Shaw.

Karen Sutton.

Geraldine Turner. Max Cullen. David Smeed.

Thumb. Liz Wolfe. Rosemarie Bern. Urias S. Asst Unit Manager.

Darrelyn Gunzburg M u s ic ..................................

Phil Butkls Edwlna Wright.

Barry Donnelly. Shelia Florance. Isabel Cambridge. Peter Kurzon. Lois Owens. Mike Set Decorator..............

Alan Stubenrauch Photography . . . . . . . . Jerry Marek Synopsis: Based on the novel by Henry Grip....................................Paddy Reardon Harley. Joy Westmore. Adrian Wright. Max Stapp. Michael Barton. Suzy A Star.

Lighting. .. .

PeterStadler Handel Richardson.

Fairchild.

Amanda Smith. Herb Layne.

Still Photography........................ Wim Cox. Editor ..

David Stiven Synopsis: A young schoolteacher goes to a Synopsis: A cub reporter is assigned to a Heinz Lambertin Prod Manager . ..

Lionel Slutzkin small fishing town, in Victoria to take overihe sexual advice column. She answers ten Script A ssts........................... Bernard Eddy.

Art Director . , ........................Jann Hams school as the previous teacher has disap­ letters with differing results.

THE GREEN MACHINE Tony Llewellyn-Jones Unit Manager ..................... Ron Swanson p e a re d w ith o u t tra c e . He becom es Makeup .................................Trudy Simms Prod Company...........Kingcroft Productions Prod Asst.......

Peta Alexiou fascinated by the people living at "SummerTHE GETTING OF WISDOM Dist Company............................United Artists Catering................ Gus Eddy. Kate Halliwell Wardrobe . Karen Vaughan-Williams field” . an island farm, and Involved In the Prod Company.................... Southern Cross Personnel Physician.........Dr James Khong Director................................... Terry Ohlsson Sound Recordist . . .. . Bill Pitt mystery of the teacher s disappearance Titles.......................................... Julian Eddy Film Productions Screenplay..............................Terry Ohlsson Asst Director..................................... MichaelCarlton against his better judgment. Think of the Director.................. ............Bruce Beresford Length................................................ 92 min , Exec Producers......................................PeterArnold, Asst.

Camera....................George Kopacka worst that could happen — then think again Producer.................................. PhillipAdams Peter Johnson Color Process........................ Eastmancolor Continuity......................... Christina Mackay Progress........................... Awaiting Release Photography.......................................... DonMcAlpine Music............................... Tchalkowsky'1812 Key G r i p ................................................PaulNiven Cast: Briony Behets. Tony Llewellyn-Jones.

Photography.............................................GuyFurner, Editor....................................... Bill Anderson Asst. Editors Allan Trott. Derek Catterall Screenplay...................... Eleanor Witcombe Keith Lambert Dam Eddy. Juliet Bacskai. Norman Kaye.

Hairdresser .

Rosa Miano Elke Prod Manager................................... RussellKarelEditor..........................................................BillStacey Neidhart.

Makeup BronwynJones 35mm AWAITING RELEASE Synopsis: In many marriages a state of truce Art Director...................................... RichardKentTechnical Advisor................................ PeterArnold Still Photography.................................. MaiKearney. and vacuum develops. Such is the case with Director's Asst........................................MoyaIceton Make-up............................. Josie Knowlands Lionel Slutzkin Length................................................ 20 min the marriage of Elizabeth and Robert.

Prod Accountant....................................... LynBarker Graphic Artist.................... Phillip Mortlock Prod Co-ordinator.................. Julie Hocking Color Process................................. Eastman Elizabeth's realization of unfulfilment in her Artist...................................... Brian Maloney FANTASM COMES AGAIN relationship with Robert brings her closer to Prod Designer....................................... JohnStoddart Progress........................... Awaiting Release R unner...............................

Alex Watson (formerly "Fantasm 99") Costumes................................................AnnaSenior Synopsis: A look at today's Army and all its her daughter Dani but offers her no practical Color Process.................................Eastman solution. This film makes an attempt at Prod Company............................... First Film Sound Editor..................................... WilliamAnderson facets.

P rogress.......................... Awaiting release penetrating the contradictions of personal Finance Pty Ltd for Sound Recordists.................. Desmond Bone.

Cast: John Jarrat. Phil Avalon. Steve Bisley. motivation.

Australian International Film Corporation Gary Wilkins Mel Gibson. James Elliot. Abigail. Debbie HOT TO TROT Dist Company................................. Filmways Asst. Directors..........................Michael Lake, Forman. Judith Woodroffe. Ward Austin.

Director............................. Colin Eggleston Toivo Lember, Prod Company......................Voyager Films Ross Bailey. Carl Rorke. Hank Tick and the JOURNEY AMONG WOMEN Screenplay............................... Ross Dimsey John Hipwell Pty Ltd Marshall Bros>S3and. Peter McGovern. Vicki Producer.......................... Antony I. Ginnane Camera Operator.................................... GaleTattersall Hekimian.

Screenplay........................................... TonyEdwards.

Prod Company.............................. KoAn Film Exec Producers.................. Robert F. Ward.

Camera Asst........................................ PeterSykes Ian Watson Synopsis: A period psycho-drama, set in a .

Productions Mark Josem Boom Operator.................................... MarkWasiutak Producer..................................... David Elfick small coastal resort town.

Director.................................................... TomCowan Assoc Producer........................... Leon Gorr Clapper/Loader..................................... DenisNikolic Music................................. Lazy Ade and his Screenplay.......................... Dorothy Hewett.

Music................................................ Jon Mol Focus Puller................................. David Burr late hour boys John Weiley. Tom Cowan Photography........................Vincent Monton Gaffer................................................... RobertYoung Photography...........................................PeterLuschwitz • and Cast Editor................................... Tony Patterson Continuity............................................... MoyaIceton Editor........................................ Leo Sullivan Story.......................................... Tom Cowan Prod Manager................ Tom Jacobson (LA) Key Grip............................... Joel Witherden Prod Designer........................Tony Edwards Producer................................... John Weiley For details of the following 35mm films Art Director................ Antony Brockliss (LA) Asst. Grip.......................... Geoff Richardson Animators.................... Sebastian La Gosta,, Exec Producer......................... John Weiley consult the previous issue: Costumes Wardrobe......... Anye Coffey (LA) Standby Props...................... Nick Hepworth Peter Luschwitz Music....................................................... RoyRitchie The Electric Candle Sound Recordists......... Neil Rozensky (LA).

Props Buyer.......................................... MarkRochford Budget.............................................. $15,000 Editor............................................ John Scott The Ghosts of Yerrenderie Don Boardman (Melb) Asst. Editor............................. CatherineAnn Length..'................................................5 min Costumes/Wardrobe......... Norma Moriceau Lasseter’s Reef Millar

58 — Cinema Papers, July

PRODUCTION SURVEY 16mm PRODUCTION SURVEY BALANCE Prod Company.................... Viewfinder Films Director........... .................... Misha Nussinov Screenplay..........................Jenny Nussinov.

Misha Nussinov Producers.......................... Jenny Nussinov.

Misha Nussinov Photography.......................................... MishaNussinov Asst. Director.......................Helene Jamieson Editor..................................... David Huggett Budget............................................... S25.000 Length................................................ 52 min Colour process.................................. Eastman Progress............................ Post-production Synopsis: Balance is one of those magical words most people recognise instantly. Few. however, realise its link with peace. This film explores the implications of balance' in direct relationship to ordinary human beings — and presents a rich, contrasting picture of basic human dilemma.

FOUR TV SPECIALS The Coral Labyrinth Night Prowlers Predators On The Move Tragedy Reef

i& m

fX

.

pi

JS

IMm. Maidens

Rodeo

S H A D O W SISTER For details of the following 16mm films Prod Co............. Cinetel Productions Pty Ltd consult the previous issue: Backroads Dist Co...............Cinetel Productions Pty Ltd Director...................................................FrankHeimans Brother Barry and the Boys The Educational Smorgasbord or the Old Screenplay.......................... Jenny Nussinov Facilitator Strikes Again Producer.................................................FrankHeimans Highway One Exec Producer....................................... FrankHeimans Hollywood, Hollywood Music................... Woomera Dancing Group Hope Photography..............................Geoff Burton Just Another Night Editor................................... Frank Heimans The Legend of Yowie Sound Recordist...................... Robert Wells The Living Goddess Mixer. ....................................... Peter Fenton Sound Editor........................................... FrankHeimans Love Letters from Teralba Road Mama's Gone A-Hunting Special Photographic Effects The Alternative Densey Cline. Jim Frazier Gone to Ground Camera Operators........... Mischa Nussinov, Menace Vic Martin, David Perry, Racing on the Rock Richard Cole We Aim to Please Still Photography................ Douglass Baglin Where the Action Is Narrator..................................... Kath Walker Budget.............................................. S29.500 Length................................................ 52 min Gauge.................................................. 16mm Color Process....................................Eastman TELEVISION SERIES Progress............................Awaiting Release Release Date................................. July 1977 Cast: Kath Walker, Judith Wright McKinney.

Bill Mewett. and aboriginal children: Cheryl. Producers of television series and films are Sammy. Linda Boydie. Richard. Judy. Robert. requested to assist the co-ordinator of this Marie. column by sending complete details of cast, Synopsis: Shadow Sister is a documentary crew and processes of each production to film about Kath Walker, aboriginal poet, who Cinema Papers. 143 Therry St.. Melbourne. lives at Stradbroke Island. Queensland. Kath 3000. is Australia's foremost aboriginal poet and her deeply expressive works, first published YOUNG RAMSAY during the civil rights era of the 1960s. and her stand on the platform for aboriginal Prod Co......... Crawford Productions Pty Ltd rights contributed greatly to the world s for the Seven Network growing awareness of the Australian Directors............. Rod Hardy. George Miller. aboriginal cause.

David Stevens. Simon Wincer.

Her poetry is a strong outcry against the Michael Jenkins treatment of her people and in it she fights Producer/Consultant........... Henry Crawford for the survival and identity that has been Script Editor..........................Denise Morgan denied to the Aboriginal people.

Writers........... David Stevens. Tom Hegarty.

She lives alone at "M oo n g alb a". a Vince Moran. Bob Caswell. peaceful five acres of land where Kath spent Sarah Darling. Peter Schreck. her early childhood. The film examines her David Boutland. Michael Jenkins life, her gift of communication with the Progress....... Production commences July 4 animals and the birds, her love of children — Cast: John Hargreaves, Serge Lazareff, black and white — who come to visit her. and Barbara Llewellyn. her friendship with her Shadow Sister, poet Synopsis: An all film "family" series set in a Judith Wright McKinney The film lets us live Victorian coastal town near the NSW border, with Kath and experience her many moods featuring a young veterinarian. and shows us a personal viewpoint through her poetry.

THE NIGHT NURSE Photography. Andrew Fraser. Russell Boyd.

Alan Hewison. Greg Hunter. Richard Wallace Prod Company. Gemini Productions Pty Ltd D ire c to r.............................

IgorAuzins Aerial Photography...............Andrew Fraser Screenplay............................ Ron McLean Underwater Photography. . Ron and Producer............................. Robert Bruning Valerie Taylor Exec Producer......................Stephan Kibler Microphotography...................... Peter Parks Photography. .

Russell Boyd Editor..................................... Paul Maxwell Editor......................................... Trevor Ellis Prod Assts.....................

Peter Lothnnger.

Prod Manager....................

Terrie Vincent Gordon Cox. Virginia Moore Art Director..................

David Copping Unit Secretaries. . Gwen Oatley. Erica Hayle Prod Co-ordinator .. .

Carol Williams Sound Recordists Jim Haron. John O'Connell Prod Secretary........................... LindaDrake Sound Re-recordists...........

Peter Fenton.

Costumes Wardrobe CarolBerry Alasdair Macfarlane Sound Recordist............................Cliff Curll Special Effects............................. Peter and Mixer Phil Judd Amanda Newton 1st Asst. Director.

Peter Appleton N a rra to r................................. James Dibble Unit Manager .. Ande'Evan-Maddox Scientific Adviser. .

Prof Frank Talbot Camera Asst................................ JanKenny Consultants....................

Prof Y. T Chang.

Boom Operator.................... Jack Friedman Prof. D. T. Anderson Gaffer......... ...................... Mick Morris Color P ro cess.................... . Eastman Continuity.................................... Jo Weeks Length............................................. 77 min Props Buyer Standby.................. Harry Zettel Cast: As explorers' voices: Ralph Cotterill, G r ip ................................. Merv McLaughlan Alastair Duncan, Tim Eliott. Alan Faulkner.

THE LAST TASMANIAN S O U N D S L IK E N IU G IN i Ken Goodlet, Daniel Guilbaud. W alter Asst. Editor............................ Vicki Ambrose Prod Company....... ARTIS Film Productions Sullivan. Ronald Morse. Tony Wager.

Still Photography...................... MikeGiddens For details of the following television series Prod Co................ Bob Talbot & Associates in association with Tasmanian Department of Best Boy...............................

Sam Bienstock Synopsis: The story of the Great Barrier Dist Co.....................................Roadshow see the previous issue: Film Production and Société Française de Reef from man's first positive awareness of M a keu p .................................

JosyKnowland Director...............................................

Robert Talbot Bellbird Production it. to his realization that it is a maior world Budget............................................ S105.000 Producer............................................. RobertTalbot Bluestone Boys Dist Company......... ARTIS Film Productions Length................................................

75 min wonder of great value to Australia and Photography........................Gordon Bennett Bluey Director..................................... TomHaydon mankind Gauge.................................................. 16mm Editor................................................ MichaelReed The Box Screenplay............................................... TomHaydon.

Progress......................................... Shooting Prod Secretary....................... AmandaQuint No. 96 Rhys Jones RODEO Release Date.................

1978 Sound Recordist................... Ian Jenkinson The Outsiders Producer................................... TomHaydon Prod Company................................. Filmnoir Special Photographic Effects.. Paul Glucina Cast: Kate Fitzpatrick. Davina Whitehouse.

Rush Assoc Producer.........................................RayBarnes Director................................................... ChrisOliver Kay Taylor. Gary Day Length....................................... 22 min The Sullivans Photography........................................... GeoffBurton Screenplay............................... Chris Oliver. Gauge......... 16mm (to be enlarged to 35mm) Synopsis: A psychological thriller wherein Who Do You Think You Are? Unit Manager........................ Roz Berrystone John Ruane Color Process...............'................. Eastman an attractive young woman innocently finds Prod Secretaries...................„ .. . : Rosanne Assoc Producer............................. Sam Zard herself manipulated in a mind game per­ Progress.................................... Editing Andrews-Baxter.

Photography............................ John Ruane Release Date..............................August 1977 petuated by her Machiavellian mistress.

Adrienne Elliott Editor.................................................... ChrisFitchett (Number 1 in a package of six films for tele­ Synopsis: Stylized documentary relying Prod Assistant....................................... GillianLeahy AVEC FILM UNIT Sound Recordist..................................... LloydCarrick vision ) entirely on the unique sounds of Niugini to Sound Recordist................................... RobertWells Camera Asst..................... Mark MacCanliffe tell the story, including native sequences Camera Operator.

Gert Kirchner G a ffe r...................................................... RobDoyle never before filmed. Shot for the Niugini Camera Asst. . Russell Galloway PLUNGE INTO DARKNESS Continuity.................................

Ruth Jones Office of Tourism.

Continuity..............................Roz Berrystone Prod Company . Gemini Productions Pty Ltd THE JUBILEE AND BEYOND Sound Asst....................................Paul Elliot Grip.......................................Garry Clements' Director............... . .. . Peter Maxwell Stunts...................................... Bonger Hobbs.

Prod Company.......................AVEC Film Unit Technical Co-ordinator.............Gert Kirchner Screenplay....................

Bruce A. Wishart TR A C K S Ralph Lawrence (for the Physical Education Branch) L e n g th .............................................. 60 min Producer Robert Bruning Budget.............................................. S15.000 Dist Company..............................Audiovisual Prod Company........... Highway Productions Color Process.......................

Eastman7247 Exec Producer....................... Stephan Kibler Length................................................ 50 min Dist Company............. Highway Productions Education Centre Progress........................ Awaiting Release Photography......................

Russell Boyd Color Process........................ Eastmancolor Director.................................................. SteveOtton Director...........................................Ivan Gaal C a s t: A n th ro p o lo g is t Dr Rhys Jones E d ito r..................................... Ron Williams Progress..............................

Post-production Screenplay................................................

Phil Jarratt Screenplay.....................

Maree Teychenne supported by past and present natives of Prod Manager.........................Terrie Vincent Cast: John Flaus. Tony Mack. Warren Research........................ Gabriella Batchelor Producer................................................ SteveOtton Tasmania, with some French and English ap­ Art Director . David Copping Coleman.

Yarny Metcalf.

Les Carter.

Carol Producer.........................................Ivan Gaal Music.................................

Bilgola Pop Band pearances.

Prod Co-ordinator.................. Carol Williams Lander. Dave Lander. Harold Scott.

Exec Producer.......................Ross Campbell Editor......................................... Colin Greive S y n o p s is : The e xte rm in a tio n of the Prod S ecreta ry....................

Linda Drake Synopsis: A young thug becomes a rodeo Sound Recordist.........................

Hugh Cann Editors..................

Ivan Gaal.

David Hughes Tasmanian aborigines is the only case in Costumes Wardrobe .............. Carol Berry rider Prod Manager............................. Helen Harris Mixing................................... Smart St. Films recent times of a genocide so swift and total.

Sound Recordist TimLloyd Prod Co-ordinator....................................RossLukeis Sound Editor............................. Colin Greive A search to rediscover these unique people.

Mixer Phil Judd Cameramen........................... Rob McCubbin.

Camera Operator................................ SteveOtton ROSES BLOOM TWICE 1st Asst Director John Robertson Frank Sheeran. Gabriella Batchelor MAIDENS Prod Company Gemini Productions Pty Ltd Narrator.................................................. PhilJarratt Unit Manager David Bowden Sound Recordist.................... David Hughes Director........................ . Paul Eddey Budget.................................................$2000 Director................................... JeniThornley Camera Asst JanKenny Graphics................................................ AlexMilsky Length....................................................5 min .

TonyMorphett Screenplay . .

Screenplay.............................. JeniThornley Boom Operator . Jack Friedman Length................................................ 20 min Producer. . .

Robert Bruning Progress............................................ Editing Music....................................... Theresa Jack.

Gaffer Mick Morris . Stephan Kibler Release Date............................. January 1978 Gauge.................................................. 16mm Exec Producer Avril Bell Continuity . Jenny Quiggley Color Process................................. Eastman Cast: Tracks magazine staff.

Photography .

Gary Hansen Editor....................................... JeniThornley Props Buyer ... John Carroll Synopsis: A short film on the production of Progress................................ Post-production Editor...............

Trevor Ellis Optical Printing..........................Brian Jones Props Standby HarryZettel Synopsis: The Queen's recent visit seen Tracks — a surfing magazine. .

Terrie Vincent Prod Manager (Tantra Films) Grip .-.

Merv McLaughlan through the eyes of V ictorian school Art Director John Carroll Budget.................................................. S3500 Best Boy Sam Bienstock children. .

Carol Williams Prod Co-ordinator Length................................................ 30 min Makeup Josy Knowland Prod Secretary Linda Drake Color Process.................. Ektachrome 7252 Budget . . S105.000 ■ Carol Berry Costumes Wardrobe Progress............................................. Editing Length .

75 min THE MAKING OF ANNA Cliff Curll Sound Recordist Synopsis: Collage documentary reprinting Gauge 16mm Phil Judd Prod Company...................... AVEC Film Unit Mixer old photographs, super 8, film and video.

Progress Pre-production Dist Company..................................... AVEC Bob Hughes Camera Asst Four generations of the filmmaker s maternal Release Date 1978 Jack Friedman Boom Operator .

Director................................. Robert Francis family from 1907 to 1977.

Cast: Currently casting Gaffer Mick Morris Producer............................... Robert Francis Synopsis: An action thriller wherein an and .

Jenny Quiggley Exec Producer........................ Ross Campbell Continuity unsuspecting couple find themselves in the MOUTH TO MOUTH Robert Flaherty Photography............................. Peter Dodds Props Buyer vortex of converging evil (Number 2 in a Director.................................................... JohnDuigan Merv McLaughlan Grip Editor.......................................

Robert Francis package of six films for television i Screenplay...............................................JohnDuigan Sam Bienstock Prod Manager......................... Rob McCubbin Best Boy Co-Producer............................John Sainken Josy Knowland Prod Asst.............................. . . Ross Lukeis Makeup THE REEF Photography.......................................... TomCowan S105000 Budget Sound Recordists ................ Lloyd Carrick.

Editor..................................... Tony Patterson Prod Company . John Heyer Film Company 75 mm Include your current and future Length David Hughes (for the Australian Conservation Foundation) Prod Manager....... .................... Vicki Moiloy 16mm projects in our production survey Sound Editor........................... David Hughes Gauae Director . . . . . .

John Heyer Prod Secretary.................. Laurel Crampton Pre-production Asst. Editor.............................. Adrian Bruch Progress listings.

Forward your production Screenplay and Research. Michael Noonan.

Sound Recordist........................ Lloyd Carrick 19/8 Release Date Length................................................ 35 min details and stills to: John Heyer Length................................................ 97 min Cast: Currently casting Gauge.................................................. 16mm Producer John Heyer Progress............................... Pre-production Synopsis: This is the story of a widows Color Process....................................Eastman Production Survey . , (Shooting August September) Exec Producer Sir Garfield Barwick attempts to begin life again, the humorous Progress................ Post-production Cinema Papers Assoc Producers .

Steve and side as well as the poignant Eventually she Cast: Soma Peat. Serge Frazzetto Synopsis: A portrait of hopes, idioAlison Domm Synopsis: The story of two young men from stumbles her way towards the set of rules syncracies. frustrationsand achievements 143 Therry S t Music Piano Concerto No 5 by the country coming to the city to look for which will form the basis of her life to come during the production of InSearch of Anna Melbourne, 3000 Beethoven. Botany Baylhoven by work: they associate with two girls on the run (Number 3 in a package of six films for tele­ Telephone: (03) 329 5983 Herbert Marks vision i from a Remand Centre.

Prod Company..............................Ben Cropp Productions Pty Ltd Dist Company.............................. Ben Cropp Productions Pty Ltd Director.........................................Ben Cropp S creenplay................................. Ben Cropp Producer.......................................Ben Cropp Photography............................... Ben Cropp Camera Operator........................ Ben Cropp Sound Recordist.................. Lynn Patterson Narrator................................... Michael Cole Budget............................... S18.000 each film Length..........................52 minutes each film Gauge.................................................. 16mm Progress.......................................In Release Cast: Ben Cropp. Eva Cropp. Wally Gibbms.

Lynn Patterson.

S yn o p sis: Four one-hour TV specials .covering mainly sea snakes, sharks, wrecks, and dangerous night creatures — all filmed mostly underwater on the Barrier Reef.

PRODUCERS DIRECTORS

PRODUCTION COMPANIES

Cinema Papers, July — 59

PRODUCTION SURVEY B

PERCY ALDRIDGE GRAINGER Prod Company...................... AVEC Film Unit Director..................................... Peter Dodds Screenplay. Maree Teychenne, Peter Dodds Gauge.................................................. 16mm Progress............................... Pre-production Synopsis: This dramatized documentary explores the life and music of the Australian composer and pianist. Percy Grainger.

Camera Asst.......................... Andre Fleuren Grip.......................................... Ron Loebell Asst Editor............................ Lynne Williams Length................................................ 15 min Gauge.................................................. 35mm Color Process................................. Eastman Progress............................................ Editing Release Date................................. July 1977 Synopsis: Theatrical film on canoeing in Australia.

Synopsis: A film on the operations and extent of the work of the Commonwealth Serum Laboratories in Melbourne.

Synopsis: Using the artist's own words to give the audience a greater insight into the paintings of Sir Hans Heysen.

Synopsis: The value of art in the school curriculum.

WOOL

MARCH THE FOURTH Prod Company...............Pepper Audiovisual Prod Co...................... Kingcroft Productions INNER AREA REDEVELOPMENT Director.................... . ........... Max Pepper Dist Co.....................................Film Australia Screenplay................................... John Dick Screenplay........................... Terry Jennings Director.................... Brian Trenchard Smith Exec Producer...................... Malcolm Smith Exec Producer.................. Lesley Hammond Screenplay... Chris McGill. Ann Brooksbank Sponsor...........Australian Wool Corporation Length................................................ 15 min Producer.................................................TerryOhlsson Synopsis: An introduction to the Australian Gauge.................................................. 35mm Exec Producer...................... Peter Johnson Sponsor.................... South Australian State Wool Corporation.

TULLAMARINE JETPORT Photography............................................RossNicholls THE CLAIM Planning Authority Prod Company...................... AVEC Film Unit Editors...........Bill Stacey, Louis Byrne Smith WORKER PARTICIPATION Synopsis: To show audiences what inner Prod Co.................................. Film Australia Dist Company...................................... AVEC Prod Manager........................Patricia Blount area redevelopment means, and how it Screenplay............................. Russell Porter Director........................................................ K.Gow Director.......................................... Ivan Gaal Mixer.......................................... John March benefits the community if it is properly under­ Exec Producer.................. Lesley Hammond Screenplay................ K. Gow, Stanley Dalby Screenplay..................................... Ivan Gaal Special Effects...................... Monty Fieguth taken.

Length................................................ 20 min Producer................................................... DonMurray Research...................... Gabriella Batchelor, Length................................................ 30 min Gauge.................................................. 16mm Asst Producer........................................

Ron Hannam Ross Lukeis Gauge.................................................. 16mm INTERVIEW Sponsor................ South Australian Unit for Photography.........................................

Ross King Producer........................................ Ivan Gaal Color Process................................. Eastman Industrial Democracy Editor.......................................................... IanWeddell Screenplay........................... Terry Jennings Exec Producer......................Ross Campbell Progress............................... Pre-production Synopsis: To introduce people to what Prod Manager........................... GeraldLeets Exec Producer.................. Lesley Hammond Editors.................. Ivan Gaal. David Hughes Release Date........................November 1977 industrial democracy is and how it can Costumes/Wardrobe..............................

Sue Horsley Length................................................

20 min Prod Manager............... Gabriella Batchelor Cast: Presently casting. benefit people.

Sound Recordist...................... Howard Spry Prod Co-ordinator......................Ross Lukeis Synopsis: A dramatized documentary on the Gauge.................................................. 16mm Mixer........................................

George Hart Sponsor.............................

South Australian Cameraman.......................... Rob McCubbin outbreak of a fire and the subsequent Asst Director............................. Gerald Letts Education Dept.

Sound Recordist.................... David Hughes evacuation of a high rise hospital.

Camera Asst............................. TonyGailey Synopsis: Positive approaches for teachers Length................................................ 20 min Boom Operator........................................JohnFranks DEPARTMENT OF FILM to use when interviewing parents of pupils.

Gauge.................................................. 16mm URBAN MIXTURES Gaffer........................................ BruceGailey PRODUCTION TASMANIA Color Process........................ Eastman Prod Co................................... Film Australia Continuity.................................Jenny Quigley JUVENILE AID PANELS Progress............................................ Editing Dist Co......................................Film Australia Grip........................................ Ralph Gosper Synopsis: Examines theuniquely important Prod Company......... Bosisto Productions in Director................................... Martin Cohen Asst Editor........................... Lynne Williams role played by the airport in thelives of the association with NWS Channel 9 The Production Company for all the following Scriptwriter............................... Martin Cohen Still Photography.....................................John Rhodes people who pass through it.

Director...................................... John Dick films is. Department of Film Production Producer................................

Peter Johnson Technical Advisor. . Clyde Cameron College Screenplay........................ . Terry Jennings Tasmania.

Photography, , . Mick Von Bornemann A.C.S. Titles........................... Optical and Graphics Producer.................................

Brian Bosisto Editor.......................................................ColinWaddy Length................................................ 85 min Vision Mixer......................... John Cronshaw Prod Manager............................................. SuDoring Gauge................................................. 16mm DISADVANTAGED SCHOOLS Length................................................ 32 min Mixer................................. Julian Ellingworth Color Process................................. Eastman FILM AUSTRALIA Director................................. Rodney Musch Gauge................ 2 " videotape transferred to Release Date...........................................June1977Titles...................................... Film Graphics Screenplay..............................John Edwards 16mm color film Length................................................ 30 min C ast: Henri Szeps. Don Reid. Harry Producer................................. Don Anderson Cast: Elaine Bentley. Frank Gallacher.

Gauge................................................. 16 mrr Lawrence. Phillip Ross. Graeme C. Smith.

Exec Producer...........................

Ray Barnes Barbara West.

Kim Pitman.

Judith Dick.

Mark Color Process................................. Eastman Maggie Kirkpatrick, Max Osbiston, Ron Editor.............................................. Tony Gibb Muggeridge. Ann Bannon. Peter McBride.

AUSTRALIAN WAR MEMORIAL Progress............................ Post Production Grahame, Gerry Duggan, Peter Corbett, Ben Sound Recordist......................

Frank Mclvor Oriana Panozzo.

Release Date........................ June/July 1977 (Work title) Gabriel, Georgia Brown. Veronica Lang.

Mixer....................................................... PeterMcKinley Synopsis: A training film for Juvenile Aid Synopsis: A look at some of Australia's Gordon Piper. Shane Porteous. Serge Prod Co...............Motion Picture Associates Sound Editor........................................

PeterMcKinley Panelists — both social workers and police migrants and their problems through the use Lazareff. Richard Gilbert. Tom Farley. Ray Dist Co...................................................... FilmAustralia Cameraman............................. Gert Kirchner officers. Actual cases are re-enacted by of ethnic and access radio stations.

Bennett. Rita Rider. Roger Ward. Louis Director...................................... Bob Walker Camera Asst...................... Russell Galloway professional actors.

Wishart.

Screenplay.................... ■......... Pat Burgess Clapper/Loader............... John Jasiukowicz Synopsis: A dramatized documentary about Producer............................... Peter Johnson Grip....................................................... GaryClements LEISURELINES the events surrounding the formulation of a Photography.................... John Leake A.C.S. Still Photography.............. Brendan Bannister Prod Company....................

Newfilms Pty Ltd SOUTH AUSTRALIAN FILM new log of claims. The film begins with the Editor.......................................... Bob Walker Titles.......................................... Gudrun Hey Director ............................... Terry Jennings workers' meetings on the factory floor, then CORPORATION Gaffer................................... Warren Mearnes Length................................................ 20 min Screenplay........................................... TerryJennings traces the progress of the claim through Titles...................................................... FilmGraphics Gauge.................................................. 16mm Producer......................................Justin Milne inter-union meetings, negotiations between Length................................................ 30 min Color P ro cess.................Eastmancolor 7247 Exec Producer........................Peter Dimond unions and employers and eventually Gauge.. . : .......................................... 16mm Release Date.................................. April 1977 Photography.......................................... GeoffSimpson through to the arbitrated decision which is All the following films are distributed by the Color Process................................. Eastman Synopsis: This film shows the efforts being Editor................................................

Andrew Prowse handed down by the third party.

South Australian Film Corporation.

Progress............................................ Editing made by concerned teachers in obtaining Asst. Editor.............................................. LucyClark Release Date.........October/November 1977 parent involvement to solve the problems of Sound Recordist.......................................

Bob Allen CHILD MOLESTING COMMONWEALTH SERUM Synopsis: A film aimed at explaining to "problem " students, particularly in the Production Asst..............Christine Cockram secondary school students the meaning and LABORATORIES Screenplay............................... Peter Clarke students attitudes to their studies and Length................................................ 12 min background of the Australian War Memorial school.

(Working title) Exec Producer.................. Lesley Hammond Gauge.................................................. 16mm in Canberra.

Length................................................ 10 min Prod Co............. Bob Talbot and Associates Synopsis: Fitness can be fun. Many strive to Gauge................................................. 16mm improve their performance, but for the DRUG ABUSE Dist Co...................................................... FilmAustralia CANOE Sponsor.................. South Australian Police Director...................................... Bob Talbot Screenplay..............................John Edwards average person the actual participation can Department Prod Co............. . . . Film Australia Screenplay............................Harvey Spencer Producer.................................. NormanLaird be as enioyable and rewarding.

Synopsis: A film aimed at five- and six-yearDist Co............... . . . . Film Australia Producer.............................................. PeterJohnson Exec Producer.......................................... RayBarnes old children to warn them that it is dangerous Director............. ....... John Shaw Photography........................Gordon Bennett Progress............................... Pre-production POLICE/ABORIGINAL RELATIONS to go anywhere with strangers.

Screenplay....... ......... John Shaw Editor............................................Mike Reed Screenplay...............................

Ron Saunders Producer........... ....... Don Murray Sound Recordist................... Ian Jenkinson ELDERLY PERSONS HOMES Exec Producer.................... Lesley Hammond CONDUCTING Asst Producer. . . . . . . Ron Hannam Mixer........................................ Peter Fenton Director............................... Philip Mark Law Length................................................ 20 min Photography.. . . . .. . John Hosking Length................................................ 30 min Screenplay............................. Ron Saunders Screenplay............................. John Edwards Gauge.................................................. 16mm Editor................. . . Wayne Le Clos Gauge.................................................. 16mm Exec Producer...................... Malcolm Smith Sponsor............................. South Australian Producer................................................. RayBarnes Prod Manager. .. ......... Roy Bissell Color Process................................. Eastman Sponsor...............Dept, of Further Education Editor................................................... GeoffTyson Police Department Sound Recordist. . . . . Howard Spry Progress........................................ Shooting Synopsis: Follow up on the music series on Synopsis: The firs t of a series on Sound Recordist...................... Frank Mclvor Mixer.................

Julian Ellingworth the art of the conductor.

Release Date......... August/September 1977 M ixer...................................................... PeterMcKinley Police/Aboriginal relations, it is intended to Sound Editor........................................ GeoffTyson give police cadets and officers a broad CULTURAL CONVERGENCE insight into Aboriginal culture.

Cameraman............................ Chris Morgan Screenplay............................. Ron Saunders Camera Asst..................................... RussellGalloway Exec Producer....................... MalcolmSmith Grip....................................................... GaryClements RESOURCES FOR LEARNING Sponsor.................................Education Dept. Screenplay........................... Terry McEwen Still Photography.............. Brendan Bannister Synopsis : The philosophy of educating each Exec Producer......................Malcolm Smith Titles...............Audrey Flockart. Gudrun Hey person in school as an individual — allowing Sponsor...............Dept, of Further Education Length................................................ 20 min for and encouraging their different cultural Synopsis: To enlarge awareness of the Gauge.................................................. 16mm backgrounds.

