Cinema Papers October 1982

Registered by Australia Post

October 1982

“I f you love the A ustralian bush, Eastm ancolor w ill render that look’.’

‘A cameraman is paid for his eyes.

You see things that look a certain way and the first thing you need to do is reproduce that look.

Once you start off that way you can modify with other techniques - diffusion and things like that. But it’s better to start sharp and get on film at least what you see with your eyes and then you’re not doing more adjust-, ments than the art requires you to do.

My feeling is that Eastmancolor film doesn’t impose another quality on the countryside.

If you go up to the Mallee at a certain time of year you see a certain sky color and if you watch the skies over 12 months you see autumn skies, spring skies ...

If you take a picture of it you wouldn’t want that sky to be any different, so you could say, T h at’s an autumn sky,’or whatever.

Eastmancolor does that.

It gives you on film what you see with your eyes’.’

K eith W agstaff.

Cinematographer. The Man from Snowy River.

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There are times when the track record speaks for itself.

Squizzy Taylor The Little Feller Starstruck Air Hawk Eliza Fraser Hostage A Slice Of Life Annie’s Coming Out Winter of Our Dreams Outbreak Of Hostilities Norman Loves Rose W ake In Fright Hoodwink Alvin Purple The Return of Captain Invincible The Cars That Ate Paris Final Cut Number 96 The Pirate Movie Peterson Monkey Grip Alvin Purple Rides Again Heatwave The Devils Playground Dead Easy High Rolling Cathy's Child F.J. Holden A Town Like Alice The Night The Prowler Mad Max End Play Mad Max II Felicity The Chant Of Jimmy Blacksmith Palm Beach The Picture Show Man Taxi My Brilliant Career Pacific Banana Kitty & The Bagman The Odd Angry Shot Puberty Blues Falcon Island For The Term Of His Natural Life Nightmares Women Of The Sun Dusty Fighting Back Moving Out Snow - The Movie Partners Far East Running Man Midnite Spares The Prophets Running On Empty Happy Endings Now And Forever W all To W all Greed Australia Now November 11,1975 Birdmen Of Kilimanjaro Black Boomerang The Outback Australians Desolation Angels Legend Of The Dolphin Crusader Oil Kicking Around Circus Oz — The Movie Through Australian Eyes Linda Stoner In M ali The Intruders The W aikato W ar Serious Undertakings Sea Flight A t The Waterhole With Prejudice Jack Holburn Guinness Book Of Records — Series IV Eureka Stockade History Island Peggy Glanville-Hicks A V oice For Wilderness There Was A Girl Same As It Ever Was Savage Island Big Shark Down Under Crocodile Man Merry Christmas — Mr Lawrence. Fifty seven of the above productions have been insured since January 1982. The story continues...

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In a wilderness of mirrors, the crafty, cynical Fox knows many things, but the Hedgehog knows one big thing. Kim Philby is the Fox, a Soviet agent penetrated deep into the G.I.A. and British intelligence. Eventually he was brought down by the never even met. unbelievable episodes in the twentieth century told by the people who knew... American, Australian, British, Canadian, French and Soviet spymasters, the policemen, the politicians and their lovers and sons. . \ for television.

Directors of Photography ; TOM COWAN JAMES WILSON & TONY WILSON '

Dramatisation directed by ADAM BOWEN

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Edited by MAX LEMON & GARY LANE

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Articles and Interviews

Henri Safran Interviewed: 408

Henri Safran: Interview Margaret Smith Michael Ritchie Neil Sinyard Pauline Kael: Interview Sue Mathews Wendy Hughes: Interview Richard Brennan The National Industry Training Scheme Daniela Torsh Ray Barrett: Interview Mark Stiles What is a Documentary?