Color Process................ Eastmancolor 7247 changing emphasis in Further Education Release Date................................. May 1977 from traditional classroom teaching to non­ DENTAL HEALTH Synopsis: This film shows the efforts of the directive learning methods.

Housing Department in providing comfort­ Screenplay.................................. Rob George able accommodation for the elderly citizens Exec Producer....................... MalcolmSmith SAFE LOADS in the community.

Sponsor........................... Colgate-Palmolive Screenplay. . . Ron Saunders. Terry McEwen Synopsis: Film on preventative health care Exec Producer...................... Malcolm Smith THE HERMIT for teeth.

Sponsor.................. Mayne Nickless Limited Prod Companies........................Dept, of Film Synopsis: Film stressing the concept of safe DRIVER EDUCATION Production Tasmania, AFC loads on trucks.

Director............................... Donald Crombie Screenplay........................... Terry Jennings Producers............................. Don Anderson.

Exec Producer.................... Malcolm Smith TAKE THE CUE— TRAIN! Richard Brennan Sponsor..................General Motors-Holden, Screenplay........................ Helen Covernton Length................................................ 80 min Synopsis: Film aimed at students — the Exec Producer.................. Lesley Hammond Gauge...............................................

35mm basics of driver education.

Length................................................ 20 min Color Process................................. Eastman Gauge.................................................. 16mm Progress..................

Shooting October 1977 GOLDEN GROVE Sponsor. . . Manpower Development Branch Synopsis: This film is set on an island which Screenplay............................. Russell Porter Synopsis: To encourage managers of small is a National Park and centres around an old Exec Producer...................... Malcolm Smith business and personnel officers of large recluse living there illegally. When the Sponsor................ State Planning Authority companies to train their staff. The film also ranger and his sister encounter supernatural Synopsis: Historical coverage of creating points out that training can be on the job. a happenings, the ranger sees this as perfect and building a new estate. weekly seminar or a part-time university opportunity to obtain permission to force the course — depending on the job and the old recluse off the island. It is then dis­ HECTOR’S ROADSHOW employees needs. covered that these strange happenings were Screenplay............................... Peter Clarke engineered by a geological party who had TECHNOLOGY AT WORK Exec Producer.................. Lesley Hammond found vast deposits of uranium on the island Length............................................ 3 x 5 min Screenplay............................... Ken Methold and were trying to discourage inhabitants Gauge................................................. 16mm Exec Producer.................. Lesley Hammond from remaining.

Sponsor.................... South Australian Road Length................................................ 20 min Safety Council. Gauge................................................. 16mm HISTORIC STANLEY SynopsistTo make 10-12 year olds aware of Sponsor............................................ AMDEL Director................................... Sherry James road safety rules on the way to and from Synopsis: This film's primary aim is to show Screenplay............................. John Edwards school. prospective national and international Producers......... Don Anderson. Ray Barnes clients the services the Australian Mineral Exec Producer...........................Ray Barnes HEYSEN ON HEYSEN Development Laboratory can offer the Editor............................... Christina Hunniford Screenplay....

Michael Ingamells mining industry.

Sound Recordist...................... Frank Mclvor Exec Producer. . Lesley Hammond Mixer.......................................................FrankMcKinley VALUE OF ART Length............. ..........

15 min Sound Editor....................Christina Hunniford Gauge............. ................ 35mm Screenplay................................. Winnie Pelz Camera Operator......... Christopher Morgan Sponsor........... . . . . Art Gallery of Exec Producer..................... Malcolm Smith Camera Asst.................. ."."Gary Clements South Australia Sponsor............................... Education Dept.

Clapper/Loader . . . . . . John Jasiukowicz

60 — Cinema Papers, July

PRODUCTION SURVEY Still Photography.......................... Wilt Elvey Gauge.................................................. 16mm Color Process.................Eastmancolor7247 Release Date................................. April 1977 Synopsis: An old fisherman's recollections of the fishing township of Stanley before the days of mechanization.

Synopsis: This film records the seventh String Summer School held in Hobart during January 1977.

TASMANIAN PAINTERS

TV SERIES Crawford Productions Young Ramsay S91.000 representing S7000 per episode

Director. . . ............................... Ray Barnes SCRIPT DEVELOPMENT Screenplay................................. Max Angus Margaret Fink Producer.................... ■...............Ray Barnes My Brilliant Career S5000 AMAN AND HIS FOREST Exec Producer............................Ray Barnes Southern Cross Films Director...........................................Peter Kay Photography............................Gert Kirchner Silence $6000 Screenplay.. .. Fred Framptom. Max Gilbert Sound Recordists.................. Peter McKinley. Telemovies Australia Producer....................................................DonAnderson Frank Mclvor Documentary series on Australia S5000 Exec Producer........................................ RayBarnes Mixer....................................... Peter McKinley Giorgio Mangiamele Editor............................................ Tony Gibb Sound Editor........................ Peter McKinley A Game of Chess S6000 Sound Recordist........................ Frank Mclvor Camera Operator................ Russell Galloway Mixer...........................................Frank Mclvor Camera Asst......................... Gary Clements Sound Editor................................. Tony Gibb Clapper Loader...............John Jasiukowicz AUSTRALIAN FILM Camera Operator.................... Gert Kirchner Grip....................................... Gary Clements COMMISSION Camera Asst.......................... GaryClements Still Photography.......................................RayDavy Clapper/Loader............... John Jasiukowicz Titles.......................................... Gudrun Hey Grip........................................ GaryClements Gauge.................................................. 16mm Narrators........... Fred Frampton. Max Gilbert Color Process.................. Eastmancolor 7247 PROJECT DEVELOPMENT BRANCH Length............................................ 5 x 5 min Release Date.......................................... May1977 Gauge.................................................. 16mm Synopsis: First of a series on Tasmanian JUNE 1977 Color Process........................ Eastmancolor painters. This film shows the work and life of The following investments and loans have Release Date..........................February 1977 Jack Camngton-Smith. one of Tasmania s been made: Synopsis: A series of five films designed to most noted painters. give people a better understanding and SCRIPT DEVELOPMENT/PREappreciation of forestry management and TROUT FISHING IN TASMANIA PRODUCTION APPROVALS preservation.

Director...................................................PeterKayKeith Salvat Screenplay............................... Michael Pate Break Point S6500 NO WHERE ELSE Producer................................................... DonAnderson Michael Jenkins'Brian Bell Exec Producer........................... Ray Barnes Ballinger S5000 Director................................. . Sherry James Editor.......................................... Peter Davis Screenplay............................................. TedOgden Producer.................................. NormanLaird Sound Recordists................................... PeterMcKinley. PRODUCTION APPROVALS Exec Producer........................................ RayBarnes Frank Mclvor Samson Productions Editor......................................... Anthony Gibb Mixer....................................................... PeterMcKinley Weekend to Kill S250.000 Sound Recordist...................... Frank Mclvor Sound Editor............................... Peter Davis Perth Institute of Film and Television Mixer....................................................... PeterMcKinley Cameraman............................ Gert Kirchner HeydaysS2890 Sound Editor........................................ PeterMcKinley Camera Asst..................... Russell Galloway Gemini Productions Camera Operator.................... Chris Morgan Clapper/Loader............... John Jasiukowicz Six Tele-movie Package S285.000 Camera Asst..................... John Jasiukowicz Grip....................................................... GaryClements . Voyager Films Still Photography......................... Wilf Elvey Clapper/Loader............... John Jasiukowicz NewsfrontSI 50.000 2nd Unit Photography....... Russell Galloway Technical Adviser.................... Don Gilmour The Film House Grip....................................................... GaryClements Narrator................................... Michael Pate The Chant of Jimmie Blacksmith S350.000 Still Photography.......................................RayDavy Titles............................................ Gudrun Hey Eldorado Films Length....................................................... 26minGina Between Changes $250.000 Titles.......................................... Gudrun Hey Length................................................ 20 min Gauge............................................... 16mm Trenchard Productions Gauge.................................................. 16mm Color Process................................. Eastman The Siege of Sydney S100.000 Color Process.................. Eastmancolor 7247 Release Date........................-,. .. April 1977 Distribution Management Release Date................................. May 1977 Synopsis: Produced for the T o u rist Howzat S40.000 Development Authority. The aim of the film is Cast: Ted Ogden. Don Philps.

Synopsis: Sponsored by the Tourist to show the magnificent trout fishing areas MISCELLANEOUS APPROVALS Development Authority, this film has the aim Tasmania has to offer Yoram Gross Film Studios of promoting the more unusual tourist attrac­ Dot and the Kangaroo $30.214 tions of the North-West region.

WHY TASMANIA Loan to lengthen the film by 10 minutes.

Director................................. Philip Mark Law Crawford Productions ROSS BRIDGE v Screenplay.............................John Edwards S86.699 was provided as a limited return Director................................. Rodney Musch Producer.................................Don Anderson investment for print sales.

Screenplay............................. Norman Laird Exec Producer............................ RayBarnes Phil Noyce Producer................................. Norman Laird Editor......................................... GeoffTyson Backroads $8000 Sound Recordists.................. Peter McKinley. Sound Recordists...................................PeterMcKinley.

To enable completion of the film. .

Frank Mclvor Ayer Productions Frank Mclvor Mixer....................................................... PeterMcKinley Mixer....................................................... PeterMcKinley The Last Wave S105.000 Sound Editor........................ Peter McKinley Sound Editor................................ Geoff Tyson Provided as a bridging loan.

Camera Operators................. Chris Morgan. Sound Recordists................ PeterMcKinley. Homestead Films Frank Mclvor Raw Deal Russell Galloway Mixer....................................................... PeterMcKinley Camera Asst.......................................... GaryClements Up to S40.000 was approved for additional Sound Editor...............................

GeoffTyson production expenses.

Clapper/Loader............... John Jasiukowicz Grip....................................... Gary Clements Cameraman.................. Christopher Morgan Still Photography.................................... WllfElvey Camera Asst..................... Russell Galloway CREATIVE DEVELOPMENT Clapper Loader............... John Jasiukowicz Titles.......................................... Gudrun Hey BRANCH Length................................................ 15 min Continuity............................. Adrienne Elliott Gauge.................................................. 16mm Grip....................................... Gary Clements FEBRUARY 1977 Still Photography............... Jacquie Gardner The following information was held over from Color Process.................Eastmancolor 7247 Narrator.................................. Leonard Teale Release Date................................. April 1977 the last issue: Synopsis: The film concerns Ross Bridge Titles.......................................... Gudrun Hey 16 min and its sculpture by Daniel Herbert who was Length..........................................

ADVANCED PRODUCTION FUND at the time (1836) a convict. The sculpture on Gauge.................................................. 16mm Projects recommended for funding: the bridge is considered the finest of early Color Process................ Eastmancolor 7247 Release Date............................. March 1977 Paul Cox Australian colonial work.

Crying in the Garden $32.000 Synopsis: Produced for the Directorate of Industrial Development, this film Is aimed at Theo Van Leeuwen SOUTHWARD Mortimer S34.978 attracting industry to Tasmania.

It shows Director................................... Don Anderson Mischa Nussinov many of the Industries already operating Screenplay..............................Don Anderson Balance $25,000 successfully in the state.

Producer................................. Don Anderson Dennis O'Rourke Exec Producer........................... Ray Barnes The Shark Callers $25,000 Sound Recordists.................Peter McKinley.

Ian Stocks Frank Mclvor The Tree $25.000 VICTORIAN FILM Mixer...................... ...........Peter McKinley Supplementaries: CORPORATION Sound Editors .. Peter Davis, Don Anderson Cameramen............................Gert Kirchner.

Ken Cameron Russell Galloway. Chris Morgan.

Out of It $3528 Gary Clements. Peter Davis. Rodney Musch The Victorian Film Corporation have either John Papadopoulos Still Photography.......................... Wilf Elvey funded or Invested in the following produc- Jog’s Trot $2000 tions/projects (the figures in parenthesis David Greig Titles.......................................... Gudrun Hey Length................................................ 30 min refer to the total budget of each production): Circus S2000 Gauge................................................ 16mm FEATURE FILMS Color Process.................Eastmancolor 7247 BASIC PRODUCTION FUND Release Date................................ April 1977 Clare Beach Films Pty Ltd Applications recommended for funding: Synopsis: The film follows the progress of Summerfield S76.500 (S560.000) the classic Sydney to Hobart Yacht Race, Southern Cross Films Pty Ltd N.S.W. and the Melbourne to Hobart Race down the The Getting of Wisdom £50.000 ($525.000) Jan Chapman We s t Co a s t , w h i c h t a k e s p l a c e Storm Productions Show Time $4850' simultaneously with the Sydney Hobart In Search of Anna S50.000 (S231.000) Robert Chittick classic.

Quest Films Young Kids of Liverpool $4850' Patrick $50.000 (S248.227) Laurie Field STRING SUMMER SCHOOL Whitbread-Brown Production Company Whee $3820 Director....................

Christopher Morgan Mary and Joe S100.000 (S575.930) Catherine Grenville Film House Pty Ltd Producer.................. ......... Don Anderson Debs $3000 Exec Producer......... ............. Ray Barnes The Chant of Jimmie Blacksmith Christopher Hooke S300.000 (SI .2 million) Sound Recordists. . . . ......... Frank Mclvor.

Philip Leslie — Motor Cycle Racer S980 Don Hawkins Dugong Films John Kirk Mixer....... ■•)............“v. ...... Peter McKinley Long Weekend S40.137 ($267.582) Community Documentary Newsreel $1000 . . . . Peter McKinley Vega Productions Sound Editor.............

Jane Lister Camera Operators. .. Christopher Morgan. Mouth to Mouth $83.000 (S128.000) Confirmation S1572 Russell Galloway Michael Magafas EDUCATIONAL DOCUMENTARIES Clapper Loader......... . John Jasiukowicz Preview $1880 . . . . Gary Clements Ken Widdowson Grip............................

Milton Reid Still Photography. . . . . . . Jacquie Gardner Educational Media S34.000 (S68.000) Fiesta $1000 ........... Gudrun Hey Titles............. ............

AVEC Film Unit Victoria Roberts .................... 10 min The Making of Anna S13.512 (S17.636) Length..................

Goodbye Sally Goldstein $2989 Gauge. ...... .... .................... 35mm Harry Martin Elizabeth Rust ................. Eastman The Healers. Search for the Men of the Color Process...........

Def initions/Redef initions £500 ...............April 1977 Release Date.............

Long Tails $27.669 (S39.669) Mark Visione

12 Jottings and Music $2640 Tracy Freedom S240 Sandy Richardson Take It or Leave It S4850' Suzanne Walker Pipi Storm $800 Timothy Woolmer Section 83 $4405 ' Project funded to double head stage.

Supplementaries: Martin Cohen Homecoming S1900 Paul Jansen The Idyll S503 David Roberts Timothy Drifting $2200 Daniel Soler Dead End $376 VICTORIA Robert Burns Hydrocarbons and Western Port $562 Cynthia Connop Returning S5337 John Dunkley-Smith Hoddle Street Suite S1735 Chris Gough The Soldier $1942 Darrelyn Gunzburg Katy $1453 Maureen McCarthy A Holiday $1767 Raymond Quint Holiday $4345 Brian Smullen Orb of Day $968 George Stamkoski Hollywood Hollywood S1848 Dusan Stojanovic Day 1 Day 2 $2307 George Viscas Tramp $687 John Wright The Artist. Good Evening. Nothing But. Untitled $660 “ QUEENSLAND John Herbert Unreal World $60 Leslie Mannison Meeting $911 Keith Cox Heart and Soul $281 (supplementary funds) W.A. John Birt .

Habitate — Stock $362 Jennifer Boult Bus-Ride S1241 Elizabeth Caiacob The Proposal $2329 Peter Sorenson I Don’t Know What I’m Going To Do With You S1090 S.A. R. K. Bartram The Tractor $2000 (Funded to double head) Catherine Kelly Untitled $2367 Simon Lewis Wild King Kilroy $1400 SCRIPT DEVELOPMENT FUND Projects recommended for funding: N.S.W. Bruce Allen 33 Days S2000 Gordon Bick Man Bites Dog $1600 Bob Ellis/Richard Beckett By-Line $2400 Janet Isaac Miranda $1250 David Marsh I Prote$1700 _ Graydon Neil Tattoo's $1500 Gilbert Serine Untitled $1000 Lesley Tucker Cursed $1800 VICTORIA Andrew Phillips No Where Man $1000 John Smythe Happy as Larry $2000 W.A. Theo Mathews/James De Lestang Verona Rodriguez $1500 QUEENSLAND Christopher Cordeaux Undertakers $2250 JUNE 1977 The following grants for the development of creative and experimental films and for script writing have been made.

FILM PRODUCTION FUND Paul McAdam (NSW) Survival $35.000 Rod Bishop (VIC) Untitled $34.740 Jim Gerrand (NSW) Jakupa S12.000 Alessandro Cavadinl/Carolyn Strachan (NSW) Rainforest People $7920

Ande Evan-Maddox’ (NSW) Warning: Sisterhood is Powerful S2368 Gary Patterson (VIC) Whyalla $2000 Peter Bull/Jas Shennon (QLD) ' Family S300 Phil Noyce (NSW) Backroads S4058.90 (Supplementary funding) Bob Hill (NSW) Listen to the Lion $1400 (Supplementary funding) SCRIPT DEVELOPMENT FUND NSW Pat Burgess S1250 To develop a feature about a retired digger living in a bush retreat near Manly.

Ann Deveson $1250 To develop a treatment for a television drama about attitudes to handicapped people.

Christina Stanton $500 To work on a script for a feature entitled Balmain Secedes Tony Wheeler/John Flaus S1260 To develop a script for a feature on the miners strike in NSW in 1929-30.

VICTORIA Gordon Glenn/Keith Robertson S1500 For a script for a telemovie about a group of teenage boys lost on a mountain.

Ruben Mow $1250 For a treatment for a feature about an Australian soldier escaping from the Japanese in New Guinea.

John Ruane/Ellery Ryan S1800 To develop a screenplay for a feature about an ex-prisoner adjusting to life outside.

Colin Talbot S700 To develop a screenplay for a feature about a young hairdresser.

S.A. Donald Martin $500 For a script about a young circus troupe.

Geoffrey Nottage $500 For assistance from a script editor for the screenplay of a feature based on the life of Robert Tudwali.

QUEENSLAND Anthony Airey S500 To develop a screenplay for a feature on the life of Patrick Logan, an early commandant of Moreton Bay. EXPERIMENTAL FILM AND TELEVISION FUND NSW Geoff Bardon Bush Soldiers $4000 Charles Bliss BlissymbolsS2000 Joseph Corey Dread Versus Babylon S4500 John Flynn The Fool S3102 Sue Ford Time Changes S2203 Murray Gill Bluey Brink S315 Rivka Hartman Interruptions $1636 Klaus Jarritz Sun S2281 Adam Kosack Infected Summer $455 David Lourie Enigma S3000 Mike Parr Rules and Displacement Activities — Part 3 S6989 VICTORIA Louis Brown .

Busline S6047 Andrew de Groot A Twenty Dollar Note $1994 Mitchell Faircloth Terror Lostralis S4100 Tran Haarsma The Journey $1415 Claire Jager Fresh Ruins $940 Vytautas Karazlja D.P.S1110 John Laurie Undertow S3150 Jennifer McIntyre Fifteen $1400 Michael Pattinson I Can Take It $1799 Philip Plnder Buckeye and Pinto S1000 Emmil Priebe Waiting’s Not Enough $1880 Ettore Siracuse Still Life $1500 Colin Suggett .

A Day at the Beach $1270 S.A. Gerard Elder Sun on the Stubble $2000 Alan Ingram Untitled $3862 Kaj Lindstroem Nightlife $1500 W.A. Duncan Richards Blowing in the Wind $700

Cinema Papers, July — 61

62 â&#x20AC;&#x201D; Cinema Papers, July

The following interviews were conducted on location by Mary Moody.

DAVID HANNAY Producer Was it difficult getting the money together for an Australia/New Zealand co-production?

No, it was surprisingly easy. Tony Williams and I talked out the idea for the fdm in October 1976 and we had a script ready for presentation to the p o te n tial b ack ers by Christmas. The Seven Network then committed themselves for invest­ ment by early January 1977, and New Zealand’s Queen Elizabeth Arts Council and four New Zealand businessmen followed suit with the balance. We started shooting on February 21.

Why did you decide to film in New Zealand?

The story has a New Zealand background. There are exotic pine forests here in A ustralia, but nothing with the scope and beauty of those in New Zealand. The timber industry there is one of the world’s largest and our central character is an aerial firewatcher, a uniquely New Zealand occupation.

In 1968, David Hannay was appointed executive in charge of production for Mawson Continental Pictures. He left in 1970 and began a six-year association with Robert Bruiting (Gemini Productions) where he worked as an associate producer on, among other productions, “Crisis’’, “ The Sp oiler” , “ Mama’s Gone a-H unting” , “ The Alternative”, “Gone to Ground”, and the television play “Poor Tony”. x In 1972, Hannay co-produced the feature-length docu­ mentary “Kung Fu Killers”, and was executive producer on “The Man from Hong Kong”, both directed by Brian Trenchard Smith. Hannay was also executive producer on “Stone” having been involved with the project since its inception in 1970. He was then executive producer on Eric Porter Productions’ “ Polly Me Love” and associate producer on Cash Harmon’s “The Unisexers” and “Number 96”.

Hannay became associated with the Royce Smeal Group of Companies in 1976 where he co-wrote the screenplay ‘The Last Run of the Kameruka’ and worked as executive producer on two on-location specials.

Do you intend doing more Au s t r a l i a / Ne w Zeal and c o­ productions?

Tony Williams and I have another project (Little Trippers) which we are in the process of planning now. We already have a second draft screenplay and have selected the main locations. Bill Sheat (executive producer on Solo) and I have been talking to people about investment. I find that New Zealand, while being similar to Australia in many ways, has so many different backgrounds and ways of life. The main character in Solo is an aerial firewatcher, and to my knowledge no such person exists in the forests here. The background to Little Trippers is a small town whose main industry is the killing of deer from the air — for export as venison. New Zealand is probably the most air-minded country in the world — both Solo and Trippers feature flight as a background.

Do you believe “ Solo” has overseas potential?

Wh a t we r e the p r o b l e m s associated with shooting a film 2000 km from your Sydney office?

The problems were greater than if we had been shooting the same distance away but within Australia.

For exam ple, when we were shooting at Waimarama, which is a beautiful beach on the east coast, we were filming on a Monday, and it was Tuesday before we could get a flight out from the local airport to get rushes to Auckland, Wednesday before the Customs agents had transhipped them to Australia, Thursday before they cleared Aus­ tralian Customs and Friday before they were processed and viewed by Atlab. It took just as long for them to get back to us on location for viewing. In fact, we were two weeks into the shoot before we saw our first rushes. This eventually caused a problem, because a lens fault developed which was not apparent to the camera crew on location. The fault only affected scenes shot with very low light levels, affecting both focus and depth of field. It involved considerable re-shooting at loca­ tions we had already left. For most of the shoot we were not only 20 0 0 km from S y d n ey , but generally hundreds of kilometres from any major New Zealand centre, which naturally caused communication problem s. Our travelling production office was also marvellous. Pat Cox, who was in charge of production, and his assistant, Sue May, always had things under control no matter where we were. In fact, the manage­

every area, it was terrific.

It is a love story and, therefore, has universal appeal. It is the story of a man who grew up in the fifties falling in love with a girl growing up in the seventies. It handles single parent/single child situations, a very topical theme. It also explores man’s great passion for flight. All these things give it a tremendously wide appeal.

Producer David Hannay.

ment and co-ordination of the film couldn’t have been better.

How did the Australian and New Zealand crew members work together?

E xtrem ely w ell. The New Zealanders were the top people a v a ila b le and I th in k th e Australians were actually quite surprised at the extent of their expertise. There was never a ‘them’ and ‘us’ situation — it was always a ‘together’ unit. The same applied to the actors, although Vincent and Lisa knew Davina and Martyn’s work in Australia — as well as New Zealand.

Of the two co-productions you have been involved with — “Man From Hong Kong” and “Solo” — which had the fewer problems?

Well, the experience of working on Man from Hong Kong taught me a few things about co-produc­

How do you intend selling it overseas?

tion, so that by the time I had come After the initial release in to produce Solo I was more Australia and New Zealand, we will prepared for problems that might take it to Cannes. Apart from that, arise. The films are entirely Tony and I have contacts in the U.S. different, of course. On Man from and Britain whom we will be seeing.

Hong Kong I was executive producer and the film was being What sort of financial deal do you made by two large corporations, have with your backers? while with Solo it’s Tony Williams’ and my production, so I had much I think a very good one. The more control of the situation. On backers have 66% per cent and we Man from Hong Kong there were have 33 V3, which is better than the tremendously different attitudes usual split in Australia. This has between us and the Chinese on enabled us to give a good every level — cultural, personal percentage to the cast and crew. an d p r o f e s s io n a l. B ut th e differences between Australians Did you give percentages instead and New Zealanders are very of high fees? subtle. We have already mentioned the problems but the pluses are Nobody on the film got a very much more important to point out. high fee, but certainly nobody was The assistance we were given at scratching for a living. Obviously every level, from Government we wanted a good ensemble feeling, Ministers, to major New Zealand which I believe is only created by corporations, to small businessmen those involved being shareholders and the man in the street was in the production. incredible. There was so much Concluded on P. 66 positive interest in the film from Cinema Papers, July — 63

TO N Y W ILLIAM S Director How do you feel about co-produc­ tion with Australia?

I feel it is our only hope of sur­ vival. Over the years we have lost g affers, cam eram en, ed ito rs, directors, producers, writers and actors to the Australian film industry. Our market is too small for us to get our negative costs back here, so it is important that we work hand in hand with Australia. Not only bringing Australians here, but bringing back New Zealanders too.

What we can offer Australia is another three million people, which helps the box-office, as well as additional areas of finance not available to purely Australian films.

How did you and Martyn Sander­ son go about writing “Solo”?

It was my outline. I got together with David in Sydney and discussed it with him. He liked it, so I wrote the treatment. Martyn then came in and we worked as a team. For example, I would write a skeleton outline for a scene and give it to Martyn, who would either rewrite it or say it was good enough to leave as it was. If he rewrote it, he would then hand it to me and I would correct, what he had written. It was a collaborative effort.

Tony Williams is perhaps the best-known film director working in New Zealand. He was assistant cameraman for Pacific Films when he was 16 and five years later director of photography on two New Zealand features, “Runaway” and “Don’t Let it Get You”.

Williams made his debut as a director on two docu­ mentaries for the BBC “ Release” program: “ Takeis Unlimited”, shot in London and Paris, and “Sound the Trumpet, Beat the Drum”, made in Iran.

Williams returned to New Zealand and spent five years making independent documentaries for New Zealand tele­ vision, three of which won the Feltex “Best Television Program of the Year” award in consecutive years. He directed a one-hour musical special for American tele­ vision, and the “First Edition”, which was to become the widest distributed New Zealand film.

Williams’ previous production, “Lost in the Garden of the World” — shot at the Cannes film festival — has received festival screenings in New York and Edinburgh.

Williams now operates his own company in Wellington, New Zealand.

Lead actress, Lisa Peers, and director, Tony Williams.

Me Kendrick in Hollywood and for nobody else I felt secure with, and a period with Alain Resnais in as I have edited features I decided Paris. to cut the films myself. In fact, I In Paris I decided that editing would prefer to work with an editor, was closer to the process of writing because it’s better for the director to and directing, so I gave up the keep some sort of distance from his camera and joined the BBC as an work. However, until I meet a assistant editor, got my ticket and feature editor I feel happy with, I then went freelance as an editor and will probably continue to cut my began directing in London before I own films.

You were a cameraman and editor came back to New Zealand. I before becoming a writer and always wanted to be a director, but As a director, do you find New director. What influenced you to you can’t start directing films, you Zealand a good place to work in? have to know something else first. I move from one area to another? started off as cameraman by chance.

As a New Zealander I have an I was always interested in films affinity for the country. I have and wanted to direct. It was really a Do you always edit your own always wanted to live and make matter of taking the opportunities as films? films here, but it’s very frustrating. they came, so I started off as a Freelancing New Zealanders have a camera assistant. I was in my early No, not always. I have edited hard time trying to get experience twenties when I lit two feature films many of my films but more recently directing dramatic productions. We for John O’Shea (Runaway, Don’t I have worked with an editor I used have an enormous television system, Let it Get You). Then, I left New to work with at the BBC, Ian John. but they don’t like using freelance Zealand. I wanted to stop being a He is not available for Solo as he is directors; they keep importing technician. I worked with Sandy editing Sleeping Dogs. There was refugees from the BBC and ITV. I 64 — Cinema Papers, July

Do you feel that the resurgence of the Australian film industry has had any effect on New Zealand?

Very much so. Until now a feature film was a distant dream we all aspired to, but couldn’t really see happening. It wasn’t until I began to see people I had known as camera assistants at Supreme Sound many years ago, turning out superb work as directors of photography, and c o m m e rc ia ls ’ d ire c to rs directing superb feature films, and spent some time at Cannes a couple of years ago interviewing Aus­ tralians for a documentary I was making on the Festival, that I realized these were our people; they w eren’t British, they w eren’t American, they were Australians and they were our friends, very much like us, thought like us, were the same age as us. So I thought, well, I have as much talent as these people, so what was possible for them was possible for me.

How do you relate to the actors in “Solo”?

How do you as a director feel about having a producer always around on the location?

In David’s case it doesn’t worry me at all, because we complement each other very well. He is creative, very enthusiastic, and has terrific energy. If it was someone else .. . for instance, I worked on The Rise and Rise of Michael Rimmer in London, where the producer used to come down if we were going into overtime and tell the gaffer to turn the lights out. There would then be an argument between him and the gaffer, and, of course, the director.

We have never been involved in any of those situations.

David and I are co-producing the film, so it isn’t like having someone watch over your shoulder.

have been luckier than most and have a very comfortable existence here. But it’s ironical that I have had more support from the U.S. and Australia than I have had from my own country.

We are trying to make Solo a very intimate and personal film. Because there are only a few actors we’ve had time to develop each role as well as develop close relationships.

For example, when we first met Perry Armstrong, who plays the 14year-old boy, he was a rather pale, quiet schoolboy. But now he has blossomed into a fantastic human being.

We spent a week in the Sounds working on improvizations and developing roles and have some beautiful performances from all the actors.

How do you define your role as a director?

I prefer to act as the first member of the audience to see the film.

Everyone else on the crew has so many technical problems to worry about — lighting, camera, sound — that a director should, for my taste, be the one concerned with how the shoot is going to look to an audience. I don’t ever scream or shoot, and I believe in holding con­ versations with the actors instead of yelling out orders from behind the camera like a sergeant major.

Actors are vulnerable people who need to be given support; they should never be criticized in front of the crew. ★

LISA PEERS What do you consider the best areas of the film?

There are lots of areas, but the crew area is particularly good. Bob Allen (the location sound mixer) is fantastic; working with him is a real treat. With him doing sound you can whisper, you don’t have to worry about projecting. You don’t have to think about the m icrophone, although, of course, you are always aware of where it is. He is always there, catching you breathing. And John Blick, the cameraman, is great too. He doesn’t mind me having a look through the camera. He tells me how big the shot is and exactly what’s going on.

“Solo” is Lisa Peers’ fourth feature — she played a young girl in “Sunday Too Far Away”, an escaped convict in Tom Cowan’s “Journey Among Women” and was in Peter Freidrich’s “Made in Australia”. She was holidaying with her mother (actress/d¡rector Leila Blake) in New York when “Solo” was being cast, and returned early to do the part

Do you ever contemplate working behind the scenes?

I would love to. Continuity interests me, but I would have to devote a few years to it to get it right. So, at the moment, I am going

How do you feel about having a lead role in a feature?

A bit nervous, I suppose. I didn’t worry so much about Sunday Too Far Away — although that was one of my first jobs — because I was quite happy about my performance.

I thought it worked. But with this I have a lot more responsibility on my shoulders; they have to like me. If they don’t like me, that means they don’t like a third of the film. So this is really the most responsibility I’ve ever had.

Do you enjoy working with Tony Williams as a director?

You obviously enjoy being close to the crew, helping in all sorts of ways on the location. Do you find most actors prefer this?

Often not, but I really love the way everybody is helping every­ body over here. If I am not doing a shot, I like to help setting out the lunch. Now, in Australia, it’s beginning to happen like overseas, where if you are a grip you are not allowed to do anything else — if you are a cameraman you are not allowed to do anything else. Actors are only allowed to act, and between shots you just have to sit and wait. But I like to help — to be involved in everything.

keep on moving and growing.

to restrict myself to my chosen area — acting — and get that right before moving into other areas.

feel a need to question what Judy does and says, because I would probably react quite differently.

But I like her, and I hope the Do you identify with the role of audience will like her too. In a few of the earlier scenes she appears Judy Ballantyne? quite vulnerable and lost, though In some ways, yes, and in others constantly protesting independence. not at all. We are the same genera­ Basically, I feel she needs time to tion with similar attitudes to discover herself, and she obviously freedom, but I feel she is more realizes that staying with Paul passive than me. I always feel a (Vincent’s character) is not the need to question everything that a solution to her problems. I can character does and says, and I often strongly identify with her need to

Yes. The week down at the Sounds was excellent because we all got to know each other and there wasn’t any work pressure. I had never met Tony or David before, although I knew Vince when he was living in Melbourne. Having that reh ea rsal period was u sefu l, because there wasn’t much time for rehearsal while we were shooting the film. During that period we swam and relaxed, although we went through the script every day and examined our roles. I find Tony easy to work with; he listens to all my ideas and feelings. He is great to have around during the rushes too; he can answer questions about his choice of takes. It helps to have some insight into how he plans to cut it. Editing is an area that interests me too, and I like to know that Tony will be editing this film. It gives me extra confidence. ★

V IN C EN T GIL Is this your first lead role in a Vincent Gil is one of Australia’s leading character actors, a feature film?

favorite with Crawford Productions. He has also played

Yes. I played a bikie in Sandy leads in the television series, “The Battlers”, “Number 96” Harbutt’s Stone, but this is my first and “The Box”. lead.

How do you feel about the part?

now, though I know it’s a bit early to say something like this, I feel I am doing the best work of my life. It’s the o p p o rtu n ity as much as anything. All the right ingredients have fallen into place.

Have you worked with David Hannay before?

Well, David Hannay brought Yes, we first worked together as Tony Williams one afternoon and actors on The Battlers and then they started talking about Solo. It again on Stone, on which he was the took a while for me to realize they executive producer. were considering me for the lead.

Anyway, David took Tony away to So you like the rushes you have A nd has it b e e n a good see some of my work; then they seen so far? experience? came back the next day and offered Yes, I really like them. I always me the part. I felt a bit like a kid Indeed. My feelings about him who had been hit in the face with love and hate rushes at the same the Christmas pudding — delighted time, but these are really good. I were never really compounded on and excited. Having read the script, think they are always a pretty good Stone, although I know how much I knew it was the best opportunity I indication of how the film’s going to he likes my work. He is the sort of guy who sings praises of his friends had ever been offered and right look.

to the heavens, and I always find that embarrassing. But, for a couple of weeks before Solo, I moved about with him and Tony, which was an incredible experience. As a producer I like the areas in which he chooses to function, because if I were a producer I know those are the areas I would choose. Like being on the location all the time, for instance. I know a few of the crew were amazed by him always being there — perhaps even felt it was an intrusion. But I always found it a comfort. Occasionally he would lay a couple of points on me and I would think: “That’s right.”

We all need that.

You came over to New Zealand a week early for a sort of holidayrehearsal. How was that?

Concluded Overleaf Cinema Papers, July — 65

PRODUCTION REPORT

Vincent Gill

Continued from P. 65 Lisa, Perry Armstrong, Martyn S anderson, David and Tony Williams and I went to the Sounds (on the South Island) — it was a period of getting to know each other. There was no set rehearsal time, but we talked a lot and went over our ideas for the script. We were all given the opportunity to contribute a great deal, which is really unusual in this business. We all added to our characters and to each other’s characters, so that by the time we went to the first location, we knew where we were going.

How do you find Tony Williams as a director?

I love the man. He has a percep­ tion about humanity that is so delicate. He has this ability to modulate my excesses as an actor; I sometimes get caught up in it and need someone to sort of censor my performance, to help me get the essence, and for me he does that beautifully.

You usually play the part of a heavy. How does it feel being a romantic lead?

Well, of course, being a lead of any sort is a tremendous re­ sponsibility. But I feel happy about the part. It’s a great change. I think a lot of casting people lack the imagination to cast actors in a variety of roles. I have been playing heavies for years — weirdos and drug addicts. I love playing them, of course, and over the years they have been very good to me. But it’s good to do something totally different. I suppose actors who always play romantic parts have the same complaint — they are all dying to play homicidal maniacs.

How do you find working with Lisa Peers? ’ I was delighted she was chosen for the part. She has something — a quality. You look at anything Lisa has done and you will see it. There is an essence to her that is close to what freedom is, and you can see it in her work. It’s exciting. ★

Vincent Gil (left) as the fire patrol pilot Paul Robinson, and Perry Armstrong as his son, Billy. ~

n o lo CREW

Construction................................. Russell Collins Key Grip..................................... Joseph Bleakley Camera Grip.............................................. DaveReeves T itle .............................................................. Solo 1st Assistant Editor......................................... JanGillette Production Company.................. David Hannay Assistant Editors.. .. Annie Collins. Rod Prosser Tony Williams Still Photography.......................................... SalCriscillo Technical Advisor............................ Bill Dittmer Productions Pty Ltd Hairdresser. Jillian Lawrence and Ellen Wishart Director........................................ Tony Williams Lighting and grip equipment............... Filmobile Screenplay/Scriptwriter.............Tony Williams, Martyn Sanderson Makeup............................... Christine Reynolds Post Production Supervisor............. Patrick Cox Producers........... David Hannay, Tony Williams Editing facilities............... Film Editing Services Executive Producers............................BillSheat, John Sturzaker Aerial Stunts.................Bill Dittmer, John Nurse, Mark Malone, Ken McCracken Associate Producer............................TonyTroke Car Stunts....................................... Colin Taylor Music...................... Robbie Laven, Marion Arts Director of Photography............................... JohnBlickElectricians... John Nurse and Dave Mulholland Runners.................... Gary Dittmer. Jane Usher, Editor.......................................... Tony Williams David Dittmer, David Blythe Executive in charge of production Titles........................................................... GaryJackson Patrick Cox Art Director..................................... Paul Carvell Length...................................................... 90 min Gauge................................... 35mm wide screen Production Co-ordinator...................... Sue May Color Process...................... Atlab-Eastmancolor Unit Production Manager Consultant............................................... JamesParsons Steve Locker Lampson Progress................................... Post-production Music Mixer................................... Bruce Brown Costumes/Wardrobe........... Christine Reynolds Location Sound Mixer. .................... Robert Allen Mixer.......................... Phil Judd for Atlab Sound Sound Editor.................................................. IanBarry Assistant to the producers............................. JanTyrrell Assistant Director....................................... BobBarton Focus Puller........................ Michael Hardcastle Boom Operator........................... Don Reynolds Cast: Vincent Gil, Lisa Peers, Martyn Sander­ Gaffers....... Norman Elder and Chick McDonald son, Maxwell Fernie, Perry Armstrong, Davina Continuity.............Jan Tyrrell, Therese O'Leary Whitehouse, Frances Edmund, “ Uncle” Roy Director of Aerial Photography Stark, Linus Murphy, Gillian Hope, Val Murphy, Steve Locker Lampson Veronica Lawrence, Perry Armstrong sen.

CAST

Jan Tyrrell talks with Vince Gil during a break in filming at the Bridge Pa airfield.

David Hannay

Continued from P. 63 How do you see your involvement in a film?

always thought that a producer owes it to those who have invested in his judgement to involve himself totally in every area.

Well, I intend to. But when I do, it would be something so totally personal that it couldn’t be under­ stood or done as well by anybody else. Until that situation arises, I am quite happy working as a producer.

As a creative one. I like to involve myself in every aspect of making If you feel that involved, why the film — scripting, casting, make­ aren’t you directing the film as up, locations, performances, art well?

Why did you cast Vincent Gil and direction, post production — every­ Lisa Peers in the leads? thing. Fortunately, this hasn’t Firstly, the possibility of my created a problem with any of the directing this film was never in I’ve known Vince Gil for 10 years other contributors, because most of question. Tony and I have been and I think I’ve probably seen the time I have been in accord with talking about making films together everything he has done. He is my their views anyway, and on the few for the past six years, and he was favorite actor, so when Tony and I occasions there were disagreements always going to be the director of talked about the character of Paul everything was worked out any film we did together. I love his Robinson, I knew that Vince would amicably. During the shooting I was work — always have. be great for the part. So I took Tony on location all the time and saw round to meet him and then showed every foot of Film shot. I have What about directing generally? him an episode of Bluey in which 66 — Cinema Papers, July

Vince guest-starred and he really dug him and agreed with me.

Casting the girl wasn’t that easy. I had instantly understood who Paul Robinson was, but the initial idea I had for Judy was not the same as Tony’s. He obviously knew the character better than I did, so he had to tell me about her beyond what was in the script, as the character in many ways was someone in his life that was im­ portant to him. We fined it down to two people; both were right, and we looked at their work on film before making a decision. Although we couldn’t talk with Lisa because she was in New York, she had the right quality for the film. ★

6

16

13

All

11

★

★

★

★

★

★

★

★

★

★

★

★ ★

★

★

★

★

★

★

★

★

★ ★ 6

★★ ★ ★ 16

6

20

1

★

16mm only

★ 4

4

20

1

All

6

★

★

★

★

★

★

★ ★

★

★

★ ★

★

★ ★

★ ★ ★

3 13

11 12

★ ★

★ ★ ★

★ ★ ★

★ ★

★ ★ ★ 0)

★

★ ★ ★ 0)

★ ★ ★ ★ ★ (2)**

★

6 0 'x 25'

(5)

16'

(6)

★ ★

5

★ ★

★

★

★

★

★

★

★ ★ ★

★ ★

★ ★

★ ★

3 2 'x 22'

★

★ ★ ★

★

★

4 5 'x 18'

1 2'x 14'

14'x 10'

5' x 3'

★ ★ ★ ★ ★ ★

★

★

★ __ ★ __

★

, ..

•These facilities are not at present available to private producers.

8

20

★ (4)

3 4 'x 14.5'| 125' x 18' 12.5'x 5'

★ ★ ★ ★ ★

3

12

I 7.5'x 9'

★ ★ ★

★

4

12

★ ★ ★

★

All

★ ★ ★

24

12

★

4

★

26

★ ★ ★

★

1

12 All

★

Victorian Film Laboratories

5

6

2 Guest Street Hawthorn 3122 (03) 81 0461

7

12

.★

★ ★ ★

★ ★

★

Film Soundtrack Aust.

6

B

12

107 Queensbridge Road Sound Melbourne 3205 (03) 62 3205 (03) 62 5677

4

A

★

★

★

★

11

All

★

Desmond Bone

.

★

★

16

238 Ferrars Street South Melbourne 3205 (03) 699 7203

Chart designed by Peter Kelly.

★

16

Smart Street Films

7 (i) 16mm -7 (ii) 17.5mm (iii) 35mm 7 All (b) Number that can be interlocked (c) Rock & Roll dubbing ★ (d) High speed rewind dubber ★ (e) Facilities to mix (i) Single track ★ onto 35mm (ii) Three track ★ (iii) Four track stereo (iv) Six track stereo ★ if) Facilities to mix 0) Single track onto 16mm (ii) Threetrack (g) Three track or sinqle track double-head changeover projection facilities (i) 35mm (ii) 16mm (h) Cartridge sound library (i) Number of cartridges employed simultaneously G) Number of loops employed simultaneously 2 12 (k) Number of inputs into mixing desk (I) Mixing desk has (i) dialogue equalizers ★ (ii) graphic equalizers ★ ' (iii) noise gates or kepexs | ★ (iv) general equalizers on each channel ★ (v) echo or reverb ★ (vi) extras (m) Dolby 7 0 'x 35' (n) Size of d ubbing theatre (0 ) Size of screen (p) Remote electronic footage counter ★ ★ (q) Post sync to picture (i) dialogue (ii) Fx ★ (r) Facilities for recording music score to projected film (s) Line-up tone on head of mix ★ (t) Optical neg printing (i) RCA (ii) Westex (iii) Other (u) Cross-modulation distortion testing facilities (v) Transfer three-track mix to mono optical (w) Dolby cinema stereo optical printing

17 Oxford Street Bondi Junction 2022 (02) 389 2332

DUBBING STUDIOS

Part 2 : Sound Studios

*

★ ★

(a) Number of dubbers

(x) AB comparison between optical answer print and soundtrack and the master mix

★

★

★

Supreme Films

No!

★★ ★★★ ★

★ ★

★

★

★★ ★★ ★★ ★

★

★ ★★ ★

11-15 Young Street Paddington 2021 (02) 31 0531

★

★ ★

Sound on Film

★★ ★★

50 Atchinson Street St. Leonards 2065 (02) 439 4932

(d (e) (f) (g) (h) (i) G)

Va"

Film Australia*

(c)

Va"

Eton Road Lindfield 2070 (02)46 3241

tape to 16mm mono tape to 17.5mm mono V4” tape to 35mm mono V a ’ tape to 16mm stereo V a ’ tape to 35mm stereo Equalizing or filtering during transfer Numbering on magnetic tape of each take Sheet listing details: sync pulse; equalizing; slates; etc SN Nagra transfers Speed variation during trans of original V a "

(b) )

United Sound

TRANSFERS (a)

21 Pier Street Sydney (02)261381

NB: This list is not comprehensive but represents only those who were willing to participate.

South Australian Film Corp.

64 Fullarton Road Norwood 5067 (08) 42 4973

Services & Facilities Guide

VIC.

N.S.W.

S.A.

★

★ ★

★ (1) (2) (3) (4) ^ (6)

Compression/De-ess tx filters 2 Telephone filters Limiters/spring reverb/plate reverb Stereo mixdown A: 2 6 'x 17' B :6 5 'x4 5' A: 4 .5 'x 3' B :17.5'x9.5'

Cinema Papers, July — 67

Who's kidding who? Richard Nixon and David Frost in a P u b lic ity shot for the Nixon Tapes.

A drama full of falsity, Roots. Lome Greene as John Reynolds (right) and Vic Morrow as Mr Ames.

Tom Ryan Australian television recently featured two highly-publicized productions — The Nixon Tapes and Roots. In The Nixon Tapes, David Frost’s “confrontation” with Richard Nixon was, “for the first time since the Watergate expose”, going to provide millions of “America watchers” an opportunity to see “the private face” of the disgraced U.S. president. And the dramatization of Alex Haley’s Roots was to be a “terrific emo­ tional experience . . . a very meaningful story for everyone . . . with a universal relevance”.

The experience then of joining millions of viewers around the world on these muchheralded occasions was to be “historic” — the resultant community insight anticipating a new direction for television. Yet, the letdown was inevitable; the extraordinary dishonesty which lay beneath the two “dramas of confrontation” — between Nixon and his choric interviewer, and between white and black, against a background of African and American history — underlining the fact that television is more in tune with procreating palatable myths, than with probing beneath the surfaces of history.

Alistair Cooke in his “Letter From America” (ABC Radio) found in Nixon “a tragic figure”, drawing on the man’s plunge from power to evoke a tone more in keeping with Sophocles, than with a side-stepping Frost interview. Frost’s questions and Nixon’s responses certainly provided a potential stage for such an insight, though as it happened it was more into the pathetic lack of self-awareness of a man bent on self-justification than into a tragedy.

In addition, their avoidance of matters which might have dealt with the relationship between government structures and the organs of power within a particular capitalist state, sustained the myth of Watergate, rather than providing a clear perspective on the place of the presidency within it.

The Nixon Tapes, like the Watergate investigation itself, functioned as populist drama, 68 — Cinema Papers, July

The world’s most successful television serial, Roots.

celebrating the power of the people to assert their will, Nixon’s worn face serving as sufficient evidence that justice has been done, that the truth that so pains him has been made public by a media that speaks for the people.

Roots, too, mapped a path through history purporting to be redressing a wrong, but simply managed to avoid confronting any of those questions which might have demanded a complex response. Of course, Roots is fiction, and in spite of the claims of those who para­ doxically demand that “historical fiction” has to adhere strictly to “the facts”, whatever they are,* it has to be judged as fiction.

What it lacked as such was any interesting dramatic tension, the sort of shifting sympathies that made a large part of Rich Man Poor Man (Book 1) and Luke’s Kingdom (which will be discussed in the next issue of Cinema Papers) such compelling viewing. Adapted for television

by William Bunn (the creator of theStarsky and Hutch series), Roots sacrifices the opportunity to explore those individual moments in its characters’ lives for the sake of achieving an epic quality. The result is a drama full of falsity.

From the start, its attempts to depict a mid­ eighteenth century African life are distorted by a romantic conception of an alien world — all clean huts, closely-cropped lawns and verdant forest areas. The wisdom handed down by the elders to the prospective men sounds uncom­ monly like the liberal platitudes that one might expect to find in contemporary media editorializ­ ing, the humanist conception of the drama being comfortably sustained simply by implanting those values on the foreign culture, urging our acceptance of it because it is essentially like our own.

The black man is made “worthy” because he is presented as a facsimile of the white. The issue of confrontation between black and white is thus diverted. However much one might endorse the declared intention of the author and makers of Roots — to create better understanding between black and white — the means employed to this end are patently dishonest. The dramatic com­ plexities one could find in Richard Fleischer’s film, Mandingo, are dispelled by a one­ dimensional treatment of the drama, by a loading of the sympathies in trite melodramatic form on to those who are “victims”, refusing us a broader perspective on this fictional piece of American history.

As so often before, the U.S. has tried to bare its soul, to make public its conscience. In Nixon Tapes and Roots it has only succeeded in missing the point. ★ *This mistaken assumption, unfortunately, seems to hold sway in much of the current critical response (in Cinema Papers and elsewhere) to Australian dramas which deal with historical subjects.

DIRECTORS AND WRITERS

Anerican Television Drama Serie Introduction by Tom Ryan Checklists compiled by John C. Murray and Tom Ryan Any attempt to provide a checklist of people working in the television industry is doomed to be inadequate. The reason is that the compilers of such a checklist have only a single source of information — the television set. The selections therefore reflect what is available of American television (a predominance of police series) as well as the compilers’ viewing patterns, and omissions are inevitable. With the cinema, directors, writers, actors, actresses, cinemato­ graphers and sundry technical assistants have won attention for various contributions to the films on which they have worked; because accessibility to specific television dramas is limited to a single viewing, any creative focus in this area has been centred on the major recurring features of the dramas — the stars, or, more accurately, the characters who return week after week to find themselves cast in a new situation, or a variation of an old one, or a duplication of one from another series. While one need say no more than Kojak, or Columbo, or Hawkeye, or Hutch to establish a point of reference for dis­ cussion, names such as Ivan Goff and Ben Roberts, or Robert Collins, or Joseph Wambaugh allow no such easy recognition.

It is not our claim that those who have played their parts in the creation of various series, and of the individual episodes of such series, auto­ matically deserve critical attention. Yet many of the writers and directors working in television have demonstrated in their work a considerable degree of wit and intelligence, qualities which deserve recognition. With the constancy of the technical crews working on a particular series, the fact that one episode of Policewoman or Little House on the Prairie is arguably superior to another, or at least different from it, seems to indicate that this variation can be ascribed to either the writer or the director, or shared by them.

Any critical analysis of the work clearly needs to go beyond this; and attention needs to be given to the production system which defines the parameters within which individuals have to locate their efforts, and to the system of structures and signs which make television but

Edward A. Abroms............... Night Gallery; Doc Elliott; Columbo; Police Story; Six Million Dollar Man; Archer Corey Allen...................... Police Woman; Matt Lincoln; Hawaii Five-O; Kate McShane Lewis Allen...................... Cannon; The Rockford Files Lou Antonio.................... The Rockford Files; Banacek; Rich Man Poor Man (II)

The recurrence of particular names within and across series should provide access to the possibilities of continuities, of “ family resemblances” which, when combined with numerous other “family resemblances” (between particular episodes of the one series; between various series within specified genres; between television dramas which belong to the “realist narrative” tradition), can only serve to aid our understanding of the way in which those dramas are working.

The closer one gets to the television drama, the closer one is able to define a useful theoretical/critical framework for television One of the most popular of recent American television analysis which, to date, seems to have been series, Starsky and Hutch. content to appropriate television to the broader category of “popular culture” or to present a false face in the form of irrelevant sociological data.

Readers will recognize in the following checklists the names of veteran film directors who have turned their hand to television: Jack Arnold, Vincent Sherman and Alfred Hitchcock; of others who have since moved into film: Stuart Rosenberg, Steven Spielberg, Joseph Sargent; of others who regularly direct tele-movies: Marvin Chomsky, Boris Sagal, Alexander Singer; and of actors who have occasionally had a shot at direc­ tion, generally of episodes of series in which they star: Michael Landon, Peter Falk and Harry Morgan.

Peter Falk in Columbo, a series which has featured the work of directors Bernard Kowalski and Patrick McGoohan, The lists in this issue are limited to directors among others. and writers of American television drama series, one aspect of visual communication. However, it though we have bracketed the comedy work of seems that within this visual communication particular directors and writers included here. attention ought to be given to the possibility for The next issue will deal with American tele­ personal expression. The fact that the episode of vision comedy.

Wagon Train directed by John Ford (“The The information presented focuses primarily Colter Craven Story”) exhibits a particularly on the television series of the late 1960s and “Fordian flavor”, or that Sam Peckinpah’s work 1970s, though, where available, credits before on Theatre of Stars (“The Lady Is My Wife”) this time have been added. For those who are provides a fascinating early glimpse of his interested in further researching the area, the remarkable visual style and of his recurring writers (who can be contacted through Cinema concern with the destructive aspect of sexual Papers) can give individual titles of series relationships should speak for itself. It is too easy episodes for most of those in-the checklists. to bring an accumulated and retrospective body (P) denotes a pilot episode for a projected of knowledge of Ford and Peckinpah to their series, some of which appear never to have come television work. What is more difficult, but to fruition. The placing of an asterisk by a name necessary, is that such knowledge needs to be is to indicate the opinion of one or other of the constructed around those who find themselves, writers that the work of that individual has been or choose to be, functioning only within consistently impressive or is likely to be of television drama. interest. ★

Danny Arnold.......................................... Hawaii Five-0 Jack Arnold............. Alias Smith and Jones; McCloud; Movin’ On; Archer; (The Danny Thomas Show) John Astin................ Night Gallery; McMillan and Wife Hy Averback..................................... Columbo; (MASH) John Badham...................... Night Gallery; Police Story Reza Badiyi................................................Joe Forrester Allen Barron........... The Night Stalker; (Barney Miller) Carl Bath.................................................................... FBI Terry Becker............................................. Mod Squad Earl Bellamy...............The Rookies; Starsky and Hutch Richard Benedict'........... Police Story; Hawaii Five-O; The Bold Ones; Alias Smith and Jones; Marcus Welby, M.D.; Police Woman; The Rookies; The Blue Knight; (The Partners) Richard Bennett........................Allas Smith and Jones; Barnaby Jones Douglas Benton.......................................... Hec Ramsey Jerold Bernstein............................... The Young Rebels

Bruce Bilson............................. SWAT; Hawaii Five-O; Chopper One; (Get Smart) Bill Bixby...................... Bert D’Angelo; Kate McShane; Spencer’s Pilots; Rich Man Poor Man (II) Paul Bogart'............................... Nichols; Coronet Blue Cliff Bole............................. The Six Million Dollar Man Phil Bondelli................................................The Rookies John Brahm........................The Alfred Hitchcock Hour; Thriller; The Defenders George W. Brooks............................Starsky and Hutch; Charlie’s Angels Robert Butler..................................... Nichols; Columbo Michael Caffey............................The Rookies; Combat; Hawaii Five-O;Mannix;The Virginian; The Men From Shiloh; The Night Stalker; Barnaby Jones; Bert D’Angelo Marvin Chomsky.......................... Banyon; Police Story William F. Claxton., ........... Little House on the Prairie; The Rookies Richard A. Colla................................. Run For Your Life

Robert Collins'........... Police Story; Doctors' Hospital; Cannon; Serpico Nicholas Colosanto'................................................. HecRamsey; The Name of the Game; Columbo Richard Compton....... ....................... Get Christie Love Jackie Cooper........................................... The RockfordFiles Jeff Corey.................................................. Night Gallery William Crain............................................... The Rookies Barry Crane............................... Harry-O; Police Story; Mannix; Joe Forrester Mel Damski.............................................................. BionicWoman Marc Daniels...........................................Spencer’s Pilots Herschel Daugherty'. Wagon Train;The Smith Family Robert Day...........................................FBI; Police Story; Kojak; Banyon Ivan Dixon............................ Nichols; Get Christie Love Lawrence Dobkin.................. Cannon; The Manhunter Laurence Doheny..................................... The RockfordFiles Walter Doniger................................Marcus Welby, M.D.; Get Christie Love

Cinema Papers, July — 69

Tyler 35mm Vibrationless Middle-Mount Airplanes...

16V DC RECHARGEABLE BATTERY POWERS THE CAMERA, ZOOM LENS AND FOCUS

35mm ARRIFLEX MODEL II C CAMERA WITH 400' MAGAZINE

85, 85N3, OR 85N6 FILTERS

Helicopters...

Wheelchairs...

Dollies...

B o ats...

MOTORIZED ANGENIEUX 25:250mm ZOOM LENS

C a rs...

Tripods...

FINGERTIP CONTROLS FOR CAMERA, MOTORIZED FOCUS AND VARIABLE SPEED ZOOM

... goes anywhere

One complete u n it, goes anyw here, does everyth in g !

CONTACT PAUL HARRIS SAMUELS0N FILM SERVICE (AUSTRALIA) P/L

WEIGHT OF COMPLETE SYSTEM AS SHOWN: 131 LBS.

PHONE: (02) 428 5300 — 24 HOURS 25 SIRIUS RD., LANE COVE, NSW 2066

When it’s time to put scissors to your original negative...

Association of Teachers of Film & Video

It’s time to call Marilyn and Ron Delaney on

Current Issue Includes T.V. Cops and Kids: — Police Drama and the Public Eye — A Course of Action — Stunts and Sexism Reviews: ' — A Star is Reborn .

— The Battle of Billy's Pond Also: New Films from AVEC : Yellowcake: Films of Uranium Products and Processes New Books

922 3607 Your film will be matched by a highly qualified and dedicated team - you’ll appreciate the personalised service.

Victorian subscribers are entitled to regular free screenings, seminars and in-service courses.

VERY COMPETITIVE HOURLY RATES!

NEGATIVE CUTTING 13rl5 THyntle Street, (¡mum

rfO i-fa n d itù H te d and

SERVICES 'H.S.TO. 2065

?40i ßteciMed 'P%e*tU&e4

Subscribe: (Four Issues, Free Books, Catalogues) $10.00 (schools), $8.00 (individuals) (both tax deductable), $4.00 (students and unemployed). Forward cheques and orders to: ATFAV (Metro), 243 Queensbury St, Carlton, 3053.

TELEVISION

Richard Donner...................... Banyon; Cannon; Kojak; Petrocelli Michael Douglas.................... Streets of San Francisco Robert Douglas.................. FBI; Surf side Six; Baretta; Streets of San Francisco Charles S. Dubin.................Longstreet; Hawaii Five-O; The Storefront Lawyers; Cannon; Kojak; Banyon Daryl Duke............................... Night Gallery; Banacek Harry Falk.............................. Bert D’Angelo; Streets of San Francisco; Hawaii Five-O; McCloud; SWAT; Chopper One Peter Falk'........................................................ ColumDo Art Fisher...........................................Serpico; Petrocelli Theodore J. Flicker................................... Night Gallery John Ford'.................................................. Wagon Train Samuel Freedle............................................. Emergency Jerrold Freedman-..................................... Night Gallery Victor French........................ Little House on the Prairie David Friedkin-.............................. Chase; Police Story; Kojak; Bert D’Angelo Timothy Gaiters......................................... Night Gallery Alvin Ganzer.................. Police Woman; Joe Forrester Ben Gazzara.................................................... Columbo Robert Gist.......................................Mission Impossible Paul Michael Glaser........................Starsky and Hutch Murray Golden........................ Mannix; Medical Centre Leslie Goodwins......................................... Surfside Six William Graham......... Police Story; Get Christie Love; FBI; The Manhunter; Barnaby Jones Alex Grasshof....... Barbary Coast; The Rockford Files Walter Grauman.................... Bert D'Angelo; Streets of San Francisco;The Manhunter; Barnaby Jones David Greene....... Coronet Blue; Roots; Ellery Queen; Rich Man Poor Man (I) Stuart Hagmann............... Mannix; Mission Impossible William Hale.......................... Streets of San Francisco; The Time Tunnel; Night Gallery; Kojak; Bert D’Angelo Daniel Haller......... Owen Marshall: Counsellor at Law; Kojak Harry Harris...................... Apple’s Way; The Virginian; The Waltons; Doc Elliott Harvey Hart................................ Mannix; FBI; Columbo Jeffrey Hayden............................................ Longstreet; Alias Smith and Jones Richard T. Heffron............................The Rockford Files Gunner Hellstrom............................................ Petrocelli Gordon Hessler................................... Kung Fu; Switch Douglas Heyes.......................... Alias Smith and Jones Jesse Hibbs.................................................................. FBI Alfred Hitchcock-............... Alfred Hitchcock Presents; The Alfred Hitchcock Hour Leonard Horn......... The Rookies; Mission Impossible; Hawaii Five-0 Jules Irving............................... Rich Man Poor Man (II)

Richard Irving-.................................................... Columbo Jerry Jameson....................................McCloud; Cannon Jeremy Paul Kagan............................Nichols; Columbo Joe Kane............................................................Cheyenne PhilKarlson-..................................... The Untouchables Lee H. Katzin................................................ Police Story Leonard Katzman.............................................. Petrocelli E. Arthur Kean............................................ Police Story Gene Kearney........................................... Night Gallery Bob Kelljan....................................... Starsky and Hutch Bruce Kessler................................... Baretta; McCloud; Get Christie Love Alf Kjellin........................ Joe Forrester; Hawaii Five-O; Mannix; Switch; Columbo Randall Kleiser................................. Starsky and Hutch Howard Koch..................................... The Untouchables Bernard Kowalski-............................ Baretta; Columbo; The Rockford Files; Two for the Money (P) Paul Krasny...................... Mannix; Mission Impossible Buzz Kulik'...................... The Defenders; Incident on a Dark Street (P);Owen Marshall; Counsellor at Law (P) Richard Lacey.................................................... Harry O Fernando Lamas............... Combat; Starsky and Hutch Michael Landon-.................. Little House on the Prairie Richard Lang......... Harry 0 ; Streets of San Francisco Arnold Laven............................Mannix; Baretta; Archer Phillip Leacock-................ The New Land;Mod Squad Tony Leader............................................ Hawaii Five-0 Alan J. Levi.................................................. Gemini Man Gene Levitt....................................................... McCloud Joseph H. Lewis-.......................................The Rifleman Robert Michael Lewis.................. Harry O; Mod Squad Murray Loder............................................ The Rifleman Jerry London................ Joe Forrester; Police Woman; Kojak; The Rockford Files; (The Bob Newhart Show) Jack Lord..................................................Hawaii Five-0 John Meredyth Lucas............................. Police Woman Paul Lynch....................................................... Petrocelli George McCowan.................. Cannon; The Manhunter Don MacDougall........................Barbary Coast; Mannix; Mod Squad Bernard McEveety.................Combat; Petrocelli; SWAT Patrick McGoohan.......................................... Columbo Alexander March-.................... Police Story ¡McCloud; Joe Forrester; The Rockford Files Stuart Margolin.................... Sara; The Rockford Files; (Phyllis) Leslie Martinson.................... Mannix; Barnaby Jones; (The Chicago Teddy Bears; Batman) Russ Mayberry.......................... Joe Forrester; Search; The Virginian; Kojak Don Medford............................Baretta; FBI; Police Story Richard Moder............................ Six Million Dollar Man

James Doby..................................................... Adam 12 Michael Donovan-. . Police Story; Chase; Emergency Robert Dozier-. ............................................... Harry O John V. Drake............................... Then Came Bronson William Driskill....................................................Columbo John Dugan................................... Mission Impossible; Columbo; The Blue Knight Don Carlos Dunaway.......................................... Baretta Robert Earll.......................................Starsky and Hutch Harold Ersklne.................................................... Mannix Lee Erwin.................................................................. FBI Sidney Field............................... Six Million Dollar Man Richard Fielder............................. Marcus Welby, M.D. Ed Adamson......................................... Banyon; Mannix Peter Allan Fields............. Madigan; Get Christie Love; Larry Alexander........... Bert D'Angelo; Barnaby Jones; McCloud;Executive Suite Get Christie Love Mort Fine-...................... Nakia; Barnaby Jones; Kojak; Hasper Anderson........... .............. Marcus Welby, M.D. McCloud; Streets of San Francisco Theodore Apstein................................. FBI; Mod Squad Peter Fischer..................................... Columbo; Baretta Mel Arighi......................................................... McCloud Michael Fisher..........................FBI; Starsky and Hutch; Barnaby Jones Burton Armus........................................................... Kojak Barbara Avedon.....................................Executive Suite Steven Fisher................................... Starsky and Hutch Sean Baine-...................... Joe Forrester; Police Story; Jack Fogarty................... The Rookies; Bert D’Angelo Bert D'Angelo; The Rookies; Streets of San Francisco Arthur Folson............................. Six Million Dollar Man Nicholas Baker................................................... McCloud Dorothy Fontana.................... Streets of San Francisco Dallas Barnes............................... Joe Forrester; Kojak; Larry Forrester.......................... Harry O; Bert D'Angelo Bert D’Angelo Bob Foster.............................. Nichols; Kate McShane Sidney Baum......................................The Smith Family Bud Freeman............................. Nichols; Bert D’Angelo Juanita Bartlett-.................Nichols; The Rockford Files David Freeman...................... Madigan; Barnaby Jones William Bass.............................................. Apple’s Way Leonard Freeman.....................................Hawaii Five-0 Ann Beckett.................... Sara; Rich Man Poor Man (II) Fred Freiberger.................................. Starsky and Hutch Leonard Bernovicdi................

Police Story David Friedkin............. Barnaby Jones; Kate McShane Alvin Friedman..................................................Columbo Robert Leslie Berrem................................................ FBI Ron Friedman................................... Starsky and Hutch John D. F. Black-................ Streets of San Francisco; Milton Gelman.................................... Banyon; Riverboat FBI; Hawaii Five-O Sheridan Gibney........................ Six Million Dollar Man Walter Black............................... Hawaii Five-O; SWAT Jackson Gillis.................Mission Impossible; Columbo Richard Biain..........................Streets of San Francisco Michael Gleason.. . . McCloud; Rich Man Poor Man (II) William Blinn............. The Rookies; Police Story; Roots John W. Bloch...................... Streets of San Francisco; M. Gluck............................................................. Harry O Owen Marshall: Counsellor at Law Mel Goldberg.......................................... Hawaii Five-O Ray Goldrup..........................Little House on the Prairie Harold Jack Bloom..................................... Hec Ramsey Richard Bluel....................................... Spencer’s Pilots William Gordon.......................... Alias Smith and Jones Joseph Gores......................................................... Kojak Steve Bochco....................................................Columbo Joseph Bonaduce............................................... Apple’sWay;Cliff Gould.............................. Streets of San Francisco Herman Groves...................... Harry O; The Blue Knight (Temperature’s Rising) Robert Hamilton......... Serpico; Rich Man Poor Man (ii) Rudolph Borchert............................... The Night Stalker Earl Hamner........................ The Waltons; Apple’s Way Alvin Boretz........................................................... Kojak Robert Hamner............. Mission Impossible; Hawkins; Leigh Brackett-.................. The Rockford Files; Archer The Rockford Files James Bridges.................... Alfred Hitchcock Presents Orville Hampton.................. Hawaii Five-O; Movin' On; Don Brinkley................................. FBI; Medical Centre; Six Million Dollar Man Executive Suite Marlon Hargrove.................................... Bert D'Angelo Larry Brody............................Streets of San Francisco; David Harmon....................................... Harry O; Archer Police Story; The Rookies John Hawkins................................................... Cannon; Hindi Brooks....... v..........

Little House on the Prairie Little House on the Prairie Ron Buck............................... Streets of San Francisco Arthur Heinemann............................ FBI; The Virginian; Michael Butler........................................................Baretta Little House on the Prairie Jim Byrnes................................. Archer; Streets of San Shirl Hendry.................................................... Columbo; Francisco; The Waltons Streets of San Francisco Stephen J. Cannell-........................The Rockford Files; John D. Hess.......................... Streets of San Francisco Baretta; Switch Robert Heverley.................................