John Langer My Dinner With Andre and A Conversation with Andre Gregory Tom Ryan

408 416 421 428 435 438 442

Wendy Hughes Interviewed: 428

446

Features The Quarter Picture Preview: Moving Out Edinburgh Film Festival 1982 Mari Kuttna Film Censorship Listings Picture Preview: The Return of Captain Invincible Box-office Grosses Production Survey Music Ivan Hutchinson Picture Preview: Crosstalk

Michael -Ritchie Surveyed: 416

Film Reviews

Moving Out Picture preview: 413

Norman Loves Rose Brian McFarlane The Animals Film Paulo Weinberger Running on Empty Mark Spratt Taps Jim Schembri Chulas fronteras Marcus Breen I Am No God Paulo Weinberger

—

Book Reviews The Craft of the Screenwriter Margaret Smith

Ray Barrett Interviewed: 438

Managing Editor: Scott Murray. Associate Editor: Peter Beilby. Contributing Editors: Tom Ryan, Ian Baillieu, Brian McFarlane, Fred Harden. Research: Jenny Trustrum. Proof-reading: Arthur Salton. Design and Layout: ARTetc. Business Consultant: Robert Le Tet. Office Administration: Patricia Amad. Secretary: Anne Sinclair. Office Assistant: Jacquelyn Town.

Advertising: Peggy Nicholls (03) 830 1097 or (03) 329 5983. Printing: Waverley Offset Publishing Group, Geddes St, Mulgrave, 3170. Telephone; (03) 560 5111. Typesetting: B-P Typesetting, 7-17 Geddes St, Mulgrave, 3170. Telephone: (03) 561 2111. Distributors: NSW, Vic., Qld, WA, SA: Consolidated Press Pty Ltd, 168 Castlereagh St, Sydney, 2000. Telephone: (02) 2 0666. ACT, Tas.: Cinema Papers Pty Ltd. U.S.: T. B. Clarke Overseas Pty Ltd. ‘ Recommended price only.

475

Running on Empty Reviewed: 467

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 with manuscripts and materials supplied for this magazine, neither the Editors nor the Publishers accept any liability for loss or damage which may arise. This magazine may not be reproduced in whole or in part without the permission of the copyright owner. Cinema Papers is published every two months by Cinema Papers Pty Ltd, Head Office, 644 Victoria St, North Melbourne, Victoria, Australia, 3051. Telephone: (03) 329 5983. © Copyright Cinema Papers Pty Ltd, No. 40, October 1982.

Front cover: Igor Auzins’ We of the Never Never.

CINEMA PAPERS October — 405

Industry Hysteria iBBiiaaaiBiBiBBiii Scott Murray reports: As if to prove the theory about Austra­ lians having a town councillor mentality, once again at the hint of crisis the film industry has plunged into a host of meetings. Filmmaking is a co-operative process, and the desire to discuss issues collectively may reflect this. But equally it shows how certain sections of the industry are using the panic situation to attempt to control the activities of others.

Australia has no maverick cultural tradition, especially in film, and this obsessive group lobbying at present is as much a cause as it is a symptom.

The catalyst behind the latest meet­ ings is the apparent drying up of finance for investment in feature film production.

At this time last year, seven films were in production; this year, there are only three (the figures are nowhere as dispiriting as some have claimed).

The most voiced explanations for this situation are: 1. Problems with the wording and provisions of the tax act, as relating to film investment; 2. The declining economic condition; and 3. The poor quality of the films made in 1981-82.

Not surprisingly, producers have blamed the first two problems and are actively seeking to have the tax act reworded (the recession is presumably beyond their control). But the third reason cannot be underestimated.

3. Quality Of the 30 films entered in the 1982 Australian Film Awards, most were bad.

How bad is difficult to gauge, but one guide is the game almost all AFA pre­ selectors played: rate each film with a number from 0 to 10.

My ratings, which seemed no less favorable than most, broke down as follows: Rating No. of films 0 3 1 3 2 4 3 3 4 9 5 2 6 4 7 1 8

9 10

1

-

Theaverage is 3.5,hardly a score any film industry would regard with pride. In fact, I believe only eight films could be considered to have succeeded in any significant way1.

Obviously, otherwriters might dis­ agree as towhichfilms are better than others, but there does seem a consensus that most films were poor, and that at least 10 could only be described as an embarrassment to the industry (most of these were 100 per cent Australian, incidentally).

Given this, one can’t help suspecting that investors would, in general, be dis­ appointed by what they have supported.

Almost all the films have no chance of breaking even and some won’t even get a proper release.

Despite all the talk about investors only being in film for the tax benefits, there is no doubt many investors secretly did hope they would be involved in films that not only made money but with which they could feel proud to be associated. They have been dis­ appointed on both counts.

Who is to blame? Clearly the pro­ ducers, directors, writers and actors are directly responsible — and who, if not these four groups, have complained loudest about the problems in the industry? But, equally, crew members 1. Mad Max 2, Goodbye Paradise, Lonely Hearts, Monkey Grip, Puberty Blues, Duet for Four, The Man From Snowy River and We of the Never Never.

406 — October CINEMA PAPERS

and government bodies must shoulder some responsibility. No one who agrees to work on a film, in any capacity, can dissociate himself totally from the finished product. If people thought less of the hip pocket and more about the worth of what they are doing, the standard might be higher.

The two principal criticisms on the present tax legislation are that: (a) the financing, production and release of a film must be achieved in the one financial year to maxi­ mize the tax deductibility; and (b) Australian money has poured into overseas films (e.g., Arthur, Superman II), but still benefited from Australian tax benefits. (a) Restriction The 12-month, financial year restraint has many drawbacks: • It mitigates against those quality pro­ ductions which take more than 12 months to complete (e.g., Gallipoli); • It forces most films to be shot con­ currently, with a resultant escalation in prices as crews and facilities sell out to the highest bidder; • It means most films are shot in the summer months, with harsh, ugly light. This in itself restricts storylines; ® Technical facilities, such as labora­ tories and mixing studios, are pushed past the limit, with a resultant drop-off in quality; and • Producers are looking for investment funds at the beginning of a financial year, when the best time is near the end, when a company’s tax prob­ lems, if any, are better known.

Clearly, the 12-month restraint is hampering the industry and needs to be removed. To this end, a film industry deputation (formed at a Sydney meeting on September 19) went to see the Federal Minister for Home Affairs and the Environment, Tom McVeigh, late September. The group left confident that changes would be made.

Generally, the industry has proposed that the legislation be amended to allow films financed under 10B(a) to be com­ pleted within 24 months of the end of the financial year in which initial investment was made. (b) Overseas trading The siphoning of Australian dollars into foreign, particularly U.S., films has easily been the most emotive issue. At the September 19 meeting, for example, John Picton-Wardlow of United Ameri­ can and Australasian Film Productions, one of the companies involved, found that the right of free speech wasn’t all that popular anymore. When he rose to speak, he was drowned out by irate members of the industry who claimed he had no right to be heard, given he had sold out to U.S. interests, etc.

A fter a rowdy debate, PictonWardlow’s right to speak was put to the vote and only narrowly carried. Then, exactly three minutes into his talk, cries were heard of “ Time!” , despite the fact no one had protested when other industry and union figures had well exceeded their time limits. A motion was then put, and just passed, that PictonWardlow could continue briefly.

Like the hysteria over ‘bottom of the harbor’ tax schemes, the attacks on UAA and Trans Pacific Media have had all the moralistic hyperbole of a Jerry Falwell rally. The fact that neither UAA nor TPM is acting outside the law has been deemed irrelevant. Clearly, the arguments against such practice should be directed at the government.

Still, the industry is mostly in accord that only money invested in Australian films should be eligible for tax benefits. If it does convince the government to legislate to ensure this, the question remains whether the money that is stopped from going into foreign films will go into Australian productions. No one knows.

The UAA furore does also raise the issue of foreign involvement in Austra­ lian films. The Pirate Movie, with its two

It is interesting in the light of a resolu­ tion of the September 19 meeting (to try and restrict all Australian productions to a maximum of two foreign personnel) to examine a few box-office figures.

For example, take the five All-Time Top-grossing Australian films, adjusted for inflation, as of January 1, 1982:2

turally-pure film industry often act on behalf of the Australian taxpayer. For example, Gillian Armstrong says: “ I can’t support any film getting Aus­ tralian taxpayers’ money that doesn’t have an Australian director.” 3 Actually, one suspects the Australian taxpayers’ hopes would be twofold:

1. Tax

1.

2.

3.

4.

5.

Alvin Purple Picnic at Hanging Rock They’re a Weird Mob Gallipoli Breaker Morant

This list does not include Snowy River which, by December 30,1982, will be No. 1. It, of course, has a foreign lead.

Take also some recent box-office figures:

Title Snowy River Far East Running on Empty Starstruck Monkey Grip The Pirate Movie Squizzy Taylor Heatwave Best of Friends Breakfast in Paris

two foreign leads foreign director and lead foreign lead 1. That the films are good; and 2. That they are so financially suc­ cessful that the drain on the tax­ payers’ purse is lessened.