FBI; The Rookies David Chase....................................... The Night Stalker Douglas Heyes.........................................Barbary Coast ‘ Frank Chase..............................................The Virginian Max Hodge............................................ Police Woman; Calvin Clements....... The Untouchables; Police Story; Barbary Coast; Medical Centre Joe Forrester Robert Holt................................................ The Rookies; Larry Cohen.............................................. Coronet Blue Streets of San Francisco Robert Collins-............................... Police Story; Serpico Buck Houghton..................................................... Nichols Gene L. Coon.................................................... Hawkins John Hudock.................................................... Petrocelli Jerome Coopersmith.............................. Hawaii Five-0 Richard Husky...................... Streets of San Francisco; Barbara Corday..................................... Executive Suite SWAT; Mod Squad Michael Crais...................................................... Baretta Don Ingalls.................................................. Police Story Oliver Crawford.................. Petrocelli; Medical Centre Kenneth Johnson........................Six Million Dollar Man Richard Danus.................................................... Serpico Norman Jolley................................... FBI; Joe Forrester Gordon Dawson................................. The Rockford Files Stanley Kallis..............................................

Wagon Train Edward DeBlacso................................... Police Woman Stephen Kandel................................................ Banacek Philip DeGuere.................................................... Baretta Leonard Kanto........................Streets of San Francisco Robert C. Dennis... The Manhunter; Charlie’s Angels; Will Kargo....................................................... Movin’ On Six Million Dollar Man David Karp-......................................... Hawkins; Archer Donnell DiMaggio...............................................Petrocelli Leonard Katzman............................................ Petrocelli David Dimsdale................................... Doctors’ Hospital

WRITERS

David Moesslnger.......................................Apple's Way Franklin Schaffner................................. The Defenders Irving J. Moore..................................................Petrocelli James Sheldon....................................... The Defenders Alvin Moretz............................................ The Defenders Vincent Sherman-............................. Doctors’ Hospital; Harry Morgan...............................................Hec Ramsey Medical Centre; Baretta Hollingsworth Morse...................... Marcus Welby, M.D. Michael Schultz................ Baretta; The Rockford Files John Llewellyn Moxey-................. Police Story; Archer; Ralph Senensky............................The Blue Knight; FBI; Mannix; Hawaii Five-0 Night Gallery; Dan August Gary Nelson................................. Police Story; Archer; Nicholas Sgarra........................................................Kojak (Get Smart;The Partners) Jack Shea.................................................................... TheWaltons Ralph Nelson.......................................... The Defenders BarryShear.......................... McCloud;The Bold Ones; Sigmund Neufeld, Jnr................................ .’ .. . Serpico Cool Million; Police Woman John Newland.......................... Police Woman; Harry 0 Robert Sheeren..................................... Kate McShane Joseph M. Newman-...........Alfred Hitchcock Presents; James Sheldon................................................ Petrocelli The Rifleman AndySidaris............................................................. Kojak Richard Newton............................................ Mod Squad Alexander Singer-........... Police Story; Police Woman; Paul Nickell................................................ The Virginian Joe Forrester; Mission Impossible Leonard Nimoy...........................................Night Gallery Jack Smlght.................. Madigan; Columbo; McCloud Christian Nyby................. Wagon Train; FBI; Adam 12; David Soul......................................... Starsky and Hutch (The New Andy Griffith Show) Steven Spielberg-.................................... Night Gallery; Christian Nyby II............................. Chase; Emergency Columbo; Savage (P) Michael O Herlihy-.............Police Story; Joe Forrester; Joseph Stacey........................................ Executive Suite Movin’ On; Hawaii Five-0 Georg Stamford-Brown............................................ TheRookies Paul Stanley-.............Movin' On; Then Came Bronson; Sam Peckinpah-................................... Theatre of Stars Leo Penn............. Marcus Welby, M.D.; Hawaii FTve-0 Silent Force; Hawaii Five-O; Tarzan; Archer; Daniel Petrie.................. The Defenders; The Name of Streets of San Francisco the Game; Hec Ramsey Claude Ennis Starratt...................... Starsky and Hutch Joseph Pevney-....... Marcus Welby, M.D.; Mobile One; E. W. Swackhamer........................ The Ftookies; Switch Executive Suite; Petrocelli Jeannot Szwarc............. Night Gallery; Mannix; Toma; John Peyser-........................... Hawaii Five-O; Mannix; Baretta; Columbo; Kojak Combat; Kate McShane Don Taylor................................. Cannon; Night Gallery Lee Phillips............................... Nakia; (The Ghost and Jud Taylor.......................................Then Came Bronson; Mrs. Muir; The Practice) Sara; Hawkins Frank R. Pierson-............................................... Nichols Peter Tewksbury............. Father Knows Best; Nichols; Ernest Pintoff.............................................. Police Story Hawaii Five-O; Ted Post........................ Gunsmoke; Columbo; Baretta The Storefront Lawyers; Harry O Michael Preese........... Sara; Streets of San Francisco Robert Totten................................. Mission Impossible Richard Quine-................................................ Columbo Virgil W. Vogel-...................... Bert D'Angelo; Streets of Allen Reisner........................O'Hara, US Treasury; FBI; San Francisco; FBI; Wagon Train Cannon; Lancer;Twilight Zone; Herb Wallerstein. . Mannix; Petrocelli; (Happy Days) Streets of San Francisco; Rich Man Poor Man (I) Charles Walters..............................The Lucille Ball Hour David Lowell Rich............................. Riverboat; Mannix SamWanamaker....................................... Coronet Blue Seymour Robbie..........................Mannix; Matt Lincoln; Al Ward.................................................. Medical Centre The Manhunter; Streets of San Francisco Mark Warren.................................... Get Christie Love Mark Rodgers-............................................ Police Story Don Weis-............. Starsky and Hutch; The Immortals; Sutton Roley..........................Mannix; The Sixth Sense; Barbary Coast; Mannix; Ironside; The Night Stalker; Nakia The Danny Thomas Hour; (Happy Days) Charles Rondeau............................ Mission Impossible Paul Wendkos-................ The Smith Family; Hawkins; Stuart Rosenberg-....................................................... TheDefenders; Harry O; Police Story; The Delphi Bureau (P) The Name of the Game (P) Bert D'Angelo; William Wiard........................... Nichols; Boris Sagal-............................... McCloud; Hong Kong; Streets of San Francisco The Defenders; Rich Man Poor Man (I); John Wilder............................ Streets of San Francisco Columbo; Madigan Ron Winston....................................................... Enigma Joseph Sargent-........................................ .

Kojak (P) William Witney.......................................... The Virginian Ronald Gilbert Satloff....................................... McCloud

TonyKayden.......................... Streets of San Francisco Sam Rolfe................................... The Delphi Bureau (P) Elliott Kaye........................................ Get Christie Love Milt Rosen................................................Kate McShane E. Arthur Kean-............................................ Police Story Jerome Ross......... Owen Marshall, Counsellor at Law; Gene Kearney-............................. Kojak; Night Gallery The Defenders Richard Kelbaugh..................................... Joe Forrester Martin Roth.............................................. Bert D’Angelo William Kelley.................................................. Petrocelli ArthurRowe.......................... Streets of San Francisco; William Keys.......................................... Barnaby Jones Bionic Woman George Kings..................................... Get Christie Love Albert Ruben................................. Coronet Blue,- Kojak; Chester Krumholz............................. Doctors’ Hospital Streets of San Francisco Marvin Kupfer........................ Streets of San Francisco Jerry Rubin............................................ Executive Suite Jack Laird.................................................................Kojak Mann Rubin........................................ Banyon; Harry O; Edward J. Lakso............................. The Rockford Files,Mannix;Mod Squad Starsky and Hutch Allan Russnow...................... Streets of San Francisco Milton Lambell.......................... Rich Man Poor Man (II) Sy Salkowitz...................... Police Story; Chopper One; a Michael Landon.................. Little House on the Prairie Matt Lincoln; McCloud Glen. A. Larson............. McCloud; Switch; Alias Smith B. W. Sandefur................ Little House on the Prairie and Jones; Hawaii Five-0 Jimmy Sangster-............................. The Night Stalker Stephen Latimer.............................................. Columbo Alvin Sapinsley........................................ Hawaii Five-0 Anthony Lawrence................ The Storefront Lawyers; Paul Savage....... .................. Streets of San Francisco Archer Margaret and Paul Schneider.............Six Million Dollar George Lawson............................... The Rockford Files Man; Marcus Welby, M.D. Peter Lefcourt................ : :V p................ Kate McShane Bernard Schoenfeld............................................ Madigan Robert Lenski............... Hawaii Five-O; Barnaby Jones Elroy Schwartz....................................................Harry O Norman Lessing.................... Streets of San Francisco S. S. Schweitzer.......................................Police Woman David P. Lewis...................... Streets of San Francisco; Gregory Scott.......................................... Police Woman Columbo Robert Van Scoyk...................... The Men From Shiloh; Richard Lightman................................... Kat8 McShane Coronet Blue William Link.................................................. Savage (P) Rod Selling'............................................ Twilight Zone: Harold Livingston...................... Barbary Coast; Archer Night Gallery; Enigma Stephen Lord.......................................... Barbary Coast Lou Shaw...................................... McCloud; Columbo; John Meredyth Lucas........................................ Harry O Get Christie Love Jerry Ludwig............................................................PoliceStoryJack Sher.........................

Banyon Robert Sherman................................................ BarnabyJones Charles McDaniell.......................................................DocElliott William P. McGivern........................................ Madigan Hal Sitowitz..................................................................TheRookies BenMaddow-....................

The Untouchables Mark Slade...................................................................TheRookies Paul Magistretti. v..............................................Baretta Michael Sloane................................................ Columbo Zeklel Marko... .................. The Night Stalker; Toma William Spier.................................. The Untouchables Tim Maschler.. , ....... Police Story; Starsky and Hutch Adrian Spies................................. Baretta; Police Story Harold Medford............................... Police Story; Mannix Leonard and Arlene Stadd................................... HawaiiFive-0 James Menzies...................... Streets of San Francisco Leslie Stevens........................................................Search Katherine and Michael Michaelian................. Petrocelli Bill Stratton........................................................... HawaiiFive-O Kay Michaelson................................................. Petrocelli Robert Stull...................................... Petrocelli Sue Milburn.........................................Doctors' Hospital Howard Swanton....................................... Wagon Train Thomas Miller.................................................. Petrocelli Don Tate.......................................The Men From Shiloh David Moessinger................................................. PoliceStoryFrank Telford-............................. Police Story; Mannixt Paul Monash..................................... The Untouchables The Rookies; Gemini Man; Joe Forrester; Frank Moss........................................................... Combat Police Woman DonnMullally..................................... Get Christie Love Gene Thompson................................................... Harry O Joel Murcott....................................................... Cannon Gregory Tiefer........................................................Baretta Dick Nelson.................................................................. FBI Barry Trivers.........................................Harry 0 ; Mannix E. Jack Neumann-................................................... PoliceStory; Guerdon Trueblood............... Streets of San Francisco Incident on a Dark Street (P) KarlTunberg...........................................Spencer’s Pilots Robert O'Neill.............................................. Gemini Man IrvTunick........................................................... Combat Jim Owen§.................................................... Emergency Jack Turley.......................................... Cannon; Baretta Don R. Patterson.....................................Bert D’Angelo; Dan Ullmann.................................... Mannix ;Movin On; Starsky and Hutch Mobile One; Petrocelli Tony Paulsen..........................................

WagonTrain Leigh Vance........................................................ Mannix Irving Pearlberg.................... Police Woman; Columbo; Pamela Bradley Wallace................................... Serpico The Rookies; Nakia; The Blue Knight A. C. Ward.............................................................MedicalCentre Ken Pettus............... Mission Impossible; Police Story; Wallace Ware......................................................... Archer Hawaii Five-O Albert Warren.......................................Get Christie Love Leo Pipkin....................................................... Petrocelli Ed Waters............................................ FBI; Police Story Robert Pirosh......................................................... Harry0 Skip Webster.................. The Rookies; Barnaby Jones Paul Playdon...........................................................Switch Mark Weingart.................... Dan August; The Rookies; Joseph Polizzi................................... Get Christie Love; Streets of San Francisco Police Woman; Bert D'Angelo Arthur Weiss........................................................ Mannix Richard Powell....... :....■......................................Switch William Welch..................................... The Time Tunnel Robert Presnell, Jnr........................Banacek; McCloud; Halstead Wells......................................................... Kojak Rich Man Poor Man (II) Phyllis and Gordon White................................... MedicalCentre BradRadnitz.......................... Joe Forrester; Columbo; Stanford Whitmore.....................

Police Story Streets of San Francisco Carey Wilber............................. Barnaby Jones; Chase Dean Reisner-............................ Rich Man Poor Man (I) Shimon Wincelberg.............................. Nichols; Mannix Esther and Bill Richardson................................. Combat Michael Winder........................ ............... Harry 0 Pat Riddle....................................................... _.......... FBI Leonard C. Wise............................................. Police Story.

Stanley Roberts.......................: ............ Police Woman William Wood................

Nichols Mark Rodgers-................................... Police Story; FBI; William Reed Woodfield.................. MissionImpossible Joe Forrester; Savage (P) Robert Malcolm Young......... Streets of San Francisco Howard Rodman-: .............................................. Harry O

Cinema Papers, July — 71

The New Alternative Lab 16mm and 35mm contact • Optiscope (Techniscope) to Cinemascope • All optical effects • 16mm, 35mm and Optiscope m 16mm to 35mm Blow Up • 35mm to 16mm Reduction

OPTiCOLOR 16 MM sound transfers editing rooms double system theatre

Cnr 188 Pacific Hwy & Bellevue Ave Greenwich 2065 NSW Telephone: (02) 439 7771

n o m a n u n s e r v ic e s have m o v e d to

28 shellcove road neutral bay 2089 closer to all you northside film makers but giving the same efficient service and reasonable rates no m atter where you are based

13 Myrtle Street NORTH S YD N EY Phone: (02) 922 5650

phone anne graham on 908-3011 for a chat about your neg m atching needs

A D IA A F i l m SERVICES 28 shellcove road neutral bay 2 0 8 9 tel 908-3011

The Evolvement of a Television Series Drama Monte Miller In Britain, it takes up to two years to develop a television drama series. It usually evolves from an idea conceived by a single writer; but some­ times from pooled ideas within a production organization.

Australian television cannot afford such delays, and this tends to result in serials and series being thrown together in a hurry. As well, producers have a tendency to follow earlier successes — costs being what they are. So the way of the innovator in the U.S., and in Australia particularly, is not easy. But original ideas do continue to be developed into formats for series and serials, and are continually offered up to television channels. Sometimes an idea will appeal enough for the station to fund a pilot, but very few lead into a prosperous series.

In an effort to launch a series, I recently spent much time developing an idea as far as pilot script stage. The idea came from a weekly column in The Age entitled “View from the Top”. Written by Roger Neave, a lecturer in business management, it dealt with the problem of running a small manufacturing business.

Neave conveyed his weekly lesson in the form of an amusing little story about a young executive applying for a job interstate. Instead of needing another job, he had merely wanted his airfare to Surfers Paradise, where his girl happened to be.

Some months later, Neave contacted me and said he would like to develop the column. At first we had different motives in wanting to make the series, although we had the aim. I, for instance, felt that as business management and industrial relations affect so many of us in our daily lives, there would be a rich dramatic vein worth tapping.

We then decided to make a joint application to the Film, Radio and Television Board for script development.

We agreed to call the series The Battlers, but didn’t know then that there had been one with thé same title in the 1960s. That one was about a young pugilist, while ours was to be about the battlers in every strata of society. We summed up our theme as: “The setting is a small manufac­ turing business. Most businesses stagger from crisis to crisis, yet somehow muddle through.

This is about two groups of people: management and labor, and their dependants, and of how the problems of one group affects the other, and of how the individuals of each group act and react”.

We met the Film and Television Board assessors, and a few months later were told that we had been awarded a grant to enable us to develop a screenplay for the first episode of the proposed series.

We planned the series for a while and felt it might work better if it was set in a large country town. We were not looking for an industrial Bellbird, but something that would encapsulate the idea of the series.

We would suppose that the company, a diecaster and motor vehicle spare-parts manufac­ turer, established 40 years in the city, had moved to the country town under the decentralization plan. It had then amalgamated with a smaller and more recently established company. The new company employed about 300 people, many of them migrants. Some of the work force had moved up from the city with the company.

The new company found it had become a major influence on the town, a role it had neither sought nor anticipated, but to which it had to adapt. The company was subjected to the

pressures of the industry it served, including the pressures of the multi-nationals. It also had to cope with changes of direction taken by the Federal and State governments, a multitude of bureaucracies, and there was always the potential threat of conflict with the trade unions.

I called on the Minister for State Development to find out what was entailed in moving a city business to the country, or in setting up a new business in the country. Then I wondered if, as the series was set in the country, it could be made in the country, possibly by using the facilities of a country television station. The Minister was enthusiastic about the possibility of a production company being set up in the country, and he promised his support, and arranged for me to meet John Stapp, of GTV6, Ballarat.

Stapp liked the idea, because it would be a new venture for bush television, though making could strain the facilities of his station. So, I realized I had to write the script with the limitations of the station in mind.

Neave and I spent much time working out the characters and once we felt they were emerging as real people, we started thinking about the first episode. This pilot, as well as having to introduce the characters, had to deal with the outbreak of a strike.

I discarded the first six plots until I got some­ thing that I felt was at least partly right. But I then realized that the basic problem was that I had no direct knowledge of industrial relations — all my information was second or third hand. I decided to do my own research.

I then spent a lot of time talking to union officials at the Trades Hall, people at the A.C.T.U. and the Trades Union Training Centre, organizers of the Amalgamated Metal Workers’ Union, and of the Metal Trades Industries Association, managers in several companies, and individuals in labor and management. I watched how stop work meetings were conducted, and also followed Arbitration Court proceedings. I collected a lot of material on tape which I trans­ cribed and then indexed for quick reference.

The next question I faced was: “Why, when there is so much news on television about industrial disputes, wages claims and unem­ ployment, and when people like Bob Hawke and Tony Street are so well-known, would anyone want to watch a drama series about similar things?” Then I realized that little of what is said in television news has any relation to individuals.

It deals with mankind as a whole. Or abstracts. It conceals facts and puts things in a way that softens the effect.

What interested me about these industrial disputes was not the statistics, but the effect such actions have on the lives of individuals. That is, “What happens to the people involved?” As Paddy Chayefsky said in the golden days of American television: “Television tells a small story about a familiar character and pursues this

small story with relentless literalness to one small synthesized moment of crisis . . . dramatic construction is essentially a search for reasons . . . television is the marvellous world of the ordinary”.

Neave and I then completed the first episode and called it “The Principle of the Thing”. Both sides (management and labor) were locked into an inflexible stance because of the principle involved. There was also the hint that individuals of both sides wanted the strike because it would strengthen their positions. It would show that often there was no simple solution, and finding the real reason for a dispute was often extremely difficult. As well, there were the complex relationships between the characters: these ranged from loyalty, to perfidy, to complete indifference.

The script was written with production at BTV6 Ballarat in mind. Only three sets could have been constructed in the studio, but scenes were written to be taped in corridors, the reception area, etc. Exterior scenes were to have been taped by the outside broadcast van.

We made up a presentation kit and this included the script, background information, character notes and further story lines. We also included some production details. It looked good and created a lot of interest: everyone liked the script, some even raved over it.

The Film and Television Board offered to consider an application for a grant to make the pilot, but I couldn’t see the value of that if the pilot was not to lead the series into a safe berth.

We had spoken to the ABC during development, as the series was the sort of drama that might interest them. The then head of television drama said he was interested and asked to see a script.

But he didn’t tell us that at the same time the ABC was doing a co-production with New Zealand on a drama series based on a similar subject. So the script for The Battlers hit the ABC a couple of weeks before their first episode of Moynihan was aired.

I believe the script of The Battlers is good and the idea sound, and I believe it has good possi­ bilities for an absorbing series. Perhaps The Battlers needs re-thinking. It could be treated as a comedy, even as broad comedy like The Rag Trade or On The Buses. Or it might be set in the hungry thirties, a period which is becoming in­ creasingly relevant to contemporary times, and which has the attraction of nostalgia.

But equally possible The Battlers doesn’t belong to the present Australian climate where ratings are what it is all about. After all, tele­ vision exists purely to deliver audiences to ad­ vertisers. Its only role is flogging goods, and the programs it shows are only there to separate the commercials. Like a Playboy centrefold, it promises much, but delivers nothing — not even a dream. ★

SAMMY AWARD WRITER TO WORK ON NEW FEATURE Keith Thompson who won the Sammy Award and the Writers' (»uild award for his teleplay “Stopover" in 1976, has begun work on a feature set in the Cradle Mt. National Park in Tasmania. The film's producers, Gordon Glenn and Keith Robertson, have received Film Commission backing for Thompson to work on the project which will dramatize one of Australia's most publicized mountain disasters.

Cinema Papers, July — 73

•pr-"-' ' y

:|llg ¡§|S

Si::':

BBM i sM | 1 1 * ||iiilli

^

mm

f ilis i

HIGH ROLLING “High Rolling is a chronicle; a record of a journey undertaken by two young men. And, at the same time, it is a study of the close relationship that exists between them and binds them together.

“Tex and Alby — one American, the other Australian — reflect a coming together of national cultures already well established in this ‘lucky country’. In High Rolling there is no heavy polemic. It is rather an entertainment piece of high energy, strong drama and that ironic comic sense for which the newest range of Australian films has become famous.”

D irector...................................... Igor Auzins Producer .................................. Tim Burstall Production Manager....................Tom Binns Director of Photography.......... Dan Burstall Art D irector............................. Leslie Binns Sound R ecordist.....................Barry Brown Editor.................. Edward McQueen-Mason T exas.................................... Joseph Bottoms A lb y ........................................ Grigor Taylor L y n n ............................................ Judy Davis A rnold................................... John Clayton Barbie.................................... Wendy Hughes S usie.................................. Sandy McGregor Top: Joseph Bottoms as Tex. Middle: Judy Davis as the 16-year-old hitch-hiker Lynn.

Far left: Alby (Grigor Taylor) fights off Arnold’s (John Clayton) advances.

Left: Grigor Taylor and Joseph Bottoms.

74 — Cinema Papers, July

SUMMERFIELD “A young schoolteacher goes to a small fishing town in Victoria to take over the school as the previous teacher has disappeared without trace. He becomes fascinated by the people living at ‘Summerfield’, an island farm, and involved in the mystery of the teacher’s disappearance against his better judgment. Think of the worst that could happen — then think again.”

Director.....................................Ken Hannam Top left: Michelle Jarman as Sally Abbott.

Producer....................................... Pat Lovell Director of Photography............Mike Molloy Top right: Simon Robinson (Nick Tate) Art Director.......................... Graham Walker c o m fo rts Jen n y A b b o tt (E liz a b e th Sound Recordist.................. Ken Hammond Alexander).

Editor.........................................................SaraBennett Music..................................... Bruce Smeaton Centre: Nick Tate with Geraldine Turner who plays Betty Tate.

Simon Robertson .............. Nick Tate David Abbott. . . .......... John Waters Bottom: Nick Tate and Michelle Jarman.

Elizabeth Alexander Jenny Abbott. . . . .. Michelle Jarman Bottom left: Dr Miller (Charles Tingwell) Sally Abbott. . . . .. Charles Tingwell Dr Miller............ and David Abbott (John Water).

A

.

Jo sep h E . L e v in e U «

A BRIDGE TCX) FAR starring (hr alphabetical order)

l)irk Bogarde James Caaii Michael Caine Sean Connery Edward lt>\ Elliott Gould Gene Hackman Antliony Hopkins Haiti)' Kruger Laurence Olivier Ryan O’Neal Robert Redfbrd Maximilian Schell Liv IJlhnann From the book by

Cornelius Ryan Screenplay by

W illiam Goldm an

Joseph E. Levine

Produced by presents

Joseph IL Levine and

.

Richard R Levine Directed by

Ritiiaixl Attenborougli mm united Artists A fr<

FOR NATIONAL RELEASE AUGUST 1977

ORIGINAL M OTION PICTURE SOUNDTRACK ALSUM AND

TAPE AVAILABLE ON UNITED ART*$TS 1 f t RECORDS

«

THE F.J. HOLDEN Susan Dermody

I came away from F.J. Holden charged with elation that such material could be so well handled, though I also found myself faced with several niggling doubts.

The best thing about F.J. Holden is that it ‘sees’ so intensely. It has found certain strategies of looking at life in those kerbed and sealed, but barely civilized, western suburbs of Sydney, strategies that permit the viewer to glimpse the marvellous in the real, and to be fascinated and unperturbed doing so.

The lives we look at are teeming with detail and impulses; yet they are resound­ ingly empty, uninhabited spaces, unaware of the possibility of conscious action altering the pattern of existence.

F.J. Holden places one inside the houses, backyards, hotel bars, shopping malls and cars of these people in privileged closeness to their life-style. The smallness of the spaces forces one, almost always, into a closer-than-medium-shot proximity with them and the accumulated detail of their lives — the kerosene heater, the fish tank in the corner, the china swans in flight on the wall, the set of glasses (won at the club), and so on.

One is forced to intrude far into the lives of Kevin (Paul Couzens), Anne (Eva Dickinson), and their families, and in this I am reminded of many eastern European films, such as Fireman’s Ball, which also look unwincingly on human beings trapped in the moment-to-moment effort of finding an appropriate response to life, and usually failing to find it in time, if at all.

The film manages to celebrate the ordinary-extraordinariness of these lives in their narrow but almost obsessively interest­ ing variety — the character of Anne for example. One gets a complete sense of the boundaries of her life — working at Bankstown Square (desperately relieved to be out of school, and quietly proud of being at this obvious hub of existence); drudging for her

The break-up between Kevin (Paul Couzens) and Anne (Hva Dickinson) in Michael Thornhill's look at life in Sydney's western suburbs, F.J. Holden.

deserted father and two very much younger brothers; allowing herself to be fucked by Kevin's mate Bob, so that eventually Kevin will take his turn; developing and ably handling some kind of relationship with Kevin until he (almost accidentally)steps on its most vulnerable spot and makes it absurd

A drunken Kevin (Paul Couzens) verbally spars with Deadlegs (Gary Waddell) prior to disrupting the . party by swearing at Anne. F.J. Holden.

and untenable to her.

All the time, she is predestined to be the rather thin-lipped, thin-faced woman she already is, in her future life of drudging for some other bloke, some other kids. Yet in all this, she has stature; her life is worthy of thought and close attention, and her c h a ra c te r is a self-co n tain ed en tity, requiring respect.

Kevin, too, is given this measure of celebration, just by having the details of his life acknowledged, one by one, in a coherent series. The casting and handling of almost all the characters of the main story carries with it a sense of responsibility towards the people concerned.

An important exception to this general rule, however, is the character of Deadlegs, played by Gary Waddell, and all the bits of story that are gratuitously dragged in by his occasional entry and re-entry in the film. He is an annoyingly irrelevant character, whose genealogy can be traced back through the slightly kooky side-kicks in films like American Graffiti, Rebel Without a Cause, and television serials like Doby Gillis, the Archie comics, etc. Whenever he is around, we are meant to be laughing rather mockingly at the mindless exertions of eating-drinking-fucking that the western suburbs substitute for living.

Another of the film’s strategies is David Gribble’s apt and agile camera. For instance, shots from within or alongside the car are sufficiently varied and inventive as to be rarely boring, though they make up so much of the film.

There are many patterns of interaction

between car and camera movements, as well as one or two lovely surprise shots. For example, as Kevin and Bob drive through the streets after their smorgasbord lunch at the club, the car slows towards the camera, which is waiting at the far side of the inter­ secting streets. The Holden stops, and for a moment it is impossible to know why, until two skateboard riders appear from the left, moving down the centre of the street. The Holden pauses for them before turning in their direction, and the camera pans left.

There is something magical about the materialization of the two kids on skate­ boards, and even more so about the kind of gentle sympathy between car, skateboard, camera, and the rhythm of the moment.

There are also a few well-chosen moments when the camera stays on a street corner left empty by the car as it turns and disappears up or down a suburban street, leaving us speculating on the (always similar-but-different) details of the kerb, nature strip, front fence, and house as the car recedes from sight and hearing.

Camera movement within the houses is accomplished too, especially the witty, descriptive dollies through the house where the party is on, first anonymously as we move through the rooms, then subjectively as Kevin searches drunkenly for Anne, and finally as we track backwards before the father of the house advances to do battle with the source of disruption (Kevin, swearing in the kitchen at Anne).

There is also a certain wit to the epic crane shots which occasionally rise above the telegraph wires to a grandstand view of Cinema Papers, July — 77

THE FJ HOLDEN

JUST A WOMAN

Dr Francoise Gailland (Annie Girardotjand her lover (Jean-Pierre Cassel)in a scene from Jean-Louis Bertuccelli’s sensitive Just A Woman.

the terracotta roofs and western suburbs sunset. As well, there is the crane up at the end of the drag-strip meeting at 'Brickie', when we rise to an overview as the police book the kids and clear the area. Then, in a beautiful series of time-lapse dissolves towards dawn, the fluorescent lights become increasingly small and unimportant, and a magnificent range of clouds appears along the eastern sky.

But there are other examples of a muchtoo-heavy hand on the material, such as when the camera pans fast from the lawnmower to Kevin's bedroom window (behind which he is trying to sleep), back to the law nm ow er, as it revs lo u d ly and unattended.

Or worse, when we are forced into an extreme close shot of the garden gnome that Kevin is about to hurl through the rippleglass front door of the party house, after we have already had ample opportunity in long shot to notice that there are garden gnomes at equally spaced intervals along the porch rail.

It is good to make the comedy easily accessible, but at times this comes uncom­ fortably close to a kind of bear-baiting. So between one point of the film and another an uneasy ambivalence becomes apparent. One moment the material is being ‘naturalized' for its audience — made perceptible and excitingly important — but at another it is held at a slightly contemptuous distance, and caricatured.

The real ‘stuff of the film is the minimal 78 — Cinema Papers, July

story of the lives of people like Anne and Kevin, and how something almost happens between them.

So, my enthusiasm for the great vitality of the film — the vitality of the material itself and of the intelligence with which it is uncovered and observed — is qualified by serious doubts about the uncertain intentions of the film towards its material. There are just too many signs of undisguised exploita­ tion of the material going on for it to be possible to overlook them and notice only the intelligence and perceptiveness of the rest of the film.

Instead of the Bankstown ethos being per­ mitted to unfold into the minimal shape of the story, another ethos is intruded here and there, one that holds itself at a slight but detectable intellectual distance and disdain from Bankstown life, and so feels obliged to tug and pull at the material until it is deformed into recognizable caricature for our knowing laughter. Which is a shame in terms of the final worth of the film, even if it proves to be a cunning strategy in terms of figures at the box-office.

F.J. HOLDEN. Produced and Directed by Michael Thornhill. Associate Producers: Jenny Woods. Errol Sullivan. Screenplay: Terry Larsen.

Director of Photography: David Gribble. Editor: Max Lemon. Art Directors: Lissa C<x>te. Monte Fieguth. Sound Recordist: Don Connolly. Cast: Paul Cou/ens. Carl Stever. Eva Dickinson. Gary W addell. P roduction com pany: K.l Film s.

Distribution: GUO Film Distributors Pty Ltd. 35mm. 105 min. Australia, 1977.

JUST A WOMAN Scott Murray "Real presentiments take shape at depths never visited by the mind, so that they some­ times lead us to perform acts which we interpret in quite another way . . . An untidy man who is about to die but does not suspect it, suddenly puts everything around him in order. His life changes. He sorts out his papers. He gets up early, goes to bed early, and gives up his vices. Those around him rejoice, so that his brutal death seems all the more unjust. He was about to lead a happy life. ” Raymond Radiguet.* There have been numerous films where men and women make adjustments to their lives when faced with death, but very few aim higher than an exercise in sentimentality or easy emotion: the man realizing he is going to die in the trenches making a heroic attack on enemy defences; the drunken surgeon spurning drink and saving humanity for his last, brief hours; etc. Generally, these films tell of people who, when faced with their own mortality, make sacrifices; they deny themselves for the good of man.

But Just A Woman (Docteur Francoise G a illa n d ) is d iffe re n t, the em phasis inverted. It places events on a personal, not * Le Diable au Corps. Penguin, 1971, page 155.

Translation by Robert Baldick.

heroic, level. It examines with great insight a couple's attempts to put their collective life in order. And it represents yet another con­ firmation of Jean-Louis Bertuccelli’s con­ siderable talents. Bertuccelli is that most out-of-vogue beings, a humanist film director. * Dr Francoise Gailland (Annie Giradot) is living a near-divorced existence with her husband, G erard (F rancois P errier).

Suddenly she is faced with the possibility of an early death. This realization, and a growing awareness of her lack of motherly attention for her two teenage children, motivates her, at least partially, into re­ assessing her life.

Francoise begins to doubt her false m arriage, where each partner freely indulges in extra-marital affairs, and each pretends an open, tolerant mind. She begins to suspect her teenage son is right and that she is indeed living a lie. In the past, Francoise had tossed away these doubts by putting them down to tiredness, now she can no longer afford to do so. Francoise abandons her lover (Jean-Pierre Cassel)and returns to her husband. *Just A Woman is Bertuccelli’s fourth feature. He gained international recognition with his extra­ ordinary first feature, Remparts D’Argile (1970) but has been subsequently ignored. He then made Pauline 1880, which he followed with his master­ piece, On S’esl Trompe D’Histoire D’Amour.

Bertuccelli has now completed L’lmprecateur, a political thriller with Jean Yanne, Michel Piccoli and Michael Lonsdale.

JUST A WOMAN

This reunion is particularly moving, because by this stage Francois Perrier has already well conveyed Gerard’s terrible loneliness. Thus, when he returns from work one afternoon and finds Francoise home, one immediately feels his joy, and in a sense, his relief. But this joy is immediately cut from under him as Francoise, embracing him, exclaims: “ I am sick. I am afraid.”

In one devastating close-up Perrier suggests G erard’s contradictory feelings: joy at Francoise’s return; disillusionment in believing he is needed only for his strength.

It is a beautiful scene.

But this new relationship begins again, and in time grows into something finer. This is best seen in the lunch date between Francoise and Gerard where he remarks, “ I have been putting my life in order.”

M om entarily em b arrasse d , Francoise changes the tone of the conversation with an aside that a renewed marriage is perhaps only a sign of old age. But the point has been well made.

As well, one finds in most of the other relationships in the film, a coming to terms with what is really important; a conscious sorting out or balancing of the scales. But the message is in no sense moralistic, for Bertuccelli is as much critical of the lies in the new freedom as he is of those in false marriages. Whether Francoise and Gerard are together at the end is really unimportant.

What is important is that they have learnt to care and accept the responsibility of this care.

Another example of this putting in order, is the relationship between mother and daughter. Francoise regards being con­ sidered a friend more important than being considered a mother and deliberately allows their relationship to become one of laissez faire. But in doing so, Francoise abandons her maternal role and, as a result, her

THE PICTURE SHOW MAN

daughter merely uses her as a source of strength whenever caught in a situation she finds inextricable — her pregnancy, for instance.

Here, Francoise at first resists the demand and Elizabeth (Isabelle Huppertjin exasperation (in a later scene) cries out: “I thought you were my friend.” With more awareness, Francoise can now reply: “ I am not your friend, I am a coward.”

Given the extraordinary box-office success of the film in France, it is surprising to find how much Bertuccelli has avoided sentimentality: the ending with its detached narration; Francoise’s plea to her favorite surgeon; the family’s visit before the operation; etc. This refusal to trivialize emotion adds great power to those few moments which are intentionally emotional:

for example, when Francoise is being wheeled into the surgery and Gerard's hand enters comfortingly, unexpectedly from the side of frame; or in the film's most difficult sequence where Elizabeth helps Julien (William C'orynjcut his hair.

Julien’s attempt at confronting his parents by stealing a mirror and his disappointment that even this act is ignored, tempts him to return to his previous isolationism. But as the scissors pass through his hair, he seems to be starting anew. The scene could, of course, h av e p ro v e d o v e rly s y m b o lic , but Bertuccelli keeps well clear of the dramatic and tosses the scene away with Julien’s remark: “Father is right — the mirror is ghastly.”

Just A Woman is, in conclusion, a notable film for many reasons. Annie Girardot’s and

John Ewart as the travelling pianist in John Power's nostalgic comedy. Picture Show Man.

Francois Perrier's performances are extra­ ordinary, as is Bertuccelli's direction. But more important, the film is a valuable and sensitive argument on the need for caring.

Old fashioned, conservative and, at times, simplistic, it may by some be easily dis­ missed. Fortunately, its lesson cannot.

JUST A WOMAN: Directed by Jean-Louis Bertuccelli. Screenplay; Andrew G. Brunelin, Bertuccelli. Director of Photography: Claude Renoir. Editor: Francois Ceppi. Music: Catherine Lara. Cast: Annie Girardot. Jean-Pierre Cassel, Francois Perrier, Isabelle Huppert, William Coryn.

Production Company: Action Films-Filmedis, SFP. Distributor: Filmways. 35mm. 100 min. France 1976.

THE PICTURE SHOW MAN Basil Gilbert

Pop (John Meillon) and company combat the rigors of poor weather; the opening sequence from The Picture Show Man.

If there is any truth in the assertion that male writers cannot do justice to the female psyche in their novels and plays, and women writers castrate their literary creations, then this may account for the success of Joan Long’s production of Caddie and the relative failure of her recent The Picture Show Man (directed by John Power).

Caddie is the moving story of the trials of a young Australian woman of the late 1920s — a Sydney barmaid who has to struggle for herself and her children in the demanding environment of a big city during the Depression. The Picture Show Man, on the other hand, is a gentle comedy, a light­ hearted inventory of the tribulations of a slightly romantic, middle-aged showman who travels the countryside of New South Wales, accompanied by his son, a pianist and a dog, seeking his fortune with a mobile

picture van. These situations differ in form and content. Caddie has a tragic element, an allpervading sadness, that is exquisitely blended with a soft-focus nostalgia provided by the wardrobe designer and the art depart­ ment. The script of the film is an adaptation of the successful Australian novel of the same name which was published in 1953 and soon ran into three reprints. .

The Picture Show Man has a simpler foundation. It is loosely based on notes for a short story, a collection of down-to-earth reminiscences which present a historical vignette, rather than a compelling narrative.

Penn’s Pictures On Tour concerns itself mainly with the problems of silent film presentation to the outback community, and to this simple text Ms. Long added senti­ mental touches of romantic intrigue. She also recognized the dramatic value of moving the time forward to include the traumatic and exciting events which accompanied the change from the silent cinema to the first talkies.

A glance at copies of the Sydney journal Film Weekly in 1928 tells just what these changes meant: limelight systems using industrial ether and oxygen were gradually replaced by electric arcs, and with synchronous sound on the film itself, alternating current generators were needed to replace the old direct current ones. Soon the itinerant pianists who accompanied the silent films with dramatic or romantic music — and who gave the audiences the chance of a singalong in the interval — had become unemployable, historical anachronisms.

The Picture Show Man delineates these events with a gentle humor that works fairly well in the area of situation comedy.

When Larry (Harold Hopkins), the son of showman Pop Pym (John Meillon), meets grazier's daughter Lucy (Sally Conabere) at a lake just after dawn, the emotions expressed are tender and touching, although continuity girl Jan Tyrell apparently did not notice the changing w aterline which modestly clothed Lucy’s naked, skinnydipping torso, but which varied from shot to shot as if in conformity with a censorship code. The bush-track race meeting also provided an opportunity for some simple fun, with Pop’s horse Stringy Bark going off in the wrong direction and dropping dead after the event. It was a naive humor, but the audience was caught up in the excitement.

■ Less exciting, however, were the comic sequences which made use of dialogue and repartee. These were reminiscent of the Arthur Askey radio melodramas of the pre­ television years, which parodied genuine Victorian melodramas. For example, when piano-tuner Freddie Graves (John Ewart) arrives at the country mansion of widow Duncan (Jeannie Drynan), the pair are soon snuggly seated on the piano stool. The conversation forms a long sequence of double-entendre.

He: “A very beautiful instrument, I see, hasn’t been tuned for some time.”

She: “Not since my husband died . . . he used to attend to things like that . . .” and so on. Freddie Graves’ seduction is finally achieved with home-made straw­ berry cake and a large pot of tea.

Some of the audience responded immed­ iately when they recognized G arry McDonald (television’s Norman Gunston)in the role of Lou, the opposition pianist, as he clouts Freddie with a frying pan and is pushed fully-clothed into a dam by an indignant Larry. This was recognizable slapstick that surprisingly always seems to work (though it is done much better in Let The Balloon Go).

Less efficient, however, were the verbal interchanges between Lou and Pop. For example, at the racecourse, Pop has just acquired a black racehorse, when he encounters Lou. Cinema Papers, July — 79

THE PICTURE SHOW MAN

Lou: “Good morning, Mr Pym. Some mount you’ve got there. I hear he’s a bit of a dark horse.”

Pop: “You might be surprised, he’s quite a stayer.”

Lou: “He stayed around a bit too long if you ask me. Gotta see a man about a horse.

Good luck!”

Pop: “Worm!”

The idiom is Australian, but is it funny?

The theme of Picture Show Man is original, and technically the direction is polished, but the screenplay is more a comedy of errors than a catalogue of sly, dry wit. So, it is unfortunate that director John Power was apparently reluctant to criticize or elaborate on producer /writer Joan Long’s screenplay. This dominance by the screen­ writer is the very opposite of the Hollywood system, where a screenplay is subjected to multiple rewrites by a number of pro­ fessional writers, or from the European system, where the director of a film fre­ quently modifies the original conception of a script to suit his artistic vision.

Both methods have advantages and disad­ vantages. It may not be good for the ego to have one’s creative material ruined by hack writers or poor editors, but equally, several creative minds working in close harmony are frequently better than one in isolation.

Should the creative control of a film be in the hands of the writer or the director?

Perhaps the answer is to compromise, with productive teamwork in the initial stages and close consultation in the final ones.

With The Picture Show Man, cinemato­ grapher Geoff Burton has demonstrated that the brilliance of his photography in his earlier films, such as Storm Boy and The Fourth W ish, was no chance event.

Although he claimed in the Cinema Papers interview that he has not attempted to emulate the painter’s art, one immediately responds to his beautifully impressionistic camera style, especially in the race meeting sequence, where the soft-focus follow shots have a poetic simplicity and beauty; and in the telephoto close-ups of the horses’ feet bringing the picture vans across the Aust­ ralian countryside.

These haunting images are nicely rein­ forced by Peter Best’s musical score, which is highly evocative of the toe-tapping mood of the late 1920s.

John Meillon is proving himself to be one of the more versatile of our home-grown actors (Rod Taylor's bland, nervous inter­ pretation of rival showman Palmer can only be described as a non-event) and demon­ strates the futility of attem pting to

HOLLYWOOD ON TRIAL

Americanize our films by the importation of expatriates. Meillon’s characterisation of Pop Pym is that of a likeable, vulnerable, slightly sad man. As The Fourth Wish has demonstrated, he is better suited to tragic roles than comic ones, but he has a warmth and sincerity which compensate for any flight miscasting.

Patrick Cargill, the British import for the film, was also slightly ill at ease with the script, and at times elicited more pity than laughs in his role as an alcoholic vaudevillist with a flirtatious wife (Yelena Zigon).

Most promising were Sally Conabere as Lucy, the puckish girl who understands the limitations of marriage in modern society, and Judy Morris as Miss Lockhart, a dancing disciple of Isadora Duncan, whose grace and classical profile recall the austere beauty of the more lyrical moments of Jancso’s Virtues and Vices.

THE PICTURE SHOW MAN directed by John Power. Producer: Joan Long. Screenplay: Joan Long, based on the story Penn's Pictures On Tour

by Lyle Penn. Director of Photography: Geoff Burton. Editor: Nick Beauman. Music: Peter Best.

Art Director: David Copping. Costume Designer: Judy Dorsman. Sound Recordist: Ken Hammond.

Cast: Rod Taylor, John Meillon, John Ewart, Harold Hopkins, Patrick Cargill, Yelena Zigon, Garry McDonald, Sally Conabere, Judy Morris, Don Crosby, Dolore Whiteman, Jeannie Drynan, Tony Barry, Gerry Duggan, Ernie Bourne, Willie Fennell, Grant Page. Distributor: Roadshow, 35mm. Eastmancolor. 98 min. Australia. 1977.

HOLLYWOOD ON TRIAL Keith Connolly Hollywood on Trial is unashamedly partisan. Director David Helpern, jun., sets out to engage emotions and, primarily, con­ victions. From the opening sequence — selective newsreel clips of the notorious House Un-American Activities Committee’s 1947 Hollywood hearings — his docu­ mentary is critical and condemnatory.

The committee had wheeled up some big names to flourish their red-white-and-blueblooded Amuricanisnv. Gary Cooper coyly gives Mr Deeds’ view that communists “aren’t on the level” ; Robert Taylor pontificates like a Yank back from Oxford; Jack Warner fluffs the lines prepared for “my brothers and I” ; dapper Adolphe Menjou cross-examines himself and comes up with the right answers; Ginger Rogers’ mother (how did she get into the act?), appears to be appearing on behalf of the

Movie Queen Mothers of Middle America.

These flashbacks (their surprising fresh­ ness in the memory indicating to people of my generation just how the events of the McCarthy era are burned into one’s psyche) establish the witch-hunting atmosphere of the time. Helpern counterposes further footage from the same hearings showing the Hollywood Ten being gavel led down by HUAC chairman J. Parnell Thomas as they vociferously refuse to “co-operate”.

A brief recap might be fitting: The HUAC Hollywood hearings inaugurated a re ­ pressive era of public political inquisition and private blacklisting that wrecked the careers and lives of thousands of Americans (and spread to most of the U.S.’s Cold War allies). It is called McCarthyism, not because Joe McCarthy and his Senate in­ vestigating committee were first in the field, but because he was the most malignantly zealous and (for a time) chillingly effective witch-hunter.

HUAC, set up before World War 2, became a front-runner of the anti-communist crusade soon after the war ended. Under T hom as, it lau n ch e d a la rg e -sc a le “ investigation" of Hollywood in 1947.

Thomas assumed the judicial posture that his aim was to "expose Red infiltration of the motion picture industry” .

Nineteen of the witnesses subpoenaed by the committee were “hostile" — they denounced its investigations as an uncon­ stitutional intrusion into civil liberties. The majority of the 19 were screenwriters, but there were several directors and producers and at least one star actor, Larry Parks (who later reluctantly testified that he had been a Communist Party member).

Some of the other “hostiles” were also communists (this is hardly a forum for discussing whether, in a democratic society, membership of any legal political party should be a matter for public scrutiny) and almost all had been identified with left-wing causes.

The first 10 to be called refused to answer questions, which included queries on party and union membership, and were cited for contempt of Congress. Under confident legal advice (which turned out to be mis­ placed) this group agreed to test, in the Supreme Court, the committee’s validity.

The challenge defeated, the Ten — they w ere w rite rs D alton T ru m b o , Ring Lardner,jun., John Howard Lawson, Alvah Bessie, Lester Cole, Albert Maltz, Samuel Ornitz, directors Edward Dmytryk and Herbert Biberman and producer Adrian Scott — went to jail for a year. And,

WAw m M ^

House Committee on Un-American Activities Chairperson, J. Parnell Thomas (right), who was later convicted of defrauding the government, chats with other I 947 committee members including Rich Nixon (left). Hollywood on Trial.

80 — Cinema Papers, July

exquisite irony, who should join them in the federal pen but chairman Thomas, doing time for fiddling government funds.

When the Ten were released they found themselves heading a growing blacklist spreading out from Hollywood to ensnare the whole entertainment industry.

Deft editing by Frank Galvin juxtaposes color footage of some of them calmly looking back from 1975 and the frenetic black and white (in atmosphere as well as film stock)of 1947.

Trumbo’s sardonic comments, recorded not long before his death, contribute some of the film’s most telling passages. He says he must have been guilty — he had nothing but contempt for a Congress that allowed one of its committees to carry on like that.

He recalls: “The man knocked on your door and you got that pink slip (the subpoena). The first thing you did was go out and try to sell your house before anyone discovers. Don’t let anybody know . . . keep it quiet . . . get as much work as you can.

Save every penny. Sell what assets you have.

And get ready to become nobody.”

Lester Cole, Albert Maltz and Ring Lardner reaffirm their espousal of the principles on which they stood — freedom of expression and association, resistance to the gathering Cold War climate.

Equally eloquent is Dmytryk. He later became a “friendly” witness, was removed from the blacklist and went on to make The Caine M utiny, Raintree County and A Walk on the Wild Side. He claims that he had changed his Leftist views even before the first hearings, but maintained the Ten’s solidarity so he couldn't be accused of cowardice.

Most of the Ten stayed on the list for years — some worked through fronts, others drifted into other occupations and never returned to films. Trumbo, however, was soon pounding away again prolifically — in 1957 he even won an Oscar for his script for The Brave One under the name of Robert Rich.

Finally, in 1960 producer-director Otto Preminger insisted on Trumbo’s own name appearing in the credits for Exodus.

Hollywood on Trial also includes recent interviews with other blacklist victims.

D irector M artin R itt, w riter W alter Bernstein and actor Zero Mostel talk on the set of The Front, singer-writer Millard Lampell, actor Howard da Silva and others describe traumatic effects upon family and career.

Helpern makes few gestures to evenhandedness. He obviously takes the view

Jg>£-

mm m m iU ó J H íiU J A li

House Committee on Un-American Activities Chairperson, J. Parnell Thomas (right), who was later convicted of defrauding the government, chats with other 1947 committee members including Richard Nixon (left). Hollywood on Trial.

MENACE

HOLLYWOOD ON TRIAL

that the whole dark chapter was a phenomenon of U.S. life which not only hasn’t been expunged but could arise again.

If a spokesman can be said to emerge for HUAC he is (surprise, surprise) Ronald Reagan, a “friendly” back in 1947, when he was president of the Screen Actors’ Guild.

Filmed as his almost-successful bid for the Republican Presidential nomination was gathering force, Reagan contends that HUAC was a response to public sentiment (a classic case of hindsight confusion of cart and horse). His latter-day softline apologia (soberly befitting a post-Watergate White House aspirant) is cross-cuttingly compared to the ranting evangelism of his fellow 1947 “friendlies” .

One of the things H elpern hasn’t examined is the committee’s contention that there was communist ideological influence upon the content of Hollywood films — as distinct from scarcely-covert communist organization within the industry’s unions and professional associations.

It sounds pretty preposterous at this distance, but a recurrent theme of the McCarthyites was the claim that Red propaganda was being slipped into films. It was cited as justification for such awful propaganda vehicles as The Red Menace, The Iron Curtain and I Was a Communist for the FBI. Just how Leninist precepts could be “worked into” a film was never really explained. Pressed, the cold warriors would resort to generalities so sweeping that they could have been used against Frank Capra, John Ford, Lewis Milestone or anyone else who had ever made a film of some social significance.

Much has happened in the last quartercentury to help us scrutinize the true motiva­ that the McCarthy trauma is “best put tions of Senator McCarthy and his fellow bandwagoners. Apart from careerist aspira­ behind us” . .

As Zero Mostel, jowls aquiver, says: tions — one of the HUAC Hollywood “ People have short memories, but I won’t inquisitors was a junior Congressman from California, Richard M. Nixon — their forget.” purpose can now be seen as part of a general effort to ensure a secure home base from which the escalating Cold War could be HOLLYWOOD ON TRIAL: Directed by David Helpern jun. Producer: James Gutman. Screenplay: fought.

Amie Reisman. Director of Photography: Barry Anyone who has ever engaged in the Abrams. Editor: Frank Galvin. Narration: John Huston. Cast: Walter Bernstein, Alvah Bessie, polemics of the McCarthy'era can anticipate Lester Cole, Gary Cooper, Howard da Silva, Walt several objections to Hollywood on Trial.

Disney, Edward Dmytryk, Millard Lampell, Ring John Birchers, of course, will nail it as all Lardner jun., Senator Joseph McCarthy, Albert part of the communist conspiracy. On the Maltz, Ben Margolis, Louis B. Mayer, Adolphe Menjou, Zero Mostel, Otto Preminger, Ronald other hand, the film is likely to draw from Reagan, Martin Ritt, Gale Sondergaard, Robert some small “1” liberals the sort of reaction T a y lo r, Leo T o w n sen d , D alto n T rum bo. that greeted Lillian Heilman’s recent book, Production Company: Cinema Associates/October Films. D istributor: V incent Library. 16mm.

Scoundrel Time. She was reminded that the 101 min. U.S. 1975. victims of McCarthy ism included Stalinists who would have done far worse things given the chance. (This always seems to me a most self-evident argument for freedom of MENACE expression.)

And no doubt Helpern has been told that Keith Connolly his film is so partisan as to evoke the very thing it attacks. Hardly. Whatever their Just as Hollywood on Trial provides a motives, the Ten are seen to be arguing for the preservation of dem ocracy’s very didactic background to Martin Ritt’s The foundations. The film also serves a valuable Front, an Australian documentary arrives to d id a c t ic p u r p o s e , fla s h b a c k an d give an antipodean insight to how the reminiscence conveying a taste of the era’s McCarthy wave rolled around the Western ideological pressure, which was often world. Twenty years ago, Robin Boyd enforced by harsh economic and legal observed that it usually took about half a decade for U.S. styles to be watered down measures.

Helpern has been quoted as saying that and adopted in Australia (which he dubbed when he began Hollywood on Trial he “Austerica” ). But he was talking about cars wondered whether it was relevant to our and other consumer fashions. Political time. His doubts were removed during the modes caught on much faster, and still do. shooting when filmmakers Haskell Wexler By the time the House Un-American and Emile d’Antonio were subpoenaed to Activities Committee was terrorizing Holly­ give information about a film they were wood and finding secrets in pumpkins in the late 1940s, Australian politicians were making on the Weathermen.

Narrator John Huston (his voice intoning kicking the communist can with un­ in M arch -of-T im e style over a shot of the precedented vigor. There isn’t much doubt hotel where film producers agreed that their that the impetus for this crusade came from employees must take “ loyalty” oaths) the U.S., which regarded a vigorous reminds us that many people are still afraid d o m estic an ti-co m m u n ist sta n c e as to discuss McCarthyism. Some refused to concomitant to Cold War alliance (not that help Helpern because they feared jeopardiz­ conservative politicians anywhere needed ing not only their own careers, but those of urging to do what, for them, came quite their children! So much for glib assurances naturally).

W ANTED FO R A T T E M P T E D M U R D ER O F A U S T R A L IA N D EM O C R A C Y

John Hughes’ Menace is on harder ground than David W. Helpern’s Holly­ wood on Trial in that it deals with attacks on a political party rather than a section of its supposed adherents. Most of the Australians who are shown reminiscing about traumatic events of 25-30 years ago were active, overt members of the Com­ munist Party. But where Hollywood on Trial is smoothly organized and accessible, Hughes’ documentary tends to confusion and is, in places, downright daunting.

Such comparisons, however, should also note differences in approach — and acknowledge the limitations under which the Australian filmmakers worked. Hughes’ film, helped by a grant from the former Film and Television Board of the Australia Council, needs more newsreel and other flashback footage to establish historical references. And where these were unavail­ able (the sparse material used was also hideously-expensive) more stills, art work and newspaper clippings would have helped.

Hughes says he was denied access to a 1952 Australian anti-communist propaganda film, also called Menace, which he wanted to illustrate the atmosphere of the time. His 1977 Menace concentrates largely on the Victorian Royal Commission into the Com­ munist Party (1949) and the subsequent defeats of the Menzies federal government's attempts to legislate for suppression of the Communist Party in 1950 and ’51.

Hughes’ film sets out to delineate the historical imperatives and social effects of these events. It is forthrightly partisan in its condem nation of the anti-com m unist crusade, seeing it as reactionary, repressive, fascist-oriented, but also reasonably clear­ eyed about the old guard communists who tell it like it was — for them. Here, Hughes is again some distance from Helpern in matters of style. Hughes relies more heavily on his “eye witnesses” to fulfil his narrative purposes, but doesn’t identify them.

Clues emerge that three of the principal raconteurs are veteran Victorian communist leader Ralph Gibson, barrister Ted Laurie, Q.C., and Spanish civil war international brigader Lloyd Edmunds — but most people

will have to be pretty sharp to realize that the others include celebrated artist Noel Counihan and trade union leader George Seelaf. (A pity, too, that some of Counihan’s famous paintings of the working class move­ ment in the 1930s were not used as moodsetters.)

Rather than relying on these unidentified people to supply the background, the film would be better for a brief narrated resume.

The many sequences of recollection vary in effectiveness. Where they are warmly informal — as in long close-ups of Spanish war veteran Edmunds in his kitchen — they have considerable impact. But a plethora of medium shots (rapidly intercut with news­ paper headlines spinning like bombshell extras in a Monogram gangster quickie) showing chatting figures are less successful.

Some of these recitals are allowed to lapse into dry recap of political aims and events, some work well (usually when the accounts are personal and anecdotal). But not often enough. One gets the feeling that Hughes sacrifices em pathic form to ideological content. Towards the end, too, come several declamatory, surrealistic passages from an Australian Performing Group production, The Golden Holden, which are intrusive, puzzling and, finally, irritating.

If the object here is to provide a thematic link between vivid scenes of a recent May Day march and shots of the beleagured left of the 1950s, it is both misplaced and un­ necessary. After one’s first ironic reaction (“plus ca change . ..”) the richly-colorful scenes of the latter-day scenes convey the message well enough: Ideas go marching on.

MENACE: Directed and Produced by John Hughes. Research: Julie Suares, John Hughes.

Directors of Photography: Gordon Glenn, Margot Nash, Rod Bishop. Editor: Peter Tammer. Sound Recordist: Lloyd Carrick. Cast: Dorothy Gibson, Lloyd Edmunds, Pat Counihan, Ralph Gibson, George Lees, Noel Counihan, George Seelaf, Bon Laurie, Ted Laurie, Stella Lees, Pram Factory cast of The Golden Holden, including Robyn Laurie, Mich Counihan. Distributor: Vincent Library.

16mm. 68 min. Australia 1977.

Cinema Papers, July — 81

National

DON’T MISS THIS INDEPENDENTLYMADE AMERICAN FILM WHICH GROSSED $5 MILLION IN THE U.S. Natalie Miller of Sharmill Films presents CAROL KANE in Joan Micklin Silver’s

®Hester §treet

Film Board of Canada

Producers & Distributors of quality films for theatres, television & the classroom

for the A ustralian Premiere Season commencing 21st July at the Longford Cinema, 59 Toorak Rd., South Yarra, 267 2700. , SHARMILL FILMS D is tr ib u to rs o f c o n n o is s e u r film s .

W rite fo r fre e c a ta lo g u e .

27 Stonnington Place, Toorak.

Phone: (03) 20 5329 Cables: Sharfilms Melbourne.

Films include: I CAN JUMP PUDDLES, BUÑUEL CLASSICS. WIVES, STUBBY etc.

ONE MAN — 87 minutes

“I f y o u w a n t to s tu d y th e w o rk s o f a lite ra ry a u th o r, o r a c o m p o ser, y o u c o lle c t th e a p p r o p r ia te b o o k s o r rec o rd s a n d ta k e th em h o m e to s tu d y se q u e n tia lly a t leisu re. A n d m o st lik e ly it w ill soon b e p o s s ib le to d o th e sa m e w ith f ilm s — c a ll a t th e lib ra ry f o r c a sse tte s o r an a lb u m o f v id e o d isc s to b e run th rou gh y o u r T V s e t or, f o r p r e feren ce, p r o je c te d on w a ll o r screen in d im e n sio n s a p p ro x im a tin g th e on es o rig in a lly in te n d e d . “ This w ay, w e e k b y w eek , y o u w ill b e a b le to w o rk through th e en tire oeuvre of, say, S ergei E isen stein , John F ord, B u ster K ea to n , Jean R e n o ir o r K e n ji M izo g u c h i; a n d w hen th a t d a y co m es, a N a tio n a l F ilm T h eatre w ill b e su perflu ou s.

“M e a n w h ile , u n til th a t d a y co m es, a n d u n til th e w o rk o f less p o p u la r film m a k e r s is r e a d ily a v a ila b le in su ch fo rm s, an N F T is th e o n ly an sw er. ” Colin Bennett, The Age

Coming Seasons: Finnish Cinema 1967-75 Arranged in conjunction with the Finnish Film Archive, this season highlights the “new cinema” of recent years, probably the most intensely creative period in Finnish film history.

Eight features, two documentaries. Screening June/July/August.

Ten Years o f Italnoleggio Italy’s state-owned film distribution company helps directors to realize commercially difficult projects and to distribute these films and others, including quality foreign films. Films produced in this way include Visconti’s The Damned, Fellini’sRom a and Bene’s Salome. Our seasonincludes the first major film backed by Italnoleggio (Black Jesus), but concentrates on more recent releases. Twelve features. Screening June/July.

Bolognini Retrospective Mauro Bolognini — whose talent has been described as visual rather than thematic — has ranged freely over all varieties of subject but has always paid careful attention to the social setting for drama. A notable director of actresses he is also one of the finest Italian directors of period subjects. This imported season of thirteen features includes eight titles previously unseen here. Thirteen features. Screening August/September/October.

Paramount in the Thirties We have secured brand new 35mm prints of eight titles by six distinguished directors of the Thirties (including von Sternberg, Lubitsch, Mamoullian, and Dorothy Arzner), one of which has never been seen here before. Screening later this year.

Five Films by Yasujiro Ozu “What remains after seeing an Ozu film is the feeling that, if only for an hour or two, you have seen the goodness and beauty of everyday things and everyday people; you have had experiences indescribable because only cinema and not words can describe them; you have seen a few small, memorable, unforgettable actions, beautiful because sincere, and it is saddening too because you will see them no more, they are already gone.” Most of the titles in our season, which will be screened later this year, have never been seen in Australia before.

National Film Theatre of Australia Box 1780, GPO, Sydney 2001

TV newsman Jason Brady finds himself putting his life on the line in this intriguing story involving industrial crime, kidnapping and the all-too-real violence of lethal industrial waste.

Directed by Robin Spry.

LOS CANADIENSES— 57 minutes j Between 1936-38 more than 40,000 volunteers from 27 countries fought in the Spanish Civil War. Best film made for television, Melbourne Film Festival! 977.

GAMES OF THE XXI OLYMPIAD — 119 minutes A superb piece of theatre focusing on the human aspects of the Montreal Olympics. This Official Olympic Film was purchased as a television special in over 40 countries within one week of its premier in Cannes.

VOLCANO: AN INQUIRY INTO THE LIFE AND DEATH OF MALCOLM LOWRY— 99 minutes Variety Magazine calls this film 'a class documentary '. The director, Donald Brittain, captures the anxiety ridden, alcohol-dipped life of Malcolm Lowry in this disturbing but beautiful film. '

Sydney Office Contact: Lyle Cruickshank, Director National Film Board of Canada 9th Floor. 50 Bridge St., Sydney, NSW 2000 Telephone: (02) 231 1366 Telegrams: Cannatfilm Telex: Can.Govt.20600

The Australian Film and Television School CAMERA ASSISTANTS’ CERTIFICATE COURSE Open (External) Program The Open (External) Program of the Film and Tele­ vision School in association with the Australian C in em ato gra phe rs’ S ociety is co n ductin g an intensive specialized trade course in the role of the camera assistant.

A p p lic a tio n s are in itia lly invited from those currently employed as camera assistants in film and television.

Every facet of the job will be covered in both film and video tape, theory and practice.

Periodic assessments w ill be held during the course to enable participants to qualify for the Camera Assistants’ Certificate.

Lectures w ill be held weekends once a week.

in the evenings

or at

W rite with details of experience to: The Open (External^Program The Australian Film and Television School Camera A ssistants’ C ertificate Course PO Box 126, North Ryde, NSW 2113 Phone enquiries: Howard Rubie or Jackie Eyre, 887 1666 extn. 356.

THE SINGER AND THE DANCER

THE SINGER AND THE DANCER Judith Arnold Gillian Armstrong has been quoted as saying she will not make commercials for the women’s movement. In its most explicit sense, this is true of her latest work, The Singer and the Dancer, a film situated within the illusionist narrative cinematic tradition.

Adapted from a short story by Alan Marshall, it traces the encounter of two women — Mrs Bilson (Ruth Cracknel 1) and Charlie (Elizabeth Crosby).

Mrs Bilson is a country woman in her 60s seeking refuge from the ruins of her damaged life. Haunted by memories of battered hopes and personal betrayal, she enacts, and thereby actualizes, a schizoid response — she pursues dualism.

At home — the seat of all that is dark and limiting in her life — she erects a bulwark of silence and feigns senility against the figures of past repression. With the con­ spiratorial aid of a sympathetic, if not under­ standing, local doctor, she finds a measure of freedom through further deeption. Armed with smokes and a racing guide, she escapes to the outer solitude of the bush, the paddocks and the sky. And it is here she has a chance encounter with Charlie (Elizabeth Crosby), a hopeful young woman who, with her reluctant boyfriend, has fled the parties and smog of Sydney (which nevertheless still reaches out through the crackled tones of a transistor).

Separated as they are by their life experiences in different eras and social worlds, they are linked by their mutual need for mental space. As well, their communica­ tion is given resonance by the irony from which the film derives its title: that initially they can only define themselves by what they are not (i.e. a singer and a dancer), by the frustration of possibilities, by their lack of autonomy.

A focal point of the film is the depiction of the pained ease with which the two women repeat patterns of behavior, by their frag­ mentary realizations of the sources of oppression' and their hesitant attempts to establish a dialogue independently of the spectre of their male counterparts. But the angry reflections of Mrs Bilson mesh perhaps too simplistically with the introduc­ tion of the other woman, the “bloody bitch” with painted lips. As Meaghan Morris pointed out (Cinema Papers No. 7) it is stereotypic to call such characters stereo­ types, but in my view they do represent something much more ideologically in­ grained in our society and something which is presented, reflected and mediated by films. And we are still waiting for a critique of the negative cinematic images of women and their implications within a film by a woman. Though, in part, we have this with the empathetic relationship between Mrs Bilson and Charlie which is undercut with quiet violence by the non-relationship between the widow and her daughter.

In Mrs Bilson, we are provided with a woman who controls the action and this in itself is a major achievement in a film, but at what cost? because it highlights a contradic­ tion: the madness and deception engendered to fulfil a woman’s role — “After I was married the only conversation I had in 30 years was with myself.” Mrs Bilson has spent much of her life in defensive silence, and the schitzoid behavior we see now is an extension and cruel exaggeration of her married life.

These women are presented as being trapped inside a culture, but the institution of marriage (and living together) is explored as the source of their passive and distorted lives, and as such offers insight into the

Charlie (Elizabeth Crosby) and Mrs Bilson (Ruth Crackncll). two women seeking refuge from damaged lives. The Singer and the Dancer.

institutions which shape human sexuality and need, and delineates them.

Contradictions between filmic images and the spoken word resonate throughout,, threatening to tear the film apart: what the women know of their condition, what caused it, and their looks of resignation and resent­ ment. Also, the constant references to their men, the culture they carry around in their heads exploding inside of them and their rage disipated by the emptiness of their situation.

Images appear which denote and reinforce the fragm ented, dependent, closed-off world: a clothes-line, sagging with blank reminders of women’s work, recurs as an obstacle to vision and communication between women, breaking up their images of each other;the stones plucked from a stream hang heavily in the doorway imprisoning those inside and re-forming the claustro­ phobia of urban living.

Feminist film critics have expressed concern at the negative images of women in current films and have stated their hope for films with more progressive or positive heroines. Others have voiced disquiet that such roles become prescriptive and suggest, as Julia Lesage has, that: “We also need films that delineate women’s situations, women’s problems without showing the women characters as strong, liberated or rebellious . ..

Such films could be realistic and not heroic and serve the function of raising consciousness, for they would at every point be set in the context of women’s op­ pression.” (Feminist Film Criticism, Women and Film, No. 5/6, 1974.)

But the problems associated with this approach are that reality is assumed to be something which can be discovered and reflected in film, and thus that films can reveal life as it is (unchanging) and, as such, support the status quo — i.e. “women’s oppression”.

This is not to be critical of this particular

Charlie sits in front of the fly-screen made from stones from the stream. The Singer and the Dancer.

film — rather the contrary. What sets the Singer and the Dancer apart from the main­ stream of films is that through the limitations circumscribing Mrs Bilson and Charlie, the viewer is able to perceive the destructive quality of male dominated society and, con­ comitantly, the myth of romantic love. This also makes it necessary that one investigate the aesthetic structures and conventions by which films work and “which are involved in the production of the image of women, and also to see the kind of struggle that can be set up within the formal working of a film between opposing conventions so as to reveal the ideological tensions normally

revealed.” (Christine Gledhill, Realist Film Criticism and Hollywood.)

THE SINGER AND THE DANCER: Directed

by Gill Armstrong. Producer: Gill Armstrong.

Screenplay: John Pleffer,Gill Armstrong. Director of Photography: Russell Boyd. Editor: Nick Beauman. Music: Robert Murphy. Art Director: Sue A rm strong. Sound R eco rd ist: L aurie Fitzgerald. Cast: Ruth C rack n ell, E lizabeth Crosby, Russell Keith, Gerry Duggan, Jude Kuring, Julie Dawson. Distributor: 20th CenturyFox. 35mm (blow-up from 16mm). 50 min.

Australia 1977.

Cinema Papers, July — 83

‘The Mango Tree is based on the popular novel of the same name by Ronald McKie. It concerns the growing up of a boy in a Q ueensland town during the early 1900s.”