I cannot honestly believe the Austra­ lian public would have preferred Snowy

(Melbourne) Opening Month $304,271 132,111 112,747 102,670 85,567 62,566 50,065 38,577 21,445 14,098

Clearly, the 100 per cent, culturallyexact Australian film is not the hottest property at the box-office, just as an American lead is not a commercial liability, either, as Ellis and Paramore suggest.

Ironically, the advocates of a cul2. Compiled by Ross Lansell, Australian Motion Picture Yearbook 1983, Four Seasons Publications, Melbourne, p. 305.

Comments foreign lead Casablanca homage U.S.-style genre film musical/U.S. genre foreign leads, director U.S. gangster homage (in part) foreign lead

River not to have had an overseas actor in it (leaving aside questions of whether it would have even been made), just as I cannot imagine the public would prefer a situation whereby two great Australian films, Walkabout and Wake in Fright, could not be made because they have foreign directors. Surely, it is quality that counts.

3. The Age, Melbourne, September 29.

The Quarter American leads and British director, is one film to face an indignant press. That it is more entertaining and successful than Freedom, Double Deal or The Killing of Angel Street, to name only a few, seems to have been ignored. But reason is rarely applied to such an emotional issue.

Bob Ellis, for example, said on ABC radio on September 30 that no Austra­ lian film with an American lead had made money? Has he not heard of The Man From Snowy River, the most suc­ cessful film ever released in Australia?

Then, Janette Paramore of Actors’ Equity said some months ago that no film built around overseas stars had made a profit or won critical acclaim.

Has she not heard of Picnic at Hanging Rock and Breaker Morant?

The point is people are more inter­ ested in pushing their point of view than being fair. That is why Bruce Beresford can so vocally proclaim that he only wants to make films in Australia for Australians (to loud applause) only to go to the U.S. a few years later to work in Texas (to industry silence). Of course, Beresford should have every right to go to the U.S. and make films. One would hope he would stand up for the rights of American directors to come and work in Australia.

Bob Ellis, again on the ABC, summed up a lot of people’s views on that issue when he said no foreign directors should be allowed to direct films in Australia. Of course, if that director were Orson Welles, he added, the situation would be different: “ I’d love to work with him.”

The same dichotomous position applies to actors. No one complains when Judy Davis goes to make her fortune in a British thriller or an Israeli soap opera, but remember the uproar over the excellent Edward Woodward appearing in Breaker Morant. Again, there are no protests over Bryan Brown going to the U.S. to star in an Ameri­ canization of an Australian novel (Hawaii for Queensland, no less).

Creative Development Branch Funds mamma mm■■■■■■■■■■( The Australian Film Commission has allocated $2,450,000 to its Creative Development Branch for 1982-83, an increase of 10.4 per cent on the previous year. As a result, funds will be increased for film production and scriptwriting and for film organizations supported by the AFC. The chief executive of the AFC, Joseph Skrzynski, said the increases were in line with the AFC’s policy of devoting more resources to develop­ ment work in filmmaking and scripting.

A total of $800,000 will be available for low-budget filmmaking, about 20 per cent more than last year. Money for script grants will increase by more than 50 per cent to about $200,000.

Grants to major film organizations, including the Australian Film Institute and the Sydney Filmmakers’ Co-oper­ ative, have increased by 10 per cent.

The AFI will now receive $517,000, the Co-operative $165,000 and the South Australian Media Resources Centre in Adelaide $75,000.

In Perth, the AFC will provide a total of $208,000 to help bring about the amal­ gamation of two bodies, the Perth Insti­ tute of Film and Television and the video resources centre known as Frevideo.

Gardner Resigns IIBBHRIIIHIIBIIII Geoffrey Gardner has resigned as director of the Melbourne Film Festival.

It is believed Gardner and the Festival committee split ways over his proposals to alter the structure of the Festival. In particular, this would have meant a partial severing of the Festival from its organizing body, the Federation of Vic­ torian Film Societies.

Gardner has announced no plans other than to visit Japan and China to study their film cultures.

Garry Hansen, director o f photo­ graphy on many features, including We o f the Never Never, Manganinnie, Next o f Kin and Bad Blood.

Hansen was killed recently in a helicopter accident while filming near Albury. His contribution to the Australian cinema will be missed.

Women in Film and Television The inaugural Melbourne meeting of Women in Film and Television was held at the Grant St Theatre, Victorian College of the Arts, on September 29.