Director..................................Kevin Dobson Producer.................................. Michael Pate Director of Photography........ Brian Probyn Editor............................................ John Scott Sound Recordist................... Barry Brown Screenplay..................•.......... Michael Pate Grandma C arr............Geraldine Fitzgerald The Professor............... Robert Helpmann Jamie C arr........................ Christopher Pate Preacher Jones..................Gerard Kennedy Maudie........................................Carol Burn Joe Speight.......................... Jonathan Hardy

Top Left: Joe Speight (Jonathan Hardy), Jaim ie and the P ro fe sso r (R o b e rt Helpmann).

Top Right: Grandma Carr (Geraldine Fitzgerald).

Above: Christopher Pate who plays Jamie Carr. .

Left: Preacher Jones (Gerard Kennedy)and Maudie (Carol Burn).

Below: Almost the symbol of Australian filmmaking — the dirt-covered bitumen road. The Mango Tree.

G EO R G E DREYFUS Ivan Hutchinson George Dreyfus is one of the small number of professional musicians working in Australia who manage to make a living by concentrating almost exclusively on compos ing. It is only in recent years, however, with the growth of locally-made television programs and films that this has become even remotely possible. Dreyfus’ composi­ tions range from chamber music to opera, and have been performed in many countries, but it is his work in films and television which concerns us here.

Dreyfus came to Australia with his parents before World War 2 and was educated at Melbourne High School, after which he spent what he described as a “disastrous” year at the Conservatorium of Music at Melbourne University. There he attempted to learn the bassoon, but claims that his enthusiasm far outshone his musical ability.

He left the Conservatorium in 1948, having failed to pass the exams, but continued his study of the bassoon. Two years later he joined the orchestra for the opera season of 1948 sponsored by J. C. Williamson. Staying on, Dreyfus then played for “South Pacific", “Annie Get Your Gun”, “Oklahoma” and the Ice Follies.

Dreyfus was doing some arranging and composing at this time but was p re­ dominately an orchestral musician. This stint in the pit orchestra later proved invaluable ex p erien ce because he learn t about orchestration the hard way and learnt it from observing the work of some of the finest American theatre-music arrangers.

Dreyfus then joined the Melbourne Symphony Orchestra, the ne plus ultra at that time of Victorians hoping to make a living out of performing orchestral music.

But he soon found that the “strict regimenta­ tion” was not at all to his liking. He was recognized as a bassoon player and successful at it but his unhappiness forced him into developing his talents as a composer.

In the early 1950s, Dreyfus left for Vienna and studied there for two years. On returning to Australia he began writing chamber music for himself and his friends, and gained some recognition. Then, Dorian

George Dreyfus working on his score for Let the Balloon Go, his most imaginative and complete work to date.

Le Gallienne, a well-known composer and critic of that time, who had written a score for Tim Burstall’s film The Prize, was forced by ill-health to withdraw from another project of Burstall’s, a series (of 12 episodes) which the ABC had commissioned called The Adventures of Sebastian the Fox. Le Gallienne suggested to Burstall that Dreyfus take over the work. Dreyfus went to work with an orchestra consisting of only a piano and three wind instruments. He conducted the score without click-track or any of the devices today considered essential to film music, but it worked, and, optimistically, he left the orchestra and worked with Eltham Films. Not long after, however, Eltham Films closed down.

Dreyfus has been writing almost con­ tinuously since for films, somewhat to his surprise as he had no idea then, along with nearly everyone else, that the renaissance of the Australian film was approaching.

R.G. FILM SERVICES

(Processing 16mm color and black and white.) and

JO H N PHILLIPS SO UN D (16/35mm sound recording, 8 track Rock and Roll mixing and transfers.)

a re b o th at

4 8 2 c G le n h u n tly Rd., E ls te rn w ic k .

For to p q u a lity at th e rig h t p ric e p h o ne , (03) 53 3053 __

Between 1963 and 1973, he wrote scores for nearly 12 documentaries for the Com­ monwealth Film Unit, for the ABC series Delta and Marion, and for the Phillip Adams-Bruce Petty film Reflections in Vietnam, among others. (With regard to the latter, Dreyfus' music was bartered with a cover design by Petty for the Philips recording of Dreyfus’ “Golden Lieder Song Cycle”.)

In 1974, the ABC made Rush, and with the theme music Dreyfus soon had a hit on his hands. It captured the public imagination and it became, in a version played by Brian May and the ABC showband, one of the most successful Australian instrumental records of recent times. Dreyfus claims he put 10 years of experimentation into the theme because in the early 1960s he bad written versions of Australian folk songs for a projected version of the Ned Kelly story which Tim Burstall wanted to do. (In the

event, the money could not be raised and Tony Richardson did the story with less than exciting results.) Some of this music was scored and performed and, in addition, he wrote for his Expo music for Japan a “mock Australian” folk song (part “Click Go the Shears", part “Waltzing Matilda") which he scored for the Sydney Symphony.

Whether as a result of this obvious success or not, commissions have been coming since. He wrote the music for one of the finest of recent documentaries, Film A ustralia’s A Steam Train Passes, the musical theme for This Day Tonight (Victorian edition) and for possibly the most successful, certainly the most prestigious, of all recent ABC television series, Power Without Glory.

But it was not until 1976 that Dreyfus moved into the feature film world, scoring both Let the Balloon Go and Break of Day. Dreyfus describes the latter as a “dream film” for the composer as the film is visually very strong with dialogue kept to a minimum. M usic th erefo re plays an important part in the film, and in response to my question as to the type of music he felt the film had needed he replied: “Well I don’t think I could have done music of the day the way John Barry did in The Day of the Locust where they just played, in my opinion, the old records. (Actually he did a little bit of scoring.) Then the other one with Liza Minnelli, Lucky Lady; fabulous ar­ rangements — 1970s arrangements, superb sound, but I don’t think we should have done that either, it would have been quite tasteless to have film music playing Roy Agnew’s piano music. So what I’ve done is tc write a love theme. Not Summer o f’4 2 , but I was essentially in a situation where I could write my own love theme.”

Dreyfus would like to be in a position where he could concentrate on one film score a year. He is adamant about having control over the sound of his music and he has no desire to let others orchestrate his musical ideas ((“I don’t think the money’s good enough for me to split it, you see”), and he feels very strongly that composers should stick to the music they do best. Amplifying this last statement, he feels that before accepting an assignment, he would like to have his music heard by those making the film, the director or the producer; they should be “sure whom they’re getting and also sure of whether there is plenty of evidence of ability and style” . ★

F iL i REVIEW INFORMATION SERVICE The George Lugg Library welcomes enquiries on Focal and overseas films. On request, photostat copies of synopses, articles and reviews will be forwarded. Please detail specific information re­ quired and send S.A.E. plus One Dollar search fee for three enquiries to:

The George Lugg Library P.O. Box 357 Carlton South Vic. 3053 The Library is operated with assistance from the Australian Film Commission.

Cinema Papers, July — 85

EDITED BY JOHN TULLOCH

A RIDXDI

1AND SOCIETY

FOR THE FIRST TIME

DISCUSSES

A book to provide in one format much of the central work, both well known and little known, and within a variety of perspectives — written on the interconnections of film and society.

•

A comprehensive book designed both to introduce students to the sociology of film and present New Approaches to Film Study to Anyone With a Critical Interest in the Cinema.

Mimetic Cinema: The Reflection of Horror • Cinema's Function: Grierson and Documentary Idea ® Cinema as a Social System: The Pattern of Hollywood • Cinema and Social Control: The John Wayne Syndrome • Films of Conflict: From Eisenstein to the Retro-Style Reaction • Cinema Auteurs: Western Structures

Publication: May, 1977

New from

Recommended Retail Price: $1 7.95

MACMILLAN AUSTRALIA

w

The Australian Film and Television School

$20.00 postage paid in Australia,

Publications available 1977 Technical Monographs

ISSN 0313-8879

Bill Nuttall, Multi-track synchronous sound tape in television.

Size A4. 9 pages illustrated.

105 grams.

Price $2.00

Research and Survey Unit Monographs

ISBN 0 642 92453 8

ISSN 0313-8887

Index to the submissions and evidence presented to the inquiry into television and broadcasting (including the Australian content of television programs) of the Senate Standing Committee on Education, Science and the Arts 1972 to 1974.

Size A4. 114 pages.

350 grams.

Price $10.00 ISBN 0 642 92454 6 Program Choice related to the number of commercial television channels — a model.

Size A4. 37 pages.

250 grams Price $2.00 ISBN 0 642 92455 4 Index to transcripts of evidence presented to public hearings of the Australian Tariff Board’s inquiry into motion picture films and television programs 1972.

Size A4. 57 pages.

325 grams Price $10.00 ISBN 0 642 92456 2 Alphabetical list of submissions to the Posts and Telecommunications Department’s (Green) Committee of inquiry into the Australian Broadcasting system, 1976.

Size A4, 31 pages.

225 grams Price $1.50 ISBN 0 642 92457 0

Women in the Media The professional participation of women in the audio-visual media, film, radio and television• compiled for UNESCO, 1976.

ISBN 0 642 92450 3 Size A4, 88 pages.

500 qrams Price $3.00 Babette Smith. Suzanne Baker, Patience Thoms. Lana Wells, Pat Walter, Pat Hudson, Dorothy Drain. Selected case studies of women working in the Australian media; background papers to the UNESCO Women in the Media seminar, May 1976.

Size A4. 46 pages.

150 grams Price $2.00 ISBN 0 642 92451 I Women in the Media; papers presented at the UNESCO seminar, May 1976.

Size A4. 80 pages.

250 grams Price $2.50 ISBN 0 642 92452 X

Annual Reports

ISSN 0313-8376

Annual Report 1973-74 and Annual Report 1974-75.

SizeB5 125 grams Price each $1.50

Newsletters

ISSN 0313-6638

Number 10. January 1977

40 grams

350 grams

Price $7.50

125 grams

Price $5.00

T-Shirts School name and logo. Various colors.

8i»A8£ A C E COOKS

CINEMA BOOKS Just out!

Price Free

Sweat Shirts School name and logo. Various colors.

from SHOWCAST Publications Pty. Ltd., P.O. Box 141, .

Spit Junction, N.S.W. 2088.

"

Available Soon Rod Hibberd. Labelling of film cans.

Newsletter 11. April 1977.

Australian Film and Television School Handbook 1977.

Alan Rosenthal. International contract law for filmmakers.

Size A4. 29 pages.

200 grams Australian Film and Television School Box 126 P.O. North Ryde, NSW 2113

ISSN 0313-8461 ISBN 0 642 92458 9 ...............

CONFLICT AND CONTROL IN THE CINEMA: A Reader in Film and Society. Edited by John Tulloch. He $35.00; pb $17.95 A LIST OF OTHER FILM TITLES AND M O VIE SOUND TRACKS A V A ILA B LE -W ILL BE SENT ON REQUEST 305-307 SW ANSTO N STREET, M ELBOURNE, 3000

OPEN 7 DAYS A WEEK

“The Making O f ..

Basil Gilbert

On December 20, 1895, a select French audience saw the world’s first films. Among the one-minute reels was the moving image of a steam train slowly pulling into a station and apparently coming out of the screen towards the audience. The story goes that many ducked their heads in fright. Soon they were asking themselves: “How did Monsieur Lumiere do that?”

T oday’s audiences, faced with the stunning visual tricks and super-realistic illusions of the new breed of disaster films, s c ie n c e fic tio n e p ic s , an d fa n ta sy spectaculars, are asking similar questions.

They want to know the intimate secrets of the new magician’s art. In response, a new literary genre has been born. The era of The Making O f. .. series of books has begun.

When one surveys the recent additions to this growing family, it becomes clear that in terms of educational and historical value they differ remarkably.

One of the earliest and most important in this series was Jerome Agel’s The Making o f Kubrick’s 2001, which was published in 1970. Agel was an established author and editor who had conceived such works as Marshall McLuhan’s The Medium is the Massage and Buckminster Fuller’s I Seem To Be A Verb. He is not a film historian, but a highly-skilled organizer of literary materials; The Making o f Kubrick’s 2001 is evidence of these skills.

For the film historian it is a valuable collection of first-class research material. In this compilation the reader will find every relevant piece of information on the film and its sources: the short story by Arthur C. Clarke that became the basis, 15 years later, for the $10.5 million film 2001; interviews with experts on space, theology, chemistry, biology, and astronomy that Kubrick had intended to use in a prologue to the film; a potted biography of Kubrick from The New Yorker made while 2001 was still in production; 96 pages of photographic stills taken from the film as well as its production; a fragment of the shooting script; 43 letters of public praise and criticism; reviews of the film, the music, the nofel; the complete Playboy interview; and most informatively, a list of the firms who contributed valuable material and technical information — such as the large-scale photographs of moon craters Tycho and Clavius from the Depart­ ment of Astronomy, University of Man­ chester — without which the film could not have been made.

Perhaps the most useful part of the book from the point of view of “How was it done?” are the photos and their captions: the rotating ‘treadmill’, which was used to produce the illusion of the air-hostess defying gravity; the moon bus, which incredibly was only a cut-out photograph attached to a thread with the moving occupants rear-projected onto its tiny translucent windows; the HAL computer brain room three stories in height and thus a trap for falling lights and toppling workmen; close-ups of the novel 65mm slit-scanning camera, which miraculously produced the streams of liquid light which accompanied Bowman to the Land of the Star Child, and so on. Even the photographs of director Kubrick were informative. How did this

tousled and crumpled man produce such a masterpiece?

The author of The Jaws Log (Dell, 1975) is scriptwriter Carl Gottlieb, and the text reveals his literary bias and interests. On the penultimate page of the book we are told that “this book was commissioned, re­ searched, and written in a very short time” .

Gottlieb had not kept a journal during his year on the film, so the book is based on ‘im­ pressions’ and reminiscences. However, as the scriptwriter on the film, called in at the last moment to modify and improve Peter Benchley’s film version of his novel, Gottlieb is obsessed with the whole jungle of p re-shooting end eav o rs and financial outlays.

“So far, about $100,000 had been spent in Australia, the shark was budgeted for another $175,000 or so, not counting operators, transportation, and location costs; and the book had cost a basic $150,000, plus another fifty or seventy-five thousand for script development.

Say a half million so far, and no date set."

The book gives a good insight into the intrigues and politics of large-scale com­ mercial filmmaking with its ruthlessness and emphasis on investment profits. For readers not familiar with such production handbooks as William Bayer’s informative Breaking Through, Selling Out, Dropping Dead, and Other Notes on Filmmaking (Delta, 1973), such revelations can be alarming. But Gottlieb relieves the strain with a generous sprinkling of anecdotes: How do you get a plastic shark skin to look like the real thing? Answer: Get Joe and Ward, the special effects men, to stand, two paint-blowers in hand, applying $30 per gallon special paint with one hand, and type 40 sandblasting sand with the other.

What is necessary to support a shark at sea? Answer: Coils of pneumatic hose, welding tanks, torches, ropes, generators, structural steel, ballast tanks, copper, iron, steel, electric and pneumatic motors, hydraulic rams.

Are there any problems with true-to-life

sharks? Answer: “A 1500-lb great white can bite through oar planking, flatten things with his tail, and generally create more fuss than an army of beer-crazed Australian abalone divers.”

This is a world away from the scientific precision and historical accuracy of the Kubrick book. But there are some useful hints for the budding young authors wishing to get their books into film.

Peter Benchley began in June 1971 when he delivered a four-page outline of his proposed novel to Doubleday in New York.

This led to a contract for the first four chapters of the book, to be ready 10 months later, for a fee of $1000. Then came a period of “revisions, rewrites, deadlines and rewrites” culminating in the final draft for the complete novel and a further $6500 to cover the cost of the year’s work. At this point, Peter Benchley had only $600 left in h is b an k a c c o u n t. H o w e v e r, w hen Doubleday sold the paperback rights to Bantam for $575,000 things improved, and fin a lly U n iv e rs a l S tu d io s a c q u ire d B enchley’s p ro p erty for a rep o rted $120,000. For the money, Benchley was also required to supply a first-draft screenplay version of his novel. Later, Carl Gottlieb was called in to do a thorough re-write of Benchley’s script.

In m id-1975 a second p aperback appeared- dealing with the making of Spiel­ berg’s film. This volume, we are told in the Introduction, “may well be as indispensable as a libretto at the Metropolitan O pera” Unfortunately the reverse is the case.

Edith Blake’s On Location on Martha’s Vineyard: The Making o f the Movie ‘Jaws’ is eminently dispensable. Certainly, Mrs Blake does tantalize the reader’s imagination with her evocative vocabulary (a “slobbergorgeous” old inn; the Islanders stopping to “spectate” when the filming was on), but the relevance of her text leaves much to be desired. Who really cares that Nurse Helen Jackson is “lucky to get a stove, much less blenders and nutcrackers” in her rented

house on School St., or that “Commodore and Mrs James A. Farrell jun. steamed for Edgartown for the first time aboard their new boat Koala and on the way passed the set.” More importantly, who are Steve and Carol Gottlieb who, we are told, wrote the script?

When one looks at the illustrations of the mechanism of the artificial shark one is surprised how such a makeshift sort of mechanical monster, a Heath Robinson contraption operated by pulleys and wires, could have ever fooled a cinema audience.

This cannot be said for that more recent mythical monster, King Kong. Here the special effects, art and technology are both complex and sophisticated. On the screen the 40-ft (13 m) high version of Kong both moves and articulates his legs, arms and fingers, while the face of the smaller version is able to express convincingly the subtle emotions of anger, joy, disgust, compassion and love. To understand the mechanism of this remarkable feat, the how-it-was-done literature is surprisingly informative.

From a technical point of view, the most valuable source of information is the special issue of A m erican C inem atographer (January, 1977) devoted to the film. Of par­ ticular interest are the pages of colored sketches by designer Carlo Rambaldi of the facial expressions required to convey a wide range of emotions. Actor Rick Baker was supplied with six separate head masks each capable of seven different expressions, giving a total of 42 expressions in all. Special lighting effects th^n added life to the contact-lens covered eyes while the skin surface of the face was manipulated by external operators.

The 13 m version of the beast is equally remarkable, a feat of mechanical engineer­ ing. Sketches show the duraluminum skeleton which was covered with plastic and 2000 horses’ tails for fur. Inside were 52 hydraulic valves which could be propor­ tionately operated so as to permit a wide range of movement by the panel of operators. But this was ch ild ’s play compared with the more intricate problem of eliminating halo effects (‘fringiqg’) when trying to make matte shots superimposing Jessica Lange’s flowing blonde locks against King Kong’s dense black peit of horses’ tails.

Yellow filters and video- monitors helped solve this problem.

The story on the making of King Kong is provided by Bruce Bahrenburg in his paper­ back, The Creation o f Dino de Laurentiis’ King Kong (Star, 1976). Bahrenburg was the publicity man on the film and his book has a strong biographical slant, although technical information is not lacking. The emphasis on the personalities of the film’s stars and makers is close to the established literary genre of books about films, but it does shed light on the problems produced by strong personalities working in close contact over an extended period of time. Even more im portant are the sociological tit-bits Bahrenburg provides: the rough treatment of extras on a Hollywood set, the public relation tricks used to persuade an unpaid crowd to turn up at the World Trade Centre in New York, and soon.

At first appearance, The Girl in The Hairy Paw: King Kong as Myth, Movie and Monster, by Ronald Gottesman and Harry Geduld, might be thought of as a fun-book for comic lovers, for the cover is pure pop art and inside one finds reproductions from the pages of Mad Magazine and cartoons from Punch. But these first impressions are misleading for The Girl in The Hairy Paw is

Cinema Papers, July — 87

BOOKS

a small masterpiece of scholarship by Professors Gottesman and Geduld that should be on the bookshelves of every serious Kongophile. The two editors have had ample experience in preparing scholarly editions: one thinks of Harry Geduld’s Film­ makers On Filmmaking (1967) and of their combined researches which led to Sergei Eisenstein and Upton Sinclair: The Making and Unmaking o f Que Viva Mexico!

(Indiana University Press, 1970).

The Girl in The Hairy Paw has an almost encyclopaedic range of facts, figures and visuals from the 1933 classic version of King Kong. In spite of a few minor lapses in taste (such as Kenneth Bernard’s con­ tribution “How Big is Kong’s Penis?” ), the tone is generally informative.

• The Introduction provides a potted lesson in Greek mythology and history (the Cupid and Psyche story) and then follows a rapid survey of literary references to apes starting with The Arabian Nights and ending with The Ruling Class (1972) which included a monster gorilla in a fantasy sequence. Then follow articles on the origin of the film, a reprint from Cahiers du Cinema, descrip­ tions of the special effects used, and last but not least, a wealth of visual material, ranging from stills from the film, cartoons, photo­ graphs of the participants to even advertise­ ments influenced in their graphic design by the Kong legend. It’s a collector’s item.

Growing Up in Hollywood

by Robert Parrish William Collins Recommended price: $12.50

Cecil Holmes In the honey hives of Hollywood there are the queen bees, the drones and the workers.

Bob Parrish, clearly not a man with a very thrusting ambition, has been content to remain in the last category.

He began life as a child actor blowing a pea shooter at Charlie Chaplin in City Lights and worked as an extra for many years; then moved sideways into the cutting room where he has been ever since — a few directorial efforts notwithstanding.

He cut some great films, worked for many notables; he represents what perhaps is best in the American cinema, the supremely pro­ fessional technician.

So the book is neither one of those ponti­ ficating artistic dissertations devised by someone wno has never smelt a whiff of acetate in their lives, nor a sycophantic authorized biography. It is a stream of anecdotage recounted with relish and a sense of affection for a place and people which has changed so much. The author has an almost blithe and cheery style of writing, there is a lack of affectation and even a degree of self-mockery — most unusual in Americans who tend to take themselves so seriously.

As others have noted, perhaps the principal fascination lies in the account of his long and close relationship with the late John Ford, starting as an assistant editor on The Informer.

Ford was a remote, aristocratic man who kept to his family and a small handful of friends. He detested the “front office” and never mingled with the moguls. His discipline was exacting. An actress, brought all the way from London for a part, was seven minutes late on the set. He wrote her out of the film.

Ford always brought in his films on schedule and under budget — and the budgets were rarely large even in those pre­ inflationary days, (cf., law s and Tl»e Exorcist, where the millions kept on being

88 — Cinema Papers, July

on Ford’s motion. De Mille resigned and we gave Mankiewicz a unanimous vote of confi­ dence, with four abstentions. My first Screen Directors’ Guild meeting was adjourned. We had saved Mankiewicz’s presidency and defied the man who had parted the Red Sea twice, once in 1923 with Theadore Roberts and again with Charlton Heston in 1956.”

Bob Parrish has had several nominations for the Academy Award (for editing) and won it for Body and Soul. He is now permanently domiciled in London and is said to be writing another book of recollec­ tions following the well-deserved success of this one — a pleasure in store.

The Pyramid Illustrated History o f the MovieS is a series of books mainly focusing on the stars, and more recently the genres, occupying central positions within the public Hollywood tradition. Their quality varies, but their usefulness in providing over-views of careers of stars deserves to be noted. In a sense they serve the function of “companions to criticism”, charting the course of stars’ careers and the gradual pro­ gression of their ‘personae’ far more effectively than any of the numerous single­ volume pseudo-encyclopaedias.

When a critic of the stature of John Belton chooses to contribute to this series, then it is

certainly worth mentioning. His study of Robert Mitchum traces the many variations which particular films play upon the essentially rebellious, but nonetheless mysterious, character he presents on the screen . . . “Like the heroes in the Conrad novels he admires, Mitchum is a lonely adventurer, victimized by his own irrational impulses and by the chaotic forces in the world around him.” (p. 21).

The pity is, though, that the detailed exploration of individual films, and of Mitchum’s part in them, is forsaken for the sake of comprehensiveness, the demand that Belton cover all of Mitchum’s career. Where one would have liked to see Belton’s insight into, say, the meeting of Mitchum and Jacques Tourneur in Out of the Past expanded into a thorough essay on the film, what is offered is more in the form of a synopsis and a brief summary of what Mitchum’s personality and presence have given to the film: “Mitchum’s languor, care­ lessness and romantic vulnerability trans­ form Out of the Past into a romantic tragedy, whose moral scheme excludes any possibility of the hero’s redemption.” (p.47).

A sound and provocative observation, but one that needs to be developed „and Be lton’s critical interests and analytical skills are well-suited for such a task.

Unfortunately, a critic’s insights are not what a publisher is necessarily concerned to promote. Clearly, then, Belton is even less at home in The Pyramid Illustrated History o f the Movies than he was in The Hollywood Professionals series, in which his abbrev­ iated essays on Hawks, Borzage and Ulmer work well as intelligent generalization, but always leave one dissatisfied.

Books of the Quarter

Zurich, 1976. $29.95

Robert Mitchum

by John Belton Pyramid Publications, U.S., 1976

Tom Ryan

compounded in appallingly expensive films — one wonders about the skill and crafts­ manship of some latter day filmmakers.)

Ford was a Catholic, a conservative, a stout believer in the sanctity of the family unit, an ardent supporter of most things American. Thus his stand taken during the McCarthy period, which sundered and nearly ruined Hollywood, is of some interest.

Parrish himself, having directed his first film (for Dick Powell) had just joined the Directors’ Guild. A right-wing faction led, predictably, by Cecil B. De Mille was attempting to take over from the pro­ gressives and make some expulsions. The chairman, under fire, was Joe Mankiewicz.

George Stevens had just completed a spirited speech in favor of the chairman and Parrish describes the scene that ensued: “Except for John Ford and the little group sitting around De Mille, the entire member­ ship rose to their feet and applauded Stevens’ speech. During all this Ford had not said a word. As the waves of emotion rolled over the members he sat there in his baseball cap and tennis shoes and sucked on his pipe.

From time to time he would put the pipe away, take out a dirty handkerchief, wipe his glasses with it and then chew on it for a while. He was an important man in the guild and everyone wondered what he thought. He was also a master of timing.

“After the applause for Stevens stopped, there was silence for a moment and Ford raised his hand. A stenographer was there and everyone had to identify themselves for the record. Ford stood up and faced the stenographer. ‘My name is John Ford,’ he said, ‘I make Westerns.’ He paused for a moment to let this piece of news sink in. ‘I don’t think there is anyone in this room who knows more about what the American public wants than Cecil B. De Mille — and he certainly knows how to give it to them. In that respect I admire him.’ Then he looked right at De Mille, who was across the room from him .. . ‘But I don’t like you C.B. 1 don’t like what you stand for and I don’t like what you have been saying here tonight. Joe has been vilified, and I think he needs an apology.’ He stared straight at De Mille while the membership waited in silence. De Mille stared straight ahead and made no move. After 30 seconds Ford finally said ‘Then I believe there is only one alternative — and I hereby so move that De Mille and the entire board of directors resign and we give Joe a vote of confidence. And then let’s all go home and get some sleep. We’ve got some pictures to make tomorrow.’

“Walter Lang seconded the motion. Ford sat and lit his pipe. The membership voted

Compiled by J. H. Reid

”Film+TV Graphics 2 ” edited by Walter Herdeg.

“Full Length Animated Feature Films” by Bruno Edera. London, 1977. $39.50

Broadcasting Actors and Actresses “Woody Allen: Clown Prince o f American Humor”

by Bill Adler and Jeffrey Feinman. New York, 1975. $2.95 “A Postillion Struck By Lightning’’ by Dirk Bogarde. London, 1977. $14.95 “Beverly Hills: Inside the Golden Ghetto” by Walter Wagner. New York, 1976. $14.95

“Call Them Irreplaceable: Al Jolson, Maurice Chevalier, Jimmy Durante, Noel Coward, Jack Benny, Fred Astaire, Bing Crosby, Marlene Dietrich, Bob Hope, Judy Garland, Danny Kaye, Frank Sinatra” by John Fisher. London, 1976. $19.95

“Olivia de Havilland” by Judith M. Kass. New York, 1976. $3.95

“Marlene Dietrich” by Sheridan Morley. London, 1976. $9.95 "The Quotations o f W. C. Fields” compiled by Martin Lewis. New York, 1976. $5.95

“Long Live the King: A Biography o f Clark Gable”

by Lyn Tornabene. New York, 1976. $15.95 “The Life and Loves o f Gable" by Jack Scagnetti.

New York, 1976. $12.95 “Hollywood Is a Four Letter Town” by James Bacon. Chicago, 1976. $12.95

“The Hurrell Style: 50 Years o f Photographing Hollywood". Photographs by George Hurrell, text

by Whitney Stine. New York, 1976. $19.95 “Investigation H ollyw ood” by Fred Otash.

Chicago, 1976. $12.95 ' “The Laurel and Hardy Scrapbook" by Jack Scagnetti. New York, 1976. $12.95 “ The Groucho P h ile" by G roucho M arx.

Indianapolis, 1976. $24.95 “The Secret Happiness o f Marilyn Monroe” by James E. Dougherty! Chicago, 1976. $2.95 “The Films o f Robert Rediford” by James Spada.

Secaucus, 1977. $19.95

“Robert Redford: The Superstar Nobody Knows”

by David Hanna. New York, no date. $2.45

“A P ortrait o f A ll the P resident's M e n ” photographed by Stanley Tretick, text by Jack Hirshberg. New York, 1976. $9.95 “Sinatra” by Tony Sciacca. New York, 1976. $2.95 “The Shirley Temple Scrapbook” by Loraine Burdick. New York, 1975. $12.95 “Shirley Temple" by Jeanine Basinger. New York, 1975. $3.95

Animation “Walt Disney" by Bob Thomas. New York, 1976. $14.95

“The Disney Poster Book” introduced by Maurice Sendak. Sydney, 1977. $7.95

“The Golden Years o f Broadcasting: A Celebration o f the First 50 Years o f Radio and T V on NBC" by Robert Campbell. New York, 1976. $22.45 “The Old-Time Radio Book" edited by Ted Sennett. New York, 1976. $6.95

“Radio Soundtracks: A Reference Guide” by Michael R. Pitts. Metuchen, 1976. $10.95

“Tune in Yesterday: The Ultimate Encyclopedia o f Old-Time Radio 1925-1976” by John Dunning.

Englewood Cliffs, 1976. $19.95

~

Directors “Mel Brooks: The Irreverent Funnyman" by Bill Adler and Jeffrey Feinman. Chicago, 1976. $2.95 “Ingmar Bergman” by Birgitta Steene. New York, 1968. $4.95 “The Cinema o f Federico Fellini” by Stuart Rosenthal. New York, 1976. $12.95 “Fellini the Artist” by Edward Murray. New York, 1976. $13.95 ' ' “The Art o f Alfred Hitchcock: Fifty Years o f His Motion Pictures" by Donald Spoto. New York, 1976. $24.95 “The Films o f Alfred Hitchcock" by Robert A. Harris and Michael S. Lasky. Secaucus, 1976. $19.95 “Sam Peckinpah: Master o f Violence” by Max Evans. Vermillion, 1972. $6.95

History “Scoundrel Time" by Lillian Heilman. Boston, 1976. $10.95 “Star-Spangled Kitsch” by Curtis F. Brown. New York, 1975. $15.95 “ Superman: Serial to Cereal” by Gary H. Grossman. New York, 1976. $6,20 “They Went Thataway" by James Horwitz. New York, 1976. $11.95 “The Western: From Silents to the Seventies” by George N. Fenin and William K. Everson. New York, 1977. $8.95

Theory “Authorship and Narrative in the Cinema: Issues in Contemporary A esthetics and C riticism ” by William Luhr and Peter Lehman. New York, 1977. $10.95 “Movies and Methods” edited by Bill Nichols.

Berkeley, 1976. $12.95 “The Sociology o f Film A rt” by George A. Huaco.

New York, 1965. $9.95 '

“Toward a Film Humanism: Theology Through Film” by Neil P. Hurley. New York, 1970. $3.95 “The World Viewed: Reflections on the Ontology ofF ilm ” by Stanley Cavell. New York, 1971. $2.95

Renee Adoree

NZ Correction

Dear Sir. Since 1968 I have been researching the life and career of the late French actress. Renee Adoree (1898-1933). who was popular in American silent films. I have been trying to locate individuals who knew her personally and who would be willing to share their recollections of her with me. I would appreciate any such contact through the address below.

Randye B. Cohen 451 W. Lake Dasha Dr. Plantation Florida. U.S. 3 3324.

Dear Sir, Readers of the "New Zealand Report" in the April 1977 Cinema Papers (p. 355) may have been surprised, as I was, at David Lascelles' sweeping statement that: "Sleeping Dogs will be the sixth full-length feature to be made in this country."

In order that such an inaccuracy is not per­ petuated. readers should note the following list of New Zealand-made feature films: 1916 A Maori M aid’s Love — Raymond Longford on location in N.Z. 1916 Mutiny of the Bounty — Longford 1921 The Birth of New Zealand — Directed by Rudall Hayward 1922 My Lady of the Cave — directed by Rudall Hayward

¡S

■for

1924 Venus of the South Seas — Starred Annette Kellerman 1925 Rewi’s Last Stand — Hayward 1925 Under the Southern Cross— Directed by Gustav Pauli 1925 The Romance of Hinemoa — Pauli 1927 The Te Kooti Trail — Hayward 1928 Bush Cinderella — Hayward 1929 Under the Southern Cross (Taranga) — Universal 1935 Hei Tiki — Alexander Markey 1935 Down on the Farm — Lee Hill and Jack Welsh 1936 On the Friendly Road — Hayward 1939 Rewi’s Last Stand — Hayward 1940 One Hundred Crowded Years— Govern­ ment Centennial feature 1948 Journey for Three— National Film Unit Pacific Films Broken Barrier (1952), Runaway (1964), and Don’t Let it Get You (1965) are already mentioned by Mr Lascelles. While there are probably omissions, the list shows that there have been more than six features made in New Zealand.

Clive Sowry Wellington New Zealand ' ,

V ery u zr y Very vary

quality.

is fo r fà sf fa # fa #

fasf Service,

by Vincent Bugliosi

C a r t.

Vicfarfuri film la6or*it>f<tS •* Film is o ur

/n*?Mc

harv*e.

On August 8, 1969, Charles Manson remarked to one of his followers . . .

‘People are going to be slaughtered, they’ll be lying on their lawns dead.’

Twenty-four hours later his prediction had begun to be fulfilled.

During that August, Sharon Tate — the pregnant actress — and at least eight others were murdered in brutally savage and bizarre circumstances.

At the subsequent trial of Manson and some members of his ‘family’ Vincent Bugliosi, whose brilliant and meticulous investigation and prosecu­ tion is the subject of this book, revealed the link between Manson’s murderous thinking and the then current Beatles’ song ‘Heifer Skelter’, whose lyrics prompted Manson to order out his followers, many of them young girls, to butcher without mercy.