Sue Tate reports: WFT originated in Sydney early this year and the Melbourne organization was formed out of informal meetings and discussions by women in the film and television industries. Its stated aims are to “ serve the needs of women working in the film and television industries; to develop a communications network and support group; to promote the participation of women in the industry; and to eliminate sexism in the por­ trayal of women through film and tele­ vision” .

An interim committee was set up of Natalie Miller, Barbara Bishop, Sue Russell, Julie Stone, Adeie Stzar, Zelda Rosenbaum, Catherine Millar, Jenny Harding, Claire Jaeger and Sally Semmens.

The committee sent approximately 3000 invitations to women in the film and television industries to attend the inaugural meeting. About 100 attended.

Overlooked in the invitations were members of the Australian Journalists Association and Actors’ Equity, but the committee will contact these bodies before the next meeting.

The guest speaker at the meeting was Joseph Skrzynski, general manager of the Australian Film Commission, who spoke on “ Film Funding 1982-1983” .

After congratulating the interim com­ mittee on their initiative in forming WFT, he proceeded to give an entertaining and illuminating talk on the history of film funding in Australia, from the late 1960s, through 1970 to 1980, with funding from industry pin money, fun money and semi-benevolent government bodies, up to the introduction of the notorious section 10B tax incentive scheme after the October 1980 election, designed to encourage investment in the film industry from the private sector. He dis­ cussed the detrimental features of this scheme and the action being taken by the recently-established Film Action Group to draw government attention to them.

Skrzynski said that although the “ con­ ventional wisdom” is that nothing hap­ pened in the film industry between January 1981 and June 1982, 52 films were made with total investments of $80 million, exceeding total investments in film from the period between 1960-1980. Of the 52 films, 42 have been picked up by major distributors.

Average film budgets have grown from around $500,000 in the 1970s to $1.4 million and, despite projected budgets of $5 million for a film like the SextonEdgley production Phar Lap, the average has stabilized around that mark.

Prior to the creation of “ the most gen­ erous tax scheme in the world” , Aus­ tralian films were holding three to five per cent of the box-office. Now they command 25 to 30 per cent, with The Man From Snowy River breaking ail records as the most successful film ever released in Australia, including Ameri­ can blockbusters such as Star Wars.

And Christmas 1981 saw the first Aus­ tralian films screened at a peak time.

Skrzynski emphasized, for those inter­ ested in film production, that investing in film is still a high-risk exercise, looking at a three-year investment cycle. A film has to return 30 per cent of its budget before the investors are as well off as they would be by having the money in the bank. He pointed out that it is the profes­ sional advisers of investors who need to be convinced of the benefits of film investment and that there are investors who through legitimate tax avoidance schemes, “ not bottom of the billabong ones” , haven’t been paying tax anyway and to whom tax incentive schemes aren’t necessarily attractive. Would:be filmmakers have to make their proposals attractive and have a proven track record.

Skrzynski questioned the legitimacy of having big budgets in a country with small population and a consequently limited potential return, and posited the need to rethink big budgets in the future.

Finally, he stressed the need for a '“ producer class” formed by using Aus­ tralian, not imported, producers, and Australian talent at every other level of production, creating a domestic film industry infrastructure that wouldn’t col­ lapse when imported talent went home.

Skrzynski also briefly outlined the current work of the AFC, which, with a grant of $11 million (representing an 8 per cent increase in funding), is concen­ trating on script and film development funding, preferring to leave production funding to other sectors. The AFC is, he said, “ going to the edges of the process” .

WFT plans a further meeting in December with another, as yet unknown, speaker, and an annual meeting for February. Membership is $25 for women whose principal profes­ sional activity is in the film or television industries. Associate membership at $15 is available for women with an active and proven interest in the area. Further details can be obtained from Barbara Bishop (03) 818 5439, Sally Semmens (03) 347 6888, or by writing to the Hon. Secretary, 3 Mason St, Hawthorn, 3122.

MIFED ’82 Australian feature films going to MIFED ’82 are The Clinic, Duet for Four, Fighting Back, Moving Out, Norman Loves Rose, The Plains of Heaven and Wrong Side of the Road.

Several feature-length documentaries will also be promoted, including Two Laws and With Prejudice.