628 Pages, 16 Plates. $3.50 Recom m ended Retail Price. Published by Penguin Books Australia Ltd

Cinema Papers, July — 89

LOUIS MALLE

Louis Malle

I like to at least pretend that I am progressing, that I am changing for the better.

I think the past is the past, and I try to live the present as intensely as possible. And that is why after every two or three films I have to go back to documentaries because there one has the im m ediate gratification of being able to catch the moment as it comes. That is what is truly fascinating. ★

Continued from P. 14 Several times I have changed my mind on Fellini, though I admire and respect him. At the same time there is something in Fellini that I basically don’t like. It is something to do with a kind of showmanship; he finally manages to please the audience in a way that I don’t like.

There is an element of corruption in Fellini. But at the same time I am ready to accept that he is probably the best filmmaker alive.

I have also changed my mind several times about Truffaut. I go film by film and sometimes I even change my mind about a film after I’ve seen it several times. For instance, when I first saw Taxi Driver I was quite intrigued by it, though basically I didn’t like it. Still I was intrigued enough to go again and then I found what I liked about it and what I didn’t.

Basically I don’t like the script; I don’t like Schrader and I don’t like his vision. What I do like is Scorsese’s work and Robert de Niro. I think his performance is rem arkable, combining the ad­ vantages of being an actor with the feeling that he is not an actor. But I see the exploitation behind Taxi Driver, and the way it tries to satisfy the audience in a cheap sort of way.

My favorite films are those by Bresson and Buñuel. I have known Buñuel for years and his son has been my assistant. We are very close and I have spent a lot of time with Buñuel in Mexico. I find his films fascinating, but I am also very critical of some. I do not like his last two for instance. I think he has probably reached the point where making a film is.not essential to him.

He is 77 now and should stop — but he doesn’t. He probably thinks that if he stops he will get bored and maybe die. And he once said that he would like to die on the set.

One of the problems we film­ makers have is that we don’t last. It is so difficult to make a film; it takes too much energy. I had a camera­ man who once told me that while a film only takes three months to make, a director ages three years. It is a sad and stupid thing, but since so much money is involved you have to spend most of your energies getting the film together.

I am going to start shooting in March and I will start exhausted, whereas I should be fresh. The studio should prepare me like a fighter, give me a massage and get me in the best possible shape because it is so essential. But it is not the way things work — shooting is usually your holiday because it is the only time they leave you alone.

You take somebody like Bob Aldrich. I was so impressed by his early films like Kiss Me Deadly.

They were so good, but then people like him s ta rt com prom ising because there is so much money involved. I am one of those directors who for various reasons 90 — Cinema Papers, July

FILMOGRAPHY As Assistant Director

1956 Un Condamne a Mort S’est Echappe (A Man Escaped) Director

A scene from Malle’s seven-part documentary on India, Phantom India.

have had to compromise very little.

But it’s a fight and you get tired and finally you succumb — especially here.

You are not having a good experience. . .

No I am h a v in g a good experience. It is just that the machine here is heavier than anywhere else, because the money aspect is much more important.

Also, in Europe directors are stars, whereas here they think of them as necessary, difficult beings who have to be controlled. They are probably right — there is a lot of money involved and it’s their money.

If I were to make another film here I would make it on a smaller budget and do it independently, which is more the way I am used to working. I have always been financially responsible for my films because I have been my own producer. In France, if your budget is under five million francs ($1 million) you are more or less safe, whereas the budget on this film is $2.6 million, which is not much for the U.S. today.

You are working here and so is Claude Lelouch. Is this a trend among French directors?

I don’t know. I don’t particularly want to be in France for the next few years as I think this part of the world is more interesting. It will probably be different again in three years, but Europe is very dull at the moment. I wouldn’t mind making one or two more films in the U.S., but I don’t intend to become an American. I keep my things in France and I like going back there to work.

I am here because I am curious about this country and have always wanted to make a film here. As well, my character is so erratic and I go from film to film with nobody understanding the progression.

Supposedly it is a very broken line. But it is mostly because I am

following my curiosity. It took me to India, it stopped me making fiction for a while and it made me explore many different directions. I am trying to live my work and let my work be influenced by changes in my life. That is why I think I have progressed.

I would be extremely worried if I started repeating myself, not that I think that is wrong. I admire Truffaut, for instance, for the two or three different films he remakes constantly. I think that is admirable in a way. But I couldn’t do it myself.

1956 The Silent World — co-director 1957 Ascenseur Pour L’Echafaud (Lift to the Scaffold ) 1958 Les Amants (The Lovers) 1960 Zazie Dans Le Metro 1961 Vie Privée (A Very Private Affair) 1963 Le Feu Follet (A Time to.Live and a Time to Die) 1965 Viva Maria 1966 Le Voleur 1967 Histoires Extraordinaires d’apres Edgar Allan Poe — William Wilson episode 1967 Calcutta — documentary 1968 Phantom India — seven-part docu­ mentary 1972 Humain, trop Humain — docu­ mentary 1972 Place de la Republique -— docu­ mentary 1972 Le Souffle au Coeur (Murmur of the Heart) 1974 Lacombe Lucien 1975 Black Moon

■ OVERSEAS DISTRIBUTION W e are seeking the rights to 16mm color film for overseas distribution. O ur main interest lies in suitable product for non-theatrical release. If you have recently produced material available please contact us.

Dudley Gordon and Company 35 Darlinghurst Road, Kings Cross, N.S.W. 2011, Cables:JUNRA Telephone: (02) 358 2130

TRACKS there's m ore to life than riding waves ...

JOHN POWER

John Power

Continued from P. 25 The au teu r theory is only applicable if you are author of the film; i.e. you are the director and scriptwriter and have had a big hand in the production aspects — the casting, the cutting and the d istrib u tio n . I can never be expected to be called the author of

The Picture Show Man.

BOOKS

because I am very conscious of the need to keep actors at a certain level. I want to know for instance whether the actor I am using will be needed in the next set-up. If we are to have a long hard day together I want to know, so I can handle it. A director in fact has to run the set.

And be involved in financial considerations. . .

No, I think it’s best a director is Yes, but the auteur theory is more not involved. I am, of course, concerned with the qualities a speaking personally. Obviously director brings to film after film. people like Fred Schepisi are very Now the characteristics of John good at it. I admire Fred enor­ Power could be the high-standard mously; I think he is probably the of acting generally exhibited in best director in Australia. I think his films, or the gentleness of The D e v i l ’s Playground is touch, etc__ certainly the best directed, best produced, best written film I’ve That is a matter of style, not of seen in this country. I don’t think being the author. You can’t help but it’s one of my 10 greats of all time, put your trade mark on a film. In but it’s a superb film. most films you can see the director, Now Fred might be very good at even if the story may not be his. running the finances, but other directors are not. I don’t think I am What I was leading up to before a great financier and don’t try to be; was that most Australian films are though I am always conscious of characterized by the lack of how much things are going to cost. character development over the You must, otherwise you might take course of the film. . . two days to do something you can only afford to do in one.

Couldn’t agree with you more.

Is there anything on the horizon at Why do you think this is the case? the moment?

Is it inexperience, is it this confidence_we were talking about, or is No. I have got over the trauma of it a lack in the acting profession? the Broken Hill thing which really flattened me. I had a writer’s block I think Australia is blessed with a after that for a while, and I am just lot of good actors, many of whom getting myself on to something else have not yet been directed well. now. I want to write a contemporary Part of this is because a lot of story set in the city. I have the idea, people seem to be making first films but I am having a bit of trouble and haven’t yet had a chance to getting it out. learn their trade. Directing actors Personally, I think the answer isn’t just a natural gift, you need might lie in Australia making experience, and that comes only modest, urban dramas. in time.

You can’t expect a man or woman What would you describe as a who has not directed before to be modest budget? perfect with actors. It’s a dazzling business; one day you are nobody Between $150,000 to $250,000. and then suddenly there are 50 On these sorts of budgets, I think people sitting around saying, “What you can get your money back in the do we do now?” The last thing most country. But on a $600,000 film you directors think about is how to have to make an overseas sale. I handle the actors because they have really believe in regional films. been too busy getting the film together.

There seems to be a block about The beauty about the old Holly­ making such films. Do you see any wood studio system was that the reason for this? studio bore the brunt of the pro­ I think it has to do with a great duction problems. So a first-time director would, therefore, only be conservatism existing in the Aust­ nervous about his own work. I think ralian feature industry. I think once directors have had a chance, people are much more conservative they soon apply their trade and if than you might think, and sub­ they keep on doing it for long consciously they think it is safer to enough, they will gain in confidence reflect yesterday than today: tele­ vision is today, features are yester­ and expertise. day. They are scared of contem­ Do you think someone like a porary issues, and I think that is one production manager should take reason Australian feature films have on the responsibility of running a so little passion.

It’s hard to be passionate about set instead of the director? yesterday. A ustralians feel as No, I don’t. A director has to be deeply as others; it just has to do In v o lv e d in the m echanics of with that awkward Anglo-Saxon making the film. I want to know inability or reluctance to reveal what set-up we are doing next feeling. ★

NEW ZEALAND REPORT David Lascelles PRODUCTION A little known Dunedin-based film company, Ciscon Films, has achieved a major breakthrough for the New Zealand television industry in the lucrative American market by selling a 30-minute documentary on race relations in New Zealand to WNET, a New York television station.

The documentary, The White Man’s Peace is Worse Than his War, was made shortly after New Zealand’s controversial involvement in the African boycott of the Montreal Olympic Games — a boycott triggered by the All Blacks tour of South Africa.

The Public Broadcasting Service tele­ vision network is also considering screening the documentary. WNET does not belong to a network and reaches only New York audiences, but PBS reaches audiences throughout the US. According to Robin Bromby, who wrote and narrated the documentary, the BBC, ABC, Canadian Broadcasting Corporaation, South African and Israeli television have asked for copies. Bromby is one of three partners in Ciscon; the others are cameraman Ceidrik Seward, a New Zealander who spent several years with the BBC, and John McKay, a former Tele­ vision One editor. .

The New Zealand Film industry is unlikely to get any financial assistance from the Government for some time yet.

According to the Minister of Internal Affairs, Mr D. A. Highet, the country’s economic climate has made it difficult for the Government to guarantee funds for filmmaking.

The Minister said he was aware of the need for an indigenous film industry — making films for the country’s social and cultural development. Ffe agreed that New Zealand had people capable of making export quality features, given the necessary encouragement.

The Government could allocate funds by using revenue from the film hire tax and the lottery fund. But local filmmakers do not expect any positive Government action at this stage.

American actor Warren Oates, in New Zealand recently for the shooting of Sleeping Dogs, being made by Aardvark Films, is against the excessive use of violence and sex in films. Oates, who made his name in films like The Wild Bunch, Badlands. Kid Blue, Cockfighter, Tom Sawyer, Drum and Dillinger, said he

was glad the tide was turning against hardcore films like Deep Throat.

In Sleeping Dogs, Oates is a U.S. military adviser to the New Zealand government.

EXHIBITION The Government may allow drive-in theatres to operate in Christchurch. This follows a campaign by Lang Masters, of the Cinema International Corporation, which began in 1974 (C in e m a P a p e rs , April 1977). Drive-in theatres also seem likely in Auckland. According to Auckland Amusements, who campaigned for four years for a licence to operate drive-ins, the company is planning to set up its first outdoor theatre by summer. Plans outlined by the company include options on two sites near the city. Meanwhile Kerridge-Odeon has drawn up plans for a new twin cinema complex in Wellington.

Each cinema is expected to seat about 600 people. .

The work of seven New Zealand film production companies was shown at the Cannes Television Film Fair recently.

Pacific Films, the National Film Unit, Gibson Film Productions, Endeavour Television Productions, TV 1, South Pacific Television, and Blerta offered more than 50 single films and series on the world market. The titles included TV 1 s Moynihan and The God Boy; the Blerta series; Pacific’s Tangata Whenua:

Gibson's Old Man’s Story; Endeavour's and Pacific's Indira Gandhi; the National Film Unit's Land of Birds and environ­ mental films; and the television program.

New Zealand For the Fun of It, co­ produced by Endeavour, Pacific and an American company.

A New Zealand-Soviet film venture about international athletes has been deferred because of the changing status of sports and politics, athletes and amateurism. The Soviet company, Goskino Films, and Pacific Films have agreed to review the $1 million production of Faster Than Your Shadow in August or September of this year to decide whether to proceed or not with the film.

DISTRIBUTION Film distributors met with the secretary of the Department of Internal Affairs, Sir Patrick O’Dea, in Auckland recently to discuss the new Cinematograph Films Act. A row has been brewing over what distributors see as increased paper work and inconvenience resulting from the new Act’s regulations. They! are concerned that the Act requires them to provide a copy of the censor's certificate of approval for display with every film screened in a cinema. A copy of the certificate is usually shown to the audience before a film starts. Under the new regulations, the certificate must be “ displayed in a conspicuous position in the lobby or entrance of the premises at all times while the premises are open to the public". It becomes a problem when there are 10 or more prints of the same film; this means the distributor has to get extra copies of the certificate to send out with each print, and this involves delays which could be vital in some cases.

Ffowever, the Minister has agreed to have another look at the regulations if the new system proved difficult.

CENSORSHIP Last year the late Doug McIntosh, then Chief Film Censor, restored all cuts made in Sailor who Fell from Grace with the Sea. The decision was hailed as a courageous move. In March this year, a month before the new Cinematograph Films Act came into force, the acting Chief Film Censor, Mr B. Tunnicliff, restored cuts made in the first reel of Shout At the Devil. The scenes, however, were not considered controversial; they showed some natives hanging from trees.

When a distributor submits.a film to the censor he could ask for a certain certificate. The censor usually agrees, although in doing a hatchet job the final print could end up like The Scarlet Buccaneer. The distributor of this film wanted a certificate which would make it suitable for an audience of all ages, with bigger returns at the box-office. The film, however, failed at the box-office.

FILM ARCHIVES A film archives committee has now been set up ( C in e m a P a p e r s , April 1977). It will check and collate films and records held by different bodies, and also decide on archive material. The committee will deal with New Zealand films and even foreign films that qualify for retention by N.Z. te le v is io n . C o m m e rcia l film ­ distributors in New Zealand are recom­ mending to their head offices in the U.S. that copies of the relevant films be made available for the archives committee.

For the time being film archive material will be stored at the National Film Unit; it has the space, equipment, and the experts needed to care for such films.

The Federation of Film Societies, which has always been concerned with the preservation of archive films, has ap­ pointed Mr Jonathan Dennis as archives officer. Mr Dennis will represent the fe d e ra tio n in the Film A rc h iv e s Committee, k

Cinema Papers, July — 91

GUIDE FOR THE FILM PRODUCER

FILM CENSORSHIP LISTINGS

Guide for the Film Producer

Continued from P.27 8.

9.

The Producer shall have and is hereby granted the non-exclusive right, without limitation as to time to use and display the Director s name, voice and likeness for the purpose of promoting, publicising and advertising the photoplay, of any and every nature. The Director shall not by means of press agents or publicity or advertising agencies or other means circulate, publish or otherwise disseminate any news stories or articles, books or other publicity containing the Director s name relating directly to the Director's employment hereunder or the subject matter of this contract.

Without the Director's consent, no tie ups or merchandising tie ups shall contain any express endorsements.

PROVIDED the Director fully and completely performs all his obligations hereunder as to the cinematograph film, the Producer shall give the Director credit on all positive prints of the cinematograph film, and in all paid advertising and paid publicity issued by the Producer or under its control in connection therewith. With respect to the positive prints such credit shall appear on a separate card reading substantially as follows: Directed by Nothing contained in this paragraph shall be construed to prevent the use of so called "teaser", trailer or other special advertising without mentioning the Director's name. No casual or inadvertent failure to comply with the provisions of this paragraph shall constitute a breach of this agreement.

10. The Director shall not conduct himself either while rendering his services to the Producer pursuant to this agreement or in the course of his private life in a manner to violate the laws federal, state or local, civil or criminal or shall not conduct himself in a manner that shall offend against decency, morality or social proprieties or shall not conduct himself in a manner that shall cause himself to be held in public ridicule, scorn or contempt. In the event that such conduct shall cause public scandal, then and upon the happening of either of the events herein provided for. the Producer may at its option terminate and cancel this Agreement and the Schedule hereto by serving the Director with one week's notice either personally or by registered mail addressed to the Director at his last known address, said notice running from the date of actual personal service on the date of registered posting at any post office or authorised mail box.

11. The Director hereby warrants that he is free to execute this document and that he is not under any obligation or disability created by law or otherwise which would in any manner or any extent prevent or restrict him from entering into and fully performing this Agreement and that he neither now has or will he enter into any contractual commitments of any nature whatsoever which will enable any person, firm or corporation or other entity to claim or assert any claim priority of any nature whatsoever to the use of the services of the Director to be rendered to the Producer hereunder.

the Cinematograph Film or for a period or aggregate period of two (2) days after commencing and during the shooting of the Cinematograph Film (or if by reason of mental, physical or other disability, the Director shall be incapacitated and unable to meet the starting dates set forth in the options hereinafter described) the Producer at its sole option may: A. Terminate this Agreement with respect to the cinematograph film involved by giving the Director written notice thereof and thereupon the parties shall be mutually released from and discharged of any further obligations for each other under this Agreement with respect to the cinematograph film involved, but the Director shall have the right to receive and retain for himself such salary or compensation as shall have been payable or paid to him for services actually rendered by him. to the Producer prior to the date of such termination; or B. Suspend, during the duration of the disability and such non­ performance. the operation of this Agreement — no compensation need be paid the Director during the period of such suspension.

C. In either of the events set forth in (A) and (B) of this paragraph the Producer may hire the services of another Director to perform the work of the incapacitated Director for the duration of the disability or the completion of the Cinematograph Film as the Producer may decide in its sole discretion. Should more than one Director do substantial work in the Cinematograph Film, the determination of the directional screen credit intended to be given shall be decided solely by the Producer. The determination of what is meant by "substantial work" shall be decided by the Producer.

D. The Producer shall have the right, at its option, to have medical and physical examinations of the Director made by such physicians as the Producer may designate. In no event shall the Producer be obligated to delay the preparation shooting or completion of the photoplay pending the determination of the physician's report or pending the recovery of the Director.

14. If the Director fails or refuses to fully perform his services and comply with any of the terms and conditions of this Agreement at any time for any reason other than those enumerated in Clause 13 hereof, the Producer shall have the rights and options granted in Clause 13 hereof. The Producer may however exercise any of such rights or options on twentyfour (24) hours notice at any time following such failure or refusal on the part of the Director.

15. If the Producer desires at any time, or from time to time, to apply (in its own name or otherwise but at its own expense) for life, health, accident or other insurance covering the Director, the Producer shall have the right to do so. and may take out such insurance for any sum which it may deem necessary to protect its interest hereunder. The Director shall have no right, title or interest in or for such insurance. The Director shall nevertheless assist the Producer in procuring the same by submitting from time to time for the usual and customary medical, physical and other examinations and by signing such applications, statements or other instruments in writing as may be reasonably required by any insurer.

16. The Director shall render his services in the manner hereunder provided for either the Producer, its subsidiaries, or successors or for any person, firm, corporation or other entity producing photoplays or motion pictures for the Producer or for any person, firm, corporation or entity hereinafter designated by the Producer or for the Producer s assigns.

12. The Director's services herein contracted for and to be rendered by the Director hereunder and the rights and privileges granted by the Director to the Producer hereunder are of a special, unique, unusual, extraordinary and intellectual character, which gives them a peculiar value, the loss of which cannot be reasonably or adequately compensated by damages in an action at law. The Producer shall be entitled to injunctive and other equitable relief to prevent or cure any breach or threatened breach of this agreement by the Director.

17. The Producer's failure to complete this cinematograph film shall not relieve it of its obligation to pay the Director the compensation hereinabove mentioned (in the manner and terms set forth), but such failure to complete, release, distribute, sell or exhibit the cinematograph film shall not be deemed a breach of this Agreement by the Producer or render the Producer liable for damages or otherwise beyond the Director's agreed compensation.

13. If by reason of mental, physical or other disability the Director shall be incapacitated from fully performing and complying with the terms and conditions hereunder and such incapacity shall continue for a period or aggregate periods in excess of two weeks preparatory to or after shooting

18. The Producer shall have the right to produce, cut. edit, subtract from, add to. arrange, rearrange and revise in any manner whatsoever the completed photoplay.

Film Censorship Listings

Continued from P.37 A Touch of Zen: K. Hu, Hong Kong (4526.00 m) Union Maids (16mm): J. Reichert, U.S. (620.00 m) When Joseph Returns: Z. Kovacs, Hungary (2331.00 m) The Wild Duck: B. Eichinger, W. Germany (2885.00 m) (a) Previously listed in Film Censorship Bulletin No. 8/76. '

FILMS REGISTERED WITH ELIMINATIONS For Restricted Exhibition (R) Les Démoniaques: J. Rollin, France (2770.00 m) Eliminations: 63.5 m (2 mins 19 secs) Reason: Indecency The Making of a Prostitute: (a), G. Ehmck. W. Germany (2340.20 m) Eliminations: 19 m (42 secs) Reason: Indecency Milano: II Clan Dei Calabresi: Cristiana Cinema, Italy (2331.00 m) Eliminations: 3.2 m (8 secs) Reason: Excessive violence Pinocchio: C. Warfield, U.S. (2112.00 m) Eliminations: 70.8 m (2 mins 35 secs) Reason: Indecency Schoolgirl Hitchhikers: M. Gentil, U.S. (2112.00 m) Eliminations: 51.8 m (1 min 54 secs) Reason: Indecency and excessive violence Tokyo Emmanuelle: Shaw Bros/K. Ichizi, Japan (2578.00 m) Eliminations: 144 m (5 mins 16 secs) Reason: Indecency (a) Previously listed in Film Censorship Bulletin No. 1/77.

FILMS REFUSED REGISTRATION Les Pornocrates (The Porno Kings): Contrachampe D­ J. F. Davy, France (2493.60 m) Reason: Indecency

FILMS APPROVED FOR REGISTRATION AFTER REVIEW The Making of a Prostitute: (a), G. Ehmck, W. Germany (2340.20 m) Decision Reviewed: Appeal against rejection by the Film Censorship Board.

Decision of the Board: Register (R) with eliminations.

FILMS NOT APPROVED FOR REGISTRATION AFTER REVIEW Banging in Bangkok: (b), E. C. Dietrich, Switzerland (1724.70 m) Decision Reviewed: Appeal against rejection by the Film Censorship Board.

Decision of the Board: Uphold the decision of the Film Censorship Board.

The Opening of Misty Beethoven: (c), L. Sultana, U.S. (2208.70 m)

92 — Cinema Papers, July

The rights and remedies of the Director in the event of a breach of this Agreement shall be limited to his rights, if any. to recover damages in an action at law and in no event shall he be entitled by reason of such breach to terminate this Agreement or to enjoin or restrain the distribution or exhibition of the cinematograph film.

19. In the event of any breach by the Producer of any of its obligations under this Agreement, the Director's remedies shall be limited to the recovery of monetary damages, and shall not include injunctive or any other form of specific relief in connection with the Cinematograph Film motion picture photographs, still photographs or sound recordings. In no event shall the Director have the right to rescind the grant to the Producer of any rights herein contained and provided for.

20. The Director hereby acknowledges and agrees that he has no right of authority to and that he will not employ any person to serve in any capacity nor contract for the purchase or rental of any article or material nor make any commitment or agreement whereby the Producer will be required to pay any monies or other consideration without the Producer's express written consent first had and obtained.

21. All notices required to be given by the Director for the Producer shall be sent by registered or certified mail to the Producer at All notices required to be given by the Producer to the Director shall be given by registered or certified mail to the Director at in the State of Victoria. Australia, or at Producer's option the Producer may deliver such notice personally to the Director either orally or in writing.

If notices are sent by mail, the postmark date of mailing shall be deemed to be the date of service of such notice. The parties shall have the right to designate different addresses by means of notice by registered or certified mail to such effect.

22. The headings of the paragraphs of this Agreement are for convenience of reference only, and do not form any part hereof, and in no.way modify interpret or construe the Agreement between the parties.

23. The proper law of this contract shall be the law of the State of Victoria.

Australia. * 24. This Agreement contains the entire uqderstanding and agreement between the parties There are no representations, warranties, promises, covenants, or undertakings other than those herein expressly set forth.

This Agreement shall replace and supersede all previous arrangements, understandings, representations or agreements between the parties. This Agreement may not be modified except by a written instrument signed by the parties. The Schedule to this Agreement headed "Investment Agreement is deemed to be part of this Agreement.

IN WITNESS whereof the parties have hereunto executed this Agreement the day and the year first hereinbefore written.

SIGNED for and on behalf of

in the presence of:

SIGNED in the presence of:

Decision Reviewed: Appeal against rejection by the Film Censorship Board.

Decision of the Board: Uphold the decision of the Film Censorship Board. (a) Previously listed in Film Censorship Bulletin No. 1/77. (b) Previously listed in Film Censorship Bulletin No. 2/77. ' (c) Previously listed in Film Censorship Bulletin No. 1/77.

Savages: I. Merchant. U.S. (2935.00 m) Squeaker's Mate: D. Baker, Australia (987.00 m) Tiger Claw: Not shown, Hong Kong (2529.84 m) Voyage of The Damned(reduced version): (b). R. Fryer, U.S. (4004.00 m) (a) See also under Films registered for Restricted Exhibition' and Films Board of Review'. (b) Previously listed in Film Censorship Bulletin No. 12/76. '

APRIL 1977

Black Emmanuelle, White Emmanuelle: Rekord Films, Italy (2498.00 m) The Dragon Tamers: Golden Harvest/R. Chow. Hong Kong (2852.00 m) Emily: C. Neame. U.K. (2306.00 m) The FJ Holden: (a). M. Thornhill, Australia (3048.00 m) The Great Texas Dynamite Chase: D. Irving. U.S. (2496.13 m) Helter Skelter: T. Gries, U.S. (2605.85 m) The Human Factor: F. Avianca. Italy (2631.00 m) Jackson County Jail: J. Begun, U.S. (2249.00 m) Jutine De Sade(reconstructed version): (b), Pierson Prods, France/ltaly (2276.69 m) Sebastiane: Malin/Whaley. U.K. (2304.00 m) The Squeeze: S. O'Toole, U.K. (2852.00 m) Stand Up Virgin Soldiers: G. Smith, U.K. (2441.27 m) The Titbit: A. Bertucciolli, Italy (2798.00 m) (a) See also under films registered For Mature • Audiences' and Films Board of Review'. (b) Previously listed in Film Censorship Bulletin No. 1/77.

FILMS REGISTERED WITHOUT ELIMINATIONS For General Exhibition (G) The Adventures of Robinson Crusoe: Corona Cinemagrafica/I.F.E., Italy (2525.00 m) Flake White (16mm): Elexir Film Assoc., Australia (658.00 m) Journey into Yesterday (16mm): Malcolm Douglas.

Australia (975.36 m) Parichay: Tirupati Pics, India (3941.00 m) Raggedy Ann and Andy: R. Horner, U.S. (2342.00 m) Rush to Judgment (16mm): E. De Antonio. U.S. (1188.00 m) Spring in Kwangchow: Feng Huang Motion Picture Company, Hong Kong (3048.00 m) Tubular Swells (16mm): B. Hoole/J. McCoy, Australia (878.00 m)

FILMS REGISTERED WITHOUT ELIMINATIONS Not Recommended for Children (NRC) Alice Cooper — Welcome to My Nightmare Winters/Silberbliet, U.K./U.S. (2304.00 m) The Genius: C. Mancini, Italy (3072.00 m) Hester Street: Midwest Films/R. Silver, U.S. (2496.00 m) II Brigante Mussolino (16mm): Ponti-De Laurentiis, Italy (762.00 m) Jabberwocky: S. Lieberson. U.K. (2935.00 m) Kawar Jims Bond (16mm): M. Zov Zov. Lebanon (1070.00 m) L’Accusa Del Passato: Not shown. Spain (2287.00 m) Nights and Days — Parts 1 and 2: Film Polski, Poland (4855.00 m) Tentacles: O. Assonitis. Italy/U.S. (2880.15 m)

FILMS REGISTERED WITHOUT ELIMINATIONS For Mature Audiences (M) Countdown in Kung-Fu: Golden Harvest, Hong Kong (2605.85 m) The Double Crossers: Golden Harvest/R. Chow, Hong Kong (2634.00 m) The FJ Holden: (a), M. Thornhill, Australia (3048.00 m) Monkey Fist: Not shown, Hong Kong (2529.00 m) Nasty Habits: R. Enders. U.K./U.S. (2603.00 m)

FILMS REGISTERED WITHOUT ELIMINATIONS For Restricted Exhibition (r)

FILMS REGISTERED WITHOUT ELIMINATIONS Special Conditions (For showing not more than twice at Sydney and/or Melbourne/Adelaide/Brisbane/Perth Film Festival and then re-exported.)

Above Us The Earth: K. Francis, U.K. (2209.00 m) Anguish (Jad): Vardar Film, Yugoslavia (3000.00 m) Artpark People (16mm): M. Blackwood. U.S. (650.00 m) A ustralia, Australia: Vardar Film, Y ugoslavia (2225.00 m) ' Before Hindsight (16mm): E. Taylor-Mead. U.K. (2785.00 m) The Clown (Ansichten Eines Clowns): H. Angermeyer.

W. Germany (3055.00 m) Die Plotzliche Einsamkeit Des Konrad Steiner (The Sudden Loneliness of Konrad Steiner): K. Gloor.

Switzerland (2830.00 m) Eclipse: Celandine Prods Ltd. U.K: (2332.00 m) Hotel Pacific (Zaklete Rewiry): Tor. Poland (2831 00 m) How Does It Feel? (16mm): Pictures That Move, U.K. (658.20 m) If I Had a Girl (Keby Som Mai Dievca): Koliba Studios.

Czechoslovakia (2463.00 m) Loma (Olympian Holiday): K. K. Jarvi, Finland (3080.00 m) Not a Pretty Picture (16mm): M. Coolidge. U.S. (914.00 m)

Pressure (16mm): British Film Institute. U.K. (1316.40 m) Pride of Place (16mm): D. Gazidis, U.K. (700.00 m) Requiem for a Village (16mm): British Film Institute, U.K. (746.00 m) Scrim (16mm): J. Bijl. Netherlands (738.00 m) The Shadow Line (Smuga Cienia) Film Units X'/Thames Television. Poland (3002.00 m) Summer Guests (Sommergaste): Regina-Ziegler-Filmproduktion, W. Germany (3229.00 m) The Summer I Was 15 (Den Sommeren Jeg Fylte 15): Teamfilm A/s Svein Toreg, Norway (2694.00 m) Wow (16mm): Survival Films. U.K. (1189.00 m)

FILMS REGISTERED WITH ELIMINATIONS For Restricted Exhibition (R) The Body Shop: S.N.D./Valisa Films, France/Belgium (2523.56 m) ' Eliminations: 94.7 m (3 mins 28 secs) Reason: Indecency and indecent violence Two for the Money: R. Lee/Gentlemen II Prods. U.S. (2304.00 m) Eliminations: 86.5 m (3 mins 9 secs) Reason: Indecency

FILMS REFUSED REGISTRATION Deep Love: S. Bostan, U.S. (2209.30 m) Reason: Indecency The Four Days Affair: Sam Films. France (2112.00 m) Reason: Indecency Last Cannibal World: E.-Erre Cinematographica. Italy (2550.00 m) Reason: Indecency and indecent violence

FILMS BOARD OF REVIEW FILMS APPROVED FOR REGISTRATION AFTER REVIEW The FJ Holden: (a), M. Thornhill, Australia (3048.00 m) Decision Reviewed: Appeal against R estricted' classification given by Film Censorship Board.

Decision of the Board: Classify film 'For Mature Audiences', (b)

FILMS NOT APPROVED FOR REGISTRATION AFTER REVIEW Vase De Noces(16mm): (c), T. Zeno, Belgium (893.00 m) Decision Reviewed: Appeal against rejection by the Film Censorship Board.

Decision of the Board: Uphold decision of the Film Censorship Board. (a) See also Restricted' section this list. (b) 'Restricted' classification still applies in Queens­ land, Tasmania. South Australia and Western Australia. (c) Previously listed in Film Censorship Bulletins No. 8/75 and No. 12/76.

Note: Title of film notified as Doberman Patrol in Film Censorship Bulletin No. 8/74 has been altered to Trapped. ★

APPLIED MEDIA STUDIES The Victorian Education Department, through the Audio Visual Education Centre, has set up an Applied Media Studies section to provide curriculum aid for media teachers and students (at primary, secondary and tech­ nical levels) in film appreciation, filmmaking video, photography and radio. This aid is provided by consultancy, in-service seminars, and the publication and production of teaching kits, videotapes and audiotapes on the media.

AMS serves as a creative production and resource centre on the educational applica­ tion of the media., particularly film and tele­ vision. in Victorian schools, and as such, has established extensive links with the film and television industry and government bodies (e.g. Victorian Film Corporation. Australian Film and Television School. State Film Centre).

Some of the activities sponsored by AMS include: the publication of Media Scan (first issue in July), a monthly news exchange of what is happening in educational media in Victoria, from organizations within or closely associated with the Education Dept., such as AM'S. AVEC Film and Television Units.

Teacher Access Production Centre, AVEC Film Library, State Film Centre, ABC Educa­ tion Unit, ATFAV, and the joint standing committee for the Study of Film and Tele­ vision.

AMS is co-sponsoring the Interface Screenings of 1977 with ATFAV. So far this year Interface had Cliff Green speaking on ‘‘The Work of the Screenwriter” ; Rennie Ellis on "The New Climate for photography in the Art's Spectrum” ; and Natalie Miller on "The Role of the VFC in respect to Education” . On July 11, Alex Milsky and Peter Green will be talking on "Animation in the Classroom” .

Other speakers include Erina Rainer and Harris Smart from the ABC, Greg Jones from Actors Equity, and Kestrel Film Productions.

All screenings are held at the State Film Centre Theatre.

AMS will be assisting the Australian Film and Television School organize its Video One course in Melbourne about September this year.

AMS will be promoting the Travelling Melbourne and Sydney Film Festival around selected regional centres in V icto ria .

Anticipated dates are September/October this year.

AMS has recommended and supported a documentary on feature filmmaking. The Making of In Search of Anna, directed by Bob Francis and photographed by Peter Dodds, from the AVEC Film Unit.

AMS has had discussions with Crawford Productions on the educational viability of a documentary series on The Making of The Sullivans.

AMS are co-sponsoring an Access Tele­ vision Studio F a cility w ith the AVEC Television Unit, for media teachers and their students, who intend producing video material in a fully-equipped television studio.

AMS are conducting an in-service seminar on "Media Studies in Schools’ at the Elsternwick AVEC Centre on July 7 and 8. A more extensive two-week seminar workshop on the same topic will be held in Bendigo, beginning early in August.