Once again, the Australian Film Com­ mission will be heading a large contin­ gent of Australian producers and rep­ resentatives. The AFC’s London rep­ resentative, Ray Atkinson, and David Field, the AFC’s marketing director, will both be present.

Other Australians attending will be John McLean (Seaflight, Deadly Harvest), Moria Ferguson (Australian Christmas), Rod Puskar, Diana Nettleford (Ok This is Fantasy, By Hook or

by Crook), Jim George (With Prejudice, A Shifting Dreaming, Double Con­ certo, Captives of Care), Bob Plasto (A Shifting Dreaming), Anni McDougal, Chris Hook (Edge of Burma), Cyril Bronley, Jim Henry and Bob Little.

Concluded on p. 491

Dear Sir, Typical of Two Laws, and the Two Laws phenomenon is a scene late in the film. An Aboriginal in the foreground, in focus, talks in a dispassionate manner on a point of grave importance. In the background, in one of the rare moments of enthusiasm, feeling or quality in the entire two hours, an elderly Aboriginal echoes the statements of the person in the foreground, but with a depth of com­ passion. However, despite the use of wide-angle lens and personal integrity, the elderly Aboriginal is quite out of focus.

Don Meloche Dear Sir, I must clarify a matter arising from the feature on insurance in Cinema Papers No. 38 which seems to have caused some misunderstandings.

The heading to your article seems to compare Cinesure with others in the broking field of insurance which, of course, is incorrect.

Cinesure is not an insurance broker. It is the underwriting agency for Commer­ cial Union Assurance Co. of Australia, QBE Insurance Limited, A.M.P. Fire & General Insurance Company and insur­ ance Company of North America (Aus­ tralia) Limited, and operates in Australia in much the same way as Albert G. Ruben and Company inc. does for the Firemans Fund Insurance Company in U.S.A. Although Cinesure is prepared to transact business directly with film and television producers, a great deal of its business will come from clients via their insurance brokers. In fact, I can report that most of the leading insurance brokers have already pledged them­ selves to the concept of supporting the Australian insurance market through Cinesure.

The point I wish to make very clear to your readers is that Cinesure is not in any way competing with insurance brokers. Indeed quite the opposite. Our job is to work with insurance brokers to provide them with an alternative market for their clients’ business.

And, of course, as Cinesure repre­ sents the only ‘licensed’ film and tele­ vision insurance market in this country currently available to provide the full range of insurance coverage, I have no doubt that the conscientious insurance brokers will put us well up on their list when shopping around for the best and most secure terms for their clients.

T. A. Lipman

m CINEMA PAPERS October — 407

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Henri Safran, French-bom director o f Storm Boy, Listen to the Lion and the television series Golden Soak, discusses his latest film with Margaret Smith.

What motivated you to write the story of a 13-year-old boy’s infatuation with an older woman?

Did you want to reverse the Lolita complex?

No, I thought it was a situation which would lend itself to comedy.

I was reminiscing — and I should point out I don’t have a brother — about my emotions when I was 13.

I wanted to capture them before I forgot them completely. I feel I was able to translate these emotions pretty faithfully.

You both directed and wrote “ Norman Loves Rose” . Is that the way you prefer to work?

I wrote it out of sheer frustra­ tion. I wanted to direct a comedy and had looked for a suitable script for years, but to no avail. I then decided to stop moaning and do something myself.

Yes, I find it satisfying to direct my own script: I couldn’t quarrel with the writer!

Can there be a problem doing both? One suspects you would need a strong producer to give an outside voice . . .

Well, as I was also the producer, I didn’t have any problems. But if one is level-headed and uses common sense, one can see the errors. A filmmaker doesn’t work in a vacuum. You are working with actors, technicians, and editors, and everybody has something to

contribute. If something is not working in a film or a script, people will let you know. Then you can discuss and rectify the problem.

So, it is basically a matter of common sense and a certain measure of taste, as well as not believing too much in your own talent as a writer, perhaps.

Did it surprise you that there weren’t good comedy scripts avail­ able in Australia?

No, in that scripts are very diffi­ cult to find, no matter where in the world you are. It is just that I couldn’t find the type of comedy I liked. I didn’t want to do a broad, slapstick comedy. It’s not my style.

I wanted to do a gentle comedy.

You waited quite a while after “ Storm Boy” and “ Listen to the Lion” before doing “ Norman Loves Rose” . During that time you started work on several pro­ jects. Are you still going to pursue them?