For further information, contact: Applied Media Studies, AVEC, 234 Queensberry St..

Carlton 3053. Phone: 347 3855 exts. 138 and 139.

Those working at AMS include: Warren E. Thomas — Executive officer Trevor Lunn — Video Peter Westfield — Interface Keith Redman — Wangaratta representative Don Porter — Photography Barbara Boyd — Super 8mm filmmaking John Benson and Imre Hollosy — Film Studies

ARCHIVE ASSOCIATION For half of its two-year existence, the association has been an observer-member of the International Federation of Film Archives.

FIAF. whose membership covers 36 countries, is a supreme international unifier of film archival practices and standards. Its only full Australian member is the National Film Collection of the National Library. However, as a prerequisite for observer status, the Archive Association has signed a declaration that supports the National Film Collection's film archival activity.

Barrie King, the Archive Association president, represented the association at the FIAF annual meeting held in May at Varna in Bulgaria.

King, who was born in West Australia, and a physicist by profession, became fully aware of the purpose and value of film archives when he lived in New York between 1961 and 1963.

During this period, he visited the Museum of Modem Art, which has one of the world's oldest film archives. King saw many films at the Museum's cinema — films he had only had the chance to read about. His interest in cinema was further stimulated by the "pro­

grams of classics and recent revivals at three of New York's commercial art cinemas.

When King returned to Perth in 1963, he found the film scene in a state of comparative neglect. But relief came with the annual festival of foreign language films. The growth of film societies since 1964 has accounted for quality cinema now being shown in WA. The man responsible for this growth is Ian Channel (known to Sydney and Melbourne university students as "the wizard” ). Channel travelled throughout the state for the Adult Education Department of Perth University, and following his enthusiasm and drive, the Perth Film Society and University Film Society were set up in 1964: and in 1965 the International Film Theatre also.

In 1967, former IFT committee member Arch Nicholson (now at Film Australia) heard of the destruction of more than 30,000m of WA newsreel negative. This material, dating from the early 1920s, was unique within the limited context of silent era filmmaking in that state.

Many people were disturbed over the loss and questioned the archival acquisition policy of the National Library in Canberra. But answers brought little comfort.

In 1968, Barrie King visited the British National Film Archive -and the Cinemateque Royale de Belgique, and heard that FIAF were concerned at the apparent non-performance of the National Library as their Australian member. Back in Perth, public pressure led to the formation of the State Film Archive, which was to be operated as an adjunct to the WA State Film Centre. On his return, King joined the committee of the new archive.

King attended the annual meeting of FIAF in New York in 1969, as an observer for the National Film Theatre of Australia. Before returning to Perth, he visited the Library of Congress, the American Film Institute archive in Washington, the film archive of the British Imperial War Museum and the archive of the Czech Film Institute.

In late 1969, King visited the National Library of Australia and compared their film archival work with that which he had seen overseas. But the results were disappointing.

He then used his knowledge of overseas print sources to help the National Library restore the soundtrack of the Cinesound feature Mr Chedworth Steps Out. Following the library's allocation of funds to preserve the pre-1950 Cinesound-Movietone newsreel collection in March 1971, King sought more detailed information on the National Library's future policy in this area.

The National Librarian's reply was mostly defensive, stating in part that the library had “ been planning to expand archive activities in every direction” ; and that results might already have been achieved "had there not been the present period of government restraint".

During a visit to Canberra and Sydney in 1974, King spoke to people who were familiar with the concept of film archives. These talks led to the formation of the Association for a National Film and Television Archive. The public launching of the association came with the release of its submission to the Committee of Enquiry into Museums and National Collections, in late 1974. The association's objectives and an appeal for public financial support were circu la rize d among the audiences of interstate capital city film festivals in 1975, and this has been continued through festivals in 1976 and 77.

Although the association has been critical of the N ational L ib ra ry , B a rrie King emphasized that the criticism has been tempered by constructive proposals for the future of an Australian National Film Archive.

In a forthcoming issue of Cinema Papers King will write on the May congress of FIAF in Varna, and will give further information on FIAF members abroad.

NATIONAL LIBRARY OF AUSTRALIA Film archivists at the National Library of Australia have recreated an historic Australian feature film from the remains of the only copy known to exist.

The silent film. Silks and Saddles, was made' by a commercial company. Common­ wealth Pictures, in Sydney in 1921 and was shown throughout Australia till about 1927. It was seen again, for the first time in about 50 years, when the recreated version was screened at the Sydney Film Festival on June 3.

The story has a horse-racing theme, and was filmed partly at the old Kensington (Sydney) racecourse; it includes many scenes of metropolitan Sydney at the end of World War1. ’ Silks and Saddles is the second.major film

to have been restored in the National Film Archive. The first, three years ago. was Charles Chauvel s Jedda. on which extensive work was necessary to restore lost color. The task of recreating Silks and Saddles began in 1975. The archive preservation officer. Mr Keith Pardy. and others could work on it only between routine activities.

The basis of their efforts was the original negative of the film, which was given to the Library early in 1975 by two members of the Sydney film industry. Mr Alan Anderson and Mr Bren Brown. The nitrate negative was in poor condition. It had shrunk and many feet had decomposed.

The restoration work involved making two master positive copies from the shrunken negative, combining the two so that the best reproduction of each scene could be retained, and making a new negative from this assembled copy.

Because negatives of silent films were arranged in a discontinuous manner, to enable a variety of chemically-based color effects (tinting and toning) to be introduced in the printing process, the new negative had to be cut and spliced in correct story order. As there was no script to guide them, the film archivists had to guess the location of each scene as they put the film together.

Some of the dialogue titles had to be refilmed in a process known as "freeze fram in g ", because the o rig in a ls had deteriorated and some new titles had to be written in by the archivists where the originals could neither be read nor salvaged. “ We are quite happy with the result," film archivist Ms Karen Foley said. "We lost only about eight minutes of the original film because it simply could not be salvaged, but we don't feel this has greatly affected the story line.

"Silks and Saddles is not as important a film as The Sentimental Bloke or Breaking of the Drought, but it is valuable from an archival point of view,” she said. "Any Australian silent film is significant because there are so few of them left. We rarely get an original negative of one, so that having Silks and Saddles gave us a rare opportunity to get a film back to something like its original quality.”

The names of most of the players in Silks and Saddles are virtually unknown today, with the exception of Tal Ordell who played the villain. The stars were Robert MacKinnon and an American actress. Brownie Vernon, who, according to film librarians, was like a 1920s' Helen Morse. The film was directed by John Wells.

The C hief Film L ib ra ria n , Mr Ray Edmondson, will introduce Silks and Saddles at the State Theatre during the Sydney Film Festival. The film will also be shown at the Brisbane Film Festival in July and is scheduled for early screening in the National Library Theatre in Canberra.

Young Australian film director Phil Noyce, whose latest production. Backroads. was screened at the 1977 Sydney Film Festival, has begun research on the S500.000 feature film.

Newsfront. at the National Library of Australia.

Newsfront. which is scheduled to go into production in Sydney in August, will be the fictional story of an Australian newsreel cameraman during what is described as "the golden age of the newsreel” — from 1948 to 1956.

It will incorporate footage of a number of dramatic events from actual Cinesound and Movietone newsreels of the period, including the Suez crisis. Korean war. Maitland floods.

Redex trials, the Melbourne Olympics and the birth of rock-and-roll.

Mr Noyce viewed about 50 newsreels in the National Film Archive to select segments to be copied for the film.

He is the fifth of a succession of producers and directors to use the archive so far this year to research or select footage for new Australian feature films.

ACTORS’ AND ANNOUNCERS’ EQUITY ASSOCIATION OF AUSTRALIA Hal Lashwood. emeritus president of Actors' Equity, is in Europe to attend meetings of the English-speaking unions of the Federation Internationale des Acteurs in Oslo.

The British Equity, the American Equity, the American Screen Actors' Guild, the American Federation of Television and Radio Artists, the Canadian Actors' Equity, the Irish Actors' Equity, the New Zealand Actors' Equity and Australian Actors' and Announcers' Equity will be represented at the meetings.

Lashwood will later visit Moscow for a world F.I.A. meeting to consider variety

problems, and then to Stockholm for the Inter­ national Theatre congress.

David Williams is the new A.G.S. of Equity following the retirement of Joan Evatt.

Williams, who will hold office for three years, has been treasurer of the union for some years: he had also served several terms as a council member.

Williams performed in theatre, television and more than 40 feature films in Australia and in London: he has also been a variety artist, producer, writer and theatre manager. With his actress wife Chin Yu. he set up the company which publishes Showcast Casting Directory. Variety Directory. Contacts and The Performing Arts Year Book of Australia. The latter is produced in association with TheatreAustralia and Cinema Papers.

W illiam s has considerable business experience and is hoping to modernize the running of the business side of the union, and working closer with other entertainment organizations.

Bob Alexander was re-elected general secretary, a position he has held since 1975.

Alexander was assistant general secretary for many years before that.

SYDNEY FILMMAKERS’ CO-OPERATIVE After the confusion over the transfer of the Film. Radio and Television Board to the Aus­ tralian Film Commission, the Sydney Film­ makers' Cinema was forced to close in November, and December last year, and in January this year, due to a delay in funds.

Many thought the co-op had closed, but in fact the film library services and Film News continued.

The cinema re-opened in February and has been running strongly since with programs on Africa, recent social action films, new women's films, arts and crafts, education.

Pure S and a video festival.

Further programs are being planned for the Greater Union Award films. Phil Noyce's Backroads, Ken Cameron's Out Of It and Stephen Wallace's Loveletters from Taralba Road The new national supplement has arrived with 150 new films. The catalogue and supple­ ment are available for $3 (postage included).

New films keep coming into the library and are being programmed whenever possible in the Filmmakers' Cinema.

Contention was aroused over certain films the co-op distributed which large production bodies and institutions produced. The co-op's policy is to encourage independent film­ makers to produce more films, and contracts for distribution allow 50 per cent of rental income to be returned to filmmaker members only. Contracts with the larger bodies have been refuted and arrangements are being sought with individual filmmaker members.

Film News editors Tina Liber and Barbara Alysen are producing 16-page monthly, issues which incorporate topical news issues, film reviews and articles, the cinema program and a mass of information about recent local productions. The yearly subscription is $8. which includes associate membership with the co-op.

Plans are being made to enlarge the video aspect of the co-op as well as continuation of video programs in the cinema. The co-op hopes to set up a videotape library complete with catalogue and a full-time co-ordinator.

Viewing facilities have been available for some time.

Inquiries can be made to Susan Lambert, now working in distribution.

THE ASSOCIATION OF TEACHERS OF FILM AND VIDEO Film and media studies are the rapid growth subject areas at the present time. In some quarters, mass media studies are developing into a movement. And the results are clear: more schools are showing films for film study, and more teachers are moving into film, video and radio production, and into mass media criticism.

Few of these teachers are subject trained, so they tend to move into the field out of interest and conviction.

The association's magazine Metro is advocating the use of popular culture as a starting point of children's learning programs: our first edition for the year featured television police and Barbra Streisand.

The Interface program of free screenings, seminars allows the community to meet with filmmakers and other workers in the arts and media area.

Cliff Green was followed by photographer Ronnie Ellis and a series of seminars on the guests at the Melbourne Film Festival.

We have a weekly program on 3CR at 2 p.m. on Saturdays. The program is open to those wishing to produce a show on an aspect of the media.

Information about the ATFAV is available at the association's office in C - 234 Queens­ berry Si.. Carlton. 3053 (Tel. 347 3833 ext.

384 139).

Cinema Papers, July — 93

PAULCOX

SOLDIERS OF THE CROSS

Soldiers of the Cross

Continued from P. 15

Shortly before the opening night, it was learned that Reg Perry — son of Joseph Perry, and one of the last living links with the Limelight Department (he appeared in Soldiers of the Cross as a boy) — would come to Canberra for both performances.

With everything falling nicely into place, there was an unexpected crisis — a national airline strike — 36 hours before the opening. Frantic arrangements were made for the interstate participants to come by car from Sydney and M elbourne, though Reg Perry’s attendance would be impossible unless the strike was called off in time. They would have no time for an adequate orchestral or technical rehearsal, and the presentation would have to go on without the benefit of a dry run. Consequently, no one involved could tell how well the pieces would fit together on opening night. But an enthusiastic audience apparently thought it worked quite well. And Reg Perry did make it — arriving from the airport almost exactly on cue to fill his allotted place in the program.

Paul Cox

Christians await the ordeal of the arena, one of the many scenes of savagery and death. Soldiers of the Cross.

The very nature of the presentation makes it as difficult to describe in an article as it was to publicise. The projected images were large so as to be visually compelling; the theatrical style of presentation was, it was generally felt, in keeping with Booth’s own flair for showmanship; the live presentation of the music (the 30-piece orchestra consisting of brass, strings and a choral ensemble) afforded an audience experience almost totally unknown since the disappearance of silent films.

Continued from P. 19

make silence speak.

Yes, it is a very big change in style. Before that I used people as vehicles to express something very general; like in The Journey, which is about the potential of the mind, the sadness, the wastage, the incredibly pathetic nature of a man who has so much ability and so much to offer, but who is so screwed up about his past. That’s one thing one has to learn in life — being able to put aside the past.

It has taken at least 10 years for me to re-educate myself to forget all I had learned and start afresh. I am, at all times, conscious of this process because one can so easily slip back. As I said, I am just learning the language of film. It is the most powerful medium of our time. I feel it is possible to use a film to expand our limited horizon.

I think we all have to go through a “self-indulgent stage”. I used to try and force the audience to identify themselves with a situation. I did not succeed at all. People liked my films, because visually they were able to respond to them. But then they accused me of making photo­ graphic films.

To me it is of primary importance to make films that are visually balanced. It is pointless to merely point the camera and let the whole thing happen. There is so much to get out of the structure of the images themselves.

Now, giving freedom to actors has brought a lot of fresh ideas and a new way of looking at things. When you learn a new language, it takes a long time to learn the right words, and explain exactly what you are on about. And finally when you have learned to speak, you realize that a whisper is more powerful. So you become more pronounced in your whispering, and if you can find the right actors to quietly “live” in front of the camera you should be able to

What sort of new projects do you have in mind?

94 — Cinema Papers, July

One thing that has always angered me is when people say we must make Australian films. What does that mean? You answer that question.

I assume when people say that, it means making films about Australia. But in my view the question is much broader— one of making films about people or subjects that just happen to be Australian. In your case it is very much to the point, because you are not an Australian but you are making films in Australia and you are making films more from the E u r o p e a n p e r s p e c t i v e on A u s t r a l i a t h a n f r o m an Australian. . .

If I am making films in Australia, then they are a u to m a tic a lly Australian films, aren’t they? Or does an Australian cinema, as such, really exist?

In industrial terms it certainly does: there are filmmakers working in Australia, so there is an Australian industry. But your perspective on Australian life, it seems to me, does not deal so much with specifically the Australian rituals that Tim Bursfall’s films, or“F. J. Holden”, do for example . . .

It can be a real advantage to make so-called Australian films when I have not been brought up in this country. Usually people are proud of the country they come from and they tend to defend it. I have no such desire.

I don’t feel I belong to Holland or to any of the other countries my parents come from, because when a

The Perpetua story — slides and music in synchronization — was a memorable conclusion to the program: the music, heavy with pathos and foreboding, perfectly complementing the visuals showing Perpetua’s arrest, imprisonment, trial and final death in the arena.

Soldiers of the Cross has dated, and to palates sated with the cinemascopic grandeur of latter day epics it will appear simple and naive; it was made for a kind of audience which does not exist today, and what remains of it no longer moves.

Yet, remarkably, it has not lost its power to emotionally affect an audience and it remains a compelling visual and aural experience.

For Booth’s audiences, many of whom would never before have seen a film, it would have been unforgettable. It took full advantage of the dramatic potential of its subject and few could have sat through its 2*/4 hours unaffected.

Decades before Cecil B. de Mille, and predating the earliest Italian spectacles, Booth and Perry understood the cinematic nature of the religious epic, and realized a production of great force and vision.

It was a good start for a permanent Australian film industry. ★

person, for example, says, “I am The man is in his boarding house G e r m a n ” , th a t m ak e s him with his Greek working mates, his potentially aggressive, he has some­ letters from home, his passion for thing to defend. So I would rather music, sexual frustrations, his pride be extremely cool on that level and and loneliness. The woman with her say I am here to defend — to put it su c ce ssfu l h u s b a n d , h e r tw o very pretentiously — the dignity of children, her part-time job, her man. boredom and search for self-fulfil­ If I want to make a film on the ment. When they finally meet, a isolation of Australian suburbia, on secretive, extremely intimate rela­ the galvanized iron on the hot roofs, tionship develops, doomed from the the concrete gardens and rotary very beginning, but with enormous clothes dryers, I see enough visual vitality. The climax, I hope, will possibilities to make an Australian emphasize the tragic isolation of film with an international flavor, social conditioning. and isn’t that what the Australian film industry should aim at?

Where is the money likely to come My next film is probably going to from? deal with the isolation of migrants — though that issue isn’t unique to I think a lot depends on the Australia. success of Inside Looking Out. In People leave an almost inbred, spite of its low budget, it can still cosy situation at home and come to quite favorably competè with other an alien place like Australia; for films. them integration is very difficult.

But why is it that we always come Have you ever seen people back to the money question? You leaving or arriving by boat? know, when Von Sternberg was Especially the Arabs or the Jews or here, someone asked him, “How do the Greeks. Amazing scenes, and you start in film?” His answer was you cannot possibly watch without simple and to the point: “Just get going to pieces. Strong family ties yourself a camera.” are much more apparent in soAs I said before, if you believe in called ethnic groups. Incredibly something strongly enough it will moving. Put that on film and you happen. ★ touch the soul of not just Australia, but the whole world.

PAUL COX FILMOGRAPHY The Greeks, for instance, have no village square to go to. They learn soon after arriving here that you 1965 Matuta 23 min. Color 16mm 1966 Time Past 10 min. B/W 16mm don’t talk to people in the street. 1968 Skin Deep 40 min. Color 16mm This causes great frustration among 1969 Marcel 5 min. B/W 16mm them and it seems to me a very 1969 Symphony 12 min. B/W 16mm appropriate comment on Australian 1970 Mirka 20 min. Color 16mm 1970 Calcutta 30 min. Color 16mm — society. documentary My next film will probably deal 1971 Phyllis 35 min. Color 16mm w ith the so -c a lle d “ m ig ran t 1972 The Journey 52 min. Color 16mm problem”. A Greek man is having 1975 Island 10 min. Color 16mm Set Backstage 22 min. Color an affair with an Australian woman. 1975 All 16mm — documentary The possibility of this occurring 1976 Illuminations 74 min. Color 16mm seems remote — a migrant worker 1976 We’re A ll Alone My Dear 21 min.

Color 16mm — documentary with “nothing to offer” and an Aus­ Looking Out 90 min. Color tralian woman of some standing 1977 Inside 35mm don’t have too much in common.

PETER SYKES

NEW PRODUCTS AND SERVICES FILM SOUNDTRACK AUSTRALIA Bruce McNaughton, well-known Mel­ bourne cameraman and director of commercials, has just opened Aus­ tralia’s newest film sound complex. Film Soundtrack Australia, situated at 107 Queensbridge St., South Melbourne, is Melbourne’s largest and most advanced set-up'and offers the following facilities: Transfers: 35mm three track, 35mm single track, 17.5mm and 16mm re­ productions of master material are available, with equalization if required.

The company offers for 35 and 17.5mm a flat frequency response from 30HZ to 16kHZ, and for 16mm at least 35HZ to 14kHZ. Post-synching: both rock-and-roll and loop recording are available. The recording theatre has variable audio acoustics, though there is an extra “ ugly noise" room for those who might have d iffic u lty m a tc h in g sound recorded in adverse conditions. 3 track recording of post-synch dialogue or effects is standard.

Sound mixing: by early July, 20 film reproducers will have been installed to mix 35mm and 16mm, or any combina­

Peter Sykes

Continued from P. 36

How did a seasoned professional actor like Ray Milland react to being directed by a young, relatively unknown Australian?

Were there any problems of hierarchy?

This is very interesting, because in all these situations confidence has to be established. However, it is easy for film people to assess quickly whether someone knows what they are doing or not. In this case, I had the co-operation of everybody.

Ray Milland, in particular, was wonderful. He had previously been involved in something like 108 f i l m s a n d wa s a b s o l u t e l y professional. When he walked on the set the lighting-cameraman wouldn’t have to tell him where the k e y - l i g h t w a s , he k n e w instinctively. Of course, he had directed several of his own films, and therefore had both knowledge and confidence.

Did this experience with comedy help with “Steptoe and Son Ride Again”? .

It certainly did. Frankie Howerd taught me the im portance of economy and timing in a comedy,

The main mixing theatre at Film Soundtrack Australia. Notable features are the 14' screen, the Altec speakers behind it and the extensive soundproofing.

tion of these in synch with an image of either gauge. Mixing is fully automated rock-and-roll with high speed cueing and reversing. Both 3 track standard and 4 track stereo are available.

The theatre: the screen is 14' (4.3m) across, with two large Altec speakers placed behind. A 16mm image is projected full width (from an excellent Xenon system), while anamorphic and widescreen 35mm are accommodated by altering the masking at the bottom and top. The advantages of this system are no doubt obvious to 16mm film­ makers used to tiny screens.

take advantage of the service.

Research: the Margaret Herrick Library contains 9000 books, pamphlets and periodicals, extensive special collec­ tions, and clippings files relating to approximately 40,000 films and many thousands of film personalities. Utilizing this unique collection, the service is able to provide answers to specific research questions, together with photocopies of reviews and hard-to-find articles. A standard charge of $U.S.0.25 per page is made for this service.

Stills: in addition, the Library houses more than 500,000 stills of productions and personalities. Many of these are unique, and the Library is particularly strong on the silent era. The cost is $U.S.5.00 per 8 " x 1 0 " photograph, though other sizes and duplicate negatives are available.

For further information, contact the service at 8949 Wilshire Boulevard, Beverly Hills, California, U.S., 90211.

THE NATIONAL FILM INFORMATION SERVICE The Academy of Motion Picture Arts and Sciences and Academy Foundation (California) operate the National Film Information Service. This service was established to offer access, by mail, to the extensive research holdings of the Academy's Margaret Herrick Library.

Students, scholars, historians, teachers and film programmers everywhere may

especially with silent visual gags of the Buster Keaton type. I also found that editing a comedy sequence is quite different to editing a drama s e q u e n c e . In a c ome dy, the performance is everything, and a good joke can be ruined by cutting.

With Steptoe and Son Ride Again I had to overcome the problem of making a television script work satisfactorily as a film. I soon found that each dramatic form — TV' and cinema — has its own particular structure and movement, and a lot of r ewr i t i ng was necessary, but it finally worked and the film made a lot of money.

How are the returns on “To The Devil. . . A Daughter”?

Very good indeed. It’s broken box-office records in Britain.

Your next film, “Eddie and the Breakthrough”, is set in Australia.

Will it be Australian?

It’s a very international film. For a start, the money will be coming from the U.S. and will run to some $2 million. The on-line producers are British and Australian, with Pat Lovell looking after the Australian end. The leading male characters a re A m e r i c a n , I t a l i a n a nd Australian. We had written a part for Sterling Hayden, for he was extremely good in Bertolucci’s 1900, but I think the part will be

AMPEX EDM-1 The world’s first PAL version of the Ampex EDM-1 automatic electronic editing system has been purchased by the Perth television station, STW 9.

Styled like an upright piano, the EDM-1 is a “ sit down" editing machine, having all major-function push buttons

going to Lee Marvin, who has always wanted to make a film in Australia. ,

What is “ E d d i e and the Breakthrough” all about?

It’s basically about big American mining interests coming to the opal fields near Coober Pedy and destroying the hopes and aspira­ tions of a bunch of rugged individuals working there. They are small-time opal miners, including a wide range of nationalities, Italian, Greek, Polish, Yugoslav and Australian. These men are there to seek a new way of life, when the bulldozers come in and destroy their dreams. It leads to a lot of conflict.

The film is really a characterstudy of four men in extreme physical and mental circumstances, an action-adventure story in the same genre as The Treasure of the

The EDM-1 system in operation at STW9, Perth.

and faders on the keyboard, and computer readout, video monitor and input monitoring controls at eye level.

Either input or output signals can be monitored.

The EDM-1 introduced Computer Assisted time code editing — now accepted practice in the U.S. — to Australian television production. It features a switcher designed for computer control. The Ampex machine will control, by time address, video and audio inputs from as many as eight recorders simultaneously. It will store special effects in its large memory and will "learn" a program producer's touch as he introduces edit points by using the push buttons and faders.

A typical hour show can contain 180 edits; the EDM-1 can perform up to 3200 events in the one session. Edits are introduced on command either off-line or on-line for work-printing and release­ printing a taped show.

At STW 9 the EDM-1 is interfaced with two Ampex AVR 1 and one VR 2000 video recorder/reproducers for post­ production of program and commercial material.

of an Italian I met in a Carlton bistro years ago and an ItaloAmerican named Dean Benedetti, a fanatical fan of jazz musician Charlie Parker. The original title of the film was going to be Eddie and the Lucky Salt Peanut, after Parker’s tune, “Salt Peanuts’’.

This new film will be quite a change from the world of horror and mayhem . . .

Don’t worry, it will have lots of dramatic moments in it. For a number of years I have been aiming at writing and directing a film based largely on my own ideas and experience — Eddie and the Breakthrough will be such a film.

My previous films can be seen as a kind of apprenticeship towards that end. ★ FILMOGRAPHY

Sierra Madre.

Is it going to be a film with a lot of Australian character to it, like “Sunday Too Far Away”?

I hope to give Eddie and the Breakthrough a universal quality, with an Australian flavor. I have based much of the script on my own experience of the opal fields — I worked at Coober Pedy for six months before I went to Britain.

The Italian character is a mixture

1966 Walkabout to Cornwall (Feature documentary) 1967 Britain Around The World (17 docu­ mentaries, ranging from 3-25 min.)

1968 Tell Me Lies! (Dir. Peter Brook.

Executive producer, Peter Sykes) 1967-1968 The A vengers (T elevision series — two episodes directed by Peter Sykes) 1968 The Committee 1971 Venom 1971 Demons Of The Mind 1973 The House In Nightmare Park 1973 Steptoe and Son Ride Again 1976 To The De vi l . . . A Daughter

Cinema Papers, July — 95

NEXT ISSUE Fred Schepisi Interview with the director and writer of the award-winning The Devil’s Playground.

The Last Wave

FOR FILM MAKERS Editing and preview facilities, expert advice on the preparation of budgets etc., local exhibition, print sales, widest distribution of independent films (including possible U.K. exhibition).

FOR FILM GOERS Imaginative programming in intimate, friendly surroundings at our Lygon St Cinema — the widest ranging and most consistent outlet for Australian independent films PLUS Late Shows Fridays and Saturdays of often neglected overseas product.

FOR FILM USERS Melbourne’s most exciting and extensive range of short films.

Over 700 titles from the educational to the esoteric — adolescence, animation, anthropology, art, childhood, community action, environment, experimental, fantasy, history, humour, lifestyles, politics, sexuality, sport, travel....

(RING FOR A CATALOGUE)

A report of the making of Peter Weir’s new film, The Last Wave.

Melbourne and Sydney Film Festivals Comprehensive reviews of the major films of both festivals.

Pierre Rissient Interview with famous French publicist and filmmaker Pierre Rissient. ' Also: Guide to the Australian Film Producer. Part Seven Reviews of the latest foreign and overseas features A look at the neglected Australian television series, “Luke’s Kingdom” A history of American film periodicals (part of a series which will include, in later issues, British, European and Australian magazines) Part 2 of the Australian Directors’ Checklist

^

22

MELBOURNE FILM-MAKERS CO - OPERATIVE 382 Lygon St. Carlton, Vic. 3053 Phone: 347 2984 or 347 3450

Ifyou’vegot aconference we’vegot thelocation.

Exotic Tahiti, Tokyo, Savu Savu, Auckland.

Indigenous P ort Macquarie, Darwin, A/bury, Geelong, Canberra, Sydney, Melbourne, Adelaide and Brisbane, ring Sue-Ellen Doherty (Sydney) 31 0388 for complete information on ' Travelodge’s facilities and our professional approach to conferences throughout South Pacific and Australia.

W e ’ve also got the inform ation,

TR51/75

1

BACK ISSUES □ □

□ □ □ □ □ □

□

Copy(ies) of Number Copy(ies) of Number Copy(ies) of Number Copy(ies) of Number Copy(ies) of Number Copy(ies) of Number Copy(ies) of Number Copy(ies) of Number Copy(ies) of Number

1 at 2 at 3 at 5 at 9 at 10 at 11 at 12 at 13 at

$3.50* $3.00* $2.75* $2.75* $2.50* $2.50* $2.50* $2.50* $2.50*

UNAVAILABLE: numbers 4, 6, 7 and 8 *Australia only. For overseas rates see overleaf.

NAME. . .

ADDRESS Postcode . . . .

Total amount enclosed S. Cinema Papers Pty. Ltd. I43 Therry Street, Melbourne, Victoria, Australia 3000 A

J

VOLUME 3 AVAILABLE NOW BOUND VOLUMES ORDER VOLUME 3 NOW!

ORDER FORM

EASY BINDER

BOUND VOLUMES Please send me Q copies of Volume 3 (numbers 9-12) at $21 per volume.

Enclosed cheque/postal order for $________ (for overseas rates see below)

(numbers 9-12) 1-976-1977 Handsomely bound in black with gold embossed lettering.

Each Volume contains 400 lavishly illustrated pages of • Exclusive interviews with producers, directors, actors and technicians.

• Valuable historical material on Australian film production.

• Film and book reviews.

• Production surveys and reports front the sets of local and international production.

• Box Office reports and guides to film producers and investors.

STRICTLY LIMITED EDITION ORDER NOW! TO PLACE AN ORDER FILL IN THE FORM PLEASE NOTE BOUND VOLUMES OF numbers 1-4 (Volume l)and numbers 5-8 (Volume 2)

EASY BINDER Cinema Papers is pleased to announce that a loose binder is now available in black with gold embossed lettering.

Individual numbers can be added to the binder independently — or detached if desired. This new binder w ill accommodate 12copies (3 years).

Please have the enclosed copies bound in black with gold embossed lettering at $13 per volume.

Enclosed cheque/postal order for $ _ _ _____ (available Australia only) N A M E ...........................................................................

ADDRESS....................................................................

BINDING SERVICE

................................................... P ostcode...................

Total amount enclosed $________ NOTE: Remittances in Australian dollars only.

Cinema Papers w ill now arrange to have your copies of numbers 1-4 and numbers 5-8 bound in Volumes.

TO PLACE AN ORDER FILL IN THE FORM

OVERSEAS RATES (including postage)

— SA27.60. Zone 5 (U.K., Europe, Africa, South America): Surface — SA11.20; air — SA29.00.

(B) Bound Volumes (per volume): Zone 1: Surface — SA24.20: air — SA27.00. Zone 2: Surface —- SA24.00; air — SA29.00. Zone 3: Surface — SA24.40; air — SA30.80. Zone 4Surface — SA24.80; air — SA34.40. Zone 5: Surface — SA24.80; air — SA36.20.

(C) Back issues (per copy). Surface (all zones): add SA0.80.

(New Zealand. Niugini): Surface — SA11.20; air — SA19.20.

Zone 2 (Malaysia, Singapore. Fiji, Indonesia etc): Surface — SA11.20; air — SA22.00. Zone 3 (Hong Kong. India, Japan, Philippines, China etc): Surface — SA11.20; air — SA24.80.

Zone 4 (North America, Middle East): S u rfa c e — $A11.20: air

BINDING SERVICE

TO PLACE AN ORDER FILL IN THE FORM

ARE NOW UNAVAILABLE

(A) Subscriptions and gift subscriptions (per year). Zone 1

Please send me D copies of Cinema Papers' easy binder at $10 per copy.

Enclosed cheque/postal order for $-----------(available Australia only)

Cinema Papers Pty. U d. 143 Therry Street, Melbourne. Victoria, Australia

^

...

—J

Air: Zone 1 — add SA2.80; Zone 2 — add SA3.50; Zone 3 — add SA4.20; Zone 4 — add SA4.90: Zone 5 — add SA5.25.

NB (1) All remittances in Australian dollars only (2) Surface Air Lifted available to U.K., German Federal Republic. Greece, Italy and U.S.: (a) Subscriptions — SA18.40 (per year); (b) per bound volume — SA26.80. (c) Back issues — add SA2.60 per copy.

IF YOU’RE IN FILM PRODUCTION, PROCESSING OR DISTRIBUTION, STUDY THIS SYMBOL

IT COULD SAVE YOU A LOT OF INSURANCE HEADACHES Yours is a highly specialised business with insurance needs that most insurance sources in Australia don’t fully understand.

The symbol is our Corporate logo; we are specialists in insurance for the entertainment industry. Here are some of the services and policies we offer.

Film P rod u cers Indem nity Protects you during the ‘shooting period’ against loss by interruption or abandonment of production due to health or injury problems with artists. Specific extensions can be tailored to suit your individual needs.

N eg a tiv e Film R isk Insurance Your company is protected against loss of or damage to the raw stock, exposed negatives, matrices, fine grain prints, positives, working prints and cutting copies — both mute and sound. We invariably include an extension to cover processing damage.

We also arrange policies covering: fire; burglary; multi­ risk on film, cameras, projectors, props, sound equipment, etc. (either on an annual or short-term basis); comprehensive public risk; motor vehicle; workers compensation; personal accident; flights risk for aerial photography.

Because were an independent broker, we can arrange the most competitive rates available. We have a long association with both local insurers and overseas markets including Lloyds of London, and through our Telex facilities we can provide rate quotations to suit your urgent needs.

Among productions we have insured are: No. 96’; ‘Alvin Purple’; ‘Hogan in Singapore’; ‘Campus’; ‘Alvin Rides Again’; ‘End Play’; ‘Oz’; ‘Eliza Frazer’; Wake in Fright’; ‘ABC of Love and Sex’; Solo’; ‘The Picture Show Man’; ‘High Roll’; ‘Raw Deal’; T he Devil’s Playground’; and many others.

Why not add your name to our list of satisfied clients?

ADAIR INSURANCE BROKING GROUP Australian International Brokers

SYDNEY

MELBOURNE

ALSO AT:

DAVID SOLOMON Adair Insurances Pty. Ltd. Box 3884 GPO 27 8741

WAYNE LEWIS Adair Insurances (Vic) Pty. Ltd. Box 74BGPO 63 6947

SHEPPARTON WANGARATTA BRISBANE

avourire CARLTON

W

M

fll# I f I

MCLt OURWt

â&#x20AC;¢ IB