A lot of those films died a natural death from lack of oxygen in terms of dollars. They may be revived; I don’t know. I don’t have a great enthusiasm for things of the past. I’d rather look forward to new projects.

Left: Carol Kane as Rose, the love o f 13-year-old Norman. Norman Loves Rose.

CINEMA PAPERS October — 409

Henri Safran

Your films have won quite a few awards, including one at Moscow for “Storm Boy” . Why do you think they liked it so much? Was it the anti-capitalist and anti­ materialist message?

write for television because there’s virtually no film industry . . .

Yes, and there was this relation­ ship between a white and black, a child and an adult, which politic­ ally would have pleased the Third World.

I was both surprised and not sur­ prised at winning. It only came back to me after getting that prize that when I first started work on Storm Boy I had in mind some beautiful Russian films shot in the depths of Siberia. I thought that if I could get the same feeling in Storm Boy it would help the story.

I had completely forgotten about this once the filming started, being more concerned with the location I had, and so on. I don’t think I even discussed it with Geoff Burton [director of photography].

But the memory came back after Moscow. So, perhaps by osmosis or some other reason, that film struck a chord with the Russians.

Why did you come back to Aus­ tralia?

I wanted to break from tele­ vision. Having been in it for most of my working life, I felt that I had done everything I had wanted to do. I was stagnating. Also, the life in London had become rather squalid and sordid. It wasn’t any­ more the London of the 1960s, when it was jumping and creative, and the adrenalin was flowing everywhere. It had become a bit tired and cheap.

So, I decided I didn’t want to live there anymore. It was a per­ sonal thing, and had nothing to do with work. It was then a choice of going back to Paris or coming to Australia, where I’d worked before and where I was known.

Having married an Australian girl, I opted for Australia.

Your films have an international flavor as well as being specifically Australian. Do you think that is because you lived in France and Britain, as well as Australia?

It is interesting that a lot of your work has been concerned with the outsider. Could this be because you have moved from culture to culture?

If you have had your formative years in a given country, it is going to affect you for the rest of your life, no matter how long you live elsewhere.

How many years did you spend in France?

I left for the first time at the age of 25 — almost into puberty.

And in France you first worked in television . . .

Yes. Then I went to work in Britain before coming to Aus­ tralia. I then went back to France,

410 — October CINEMA PAPERS

That’s right. Television attracts some extremely good writers. It is quite well paid, too.

You have noticed that?

Above: Greg Rowe and Gulpilil in images from Henri Safran’s award-winning first feature, Storm Boy. Below left: Listen to the Lion, a 52-minute film completed by Safran just after Storm Boy. Below right: David Cameron and Bill Hunter in Safran’s ABC television series, Golden Soak.

back to Australia, then to France and to Britain for nine years. After that, I decided to come back to Australia.

In Britain you worked on the “Love Story” series . . .

of the 26 love stories. It was a very happy time.

Was each episode a separate play?

Yes, which meant I had to com­ mission 26 different writers, some of whom were very good.

Ah, that was a delightful experi­ ence. I produced and directed most In Britain, the better writers do

Yes. There is the derelict in “Listen to the Lion” , and “Storm Boy” is really about three out­ siders: the Aboriginal; again the not-quite derelict but down-andout man; and his child. And, of course, there is the adolescent in “Norman Loves Rose” . . .

I hadn’t thought of it, but, yes, it is probably true that I do have that affinity for the outsider. It probably comes from my not quite belonging.

It also gives your films, particu-

Henri Safran

larly “Listen to the Lion” , a different perspective. Also, not only do you film primarily from an outsider’s viewpoint, you often shift the focus . . .

It depends on the part. I will if I think it is going to be of value, but otherwise no. I will wait till we get on the set to kick it around.

You once studied acting. Has that helped you with your work as a director and writer?

Yes . . . Well, you really have analyzed my films.

I work that way because that is how I see life. It is like a conversa­ tion: the focus shifts from one object or subject to another.

As a writer, yes; as a director, I don’t know.

In “Norman Loves Rose” , you have elicited some unusual per­ formances. For instance, David Downer (Michael), whom one has seen in other films such as “The Killing of Angel Street” , here seems to be working to his full potential . . .

In “ Norman Loves Rose” there is an increased freedom in the way you use the camera. One thinks of that early scene where you freeze on Rose and Michael coming to the door, and then send them into reverse motion. Did you feel freer to use such effects because “ Norman Loves Rose” is a comedy?

David got very few directions.

We had little talks before we started a scene, or at the beginning of the day, and then I’d leave him alone. He’s a very gifted actor. He just happened to be in tune with the character he was playing, and understood what I wanted.

It was the same with the rest of the cast, really.

Yes. That is the first time I have used that device. Actually, I had to cut a big chunk out because the film was running close to two hours, which is far too long for a comedy of that kind. I had to re­ adapt certain things, but I kept that freeze frame because it was a convenient way of getting me back in time. And being a comedy, one can use the freedom of devices like the leaves falling, which is mad and completely surrealistic.

You seem to be sending up your own film, especially having “ Days of Our Lives” in the back­ ground . . .

That was one way of saying to myself, and also to the audience: don’t take it too seriously. It just wrote itself that way, and probably is how I felt at five o’clock in the morning.

Do you make many impromptu decisions like that, especially on the set?

Yes. I improvize on the set by giving the actors quite a lot of free­

Had Myra de Groot done much work before?

Above: David Downer as Michael, R ose’s sterile and concerned husband. Below left: Norman’s mother (Myra de Groot) encourages the pregnant Rose to eat and keep healthy.

Below right: Arousal techniques: Michael dreams o f Jane Fonda while dancing with Rose.

Norman Loves Rose.

dom. Having cast them, I trust them. We experiment, which is not all that time-consuming. It also gives a chance to the lighting cameraman to offer suggestions.

I never try to restrict actors in their physical behaviour because of the constrictions of a set, for instance. If a set-up doesn’t work, I move the camera. I believe in the freedom of the actor.

My attitudes have changed over the years. I started off as a dog­ matic young director and, as I have

gotten older, I have become more liberal. I probably have a greater amount of respect for them than I used to have.

Do you try to shoot in sequence?

I try to shoot to the budget, which in most cases precludes shooting in sequence.

Oh yes. Myra started as a child actress in London at the age of 14.

What is your feeling about work­ ing with Australian actors? Do you think they are taking the art of acting much more seriously?

I have always found Australian actors very serious, perhaps a little too so about acting with a big “ A ” . You can be serious without being pompous or actorish. This is going to sound like a cliche, but acting should be a natural function.

An extension of self . . .

Do you do any workshopping beforehand?

Yes.

CINEMA PAPERS October — 411

Henri Safran

An overseas visitor who was teach­ ing acting here recently said that some Australian actors still don’t want to come to terms with that self. It was a fear, I suppose . . .

How do you feel about the direc­ tion the Australian film industry has taken since the changes to the tax legislation?

Well, there has been a flurry of films, and every script that was written in the past few years has found finance. So there was bound to be some bad films. But the pro­ portion, if you compare it with any other country, is no worse. And there are some very good films.

Moving Out is probably my favorite.

I suspect now that the system has cleansed itself of the backlog of indifferent scripts, and hope­ fully the next batch will be better, and the one after that better still.

I don’t know if it is fear and I don’t know about the psychology behind the statement. But there is, for some people, an inability to merge completely with a fictitious character.

In “ Norman Loves Rose” there is a mix of the mad and zany with pathos and tragedy. It is the double-edge of life, which is also reflected in your characters. On the one hand, Morris (Warren Mit­ chell) is trying to be an honorable man by not having his fling with his secretary, but he still faces the potential of that freedom. And then there is Michael who refuses to make choices, and all the time is caught up in other people’s expectations. But there is the glimmer in him every time he looks at Charles (Barry Otto) and senses what that freedom could be . . .

Well, everybody wants to be somebody else, but they can’t be.

They can’t even be themselves.

This is how I find people — and myself. It is an observation I’ve used in the writing of the characters.

But you also like making them just that little bit more extreme and ridiculous . . .

In the framework of a comedy, you need to exaggerate your char­ acters, without falling into slap­ stick.

There is a similar feeling in the way you deal with love. Everyone feels it deeply, but at the same time is fickle. You have these two qualities of love going simultane­ ously . . .

That is the way I feel about it.

Do you sometimes feel that the amount of dedication required to produce something good is more than it’s worth? Perhaps this is where people are copping out, by putting films out for release before they’re ready . . .

Above: Rose, Michael and Norman. Below: Norman with Maureen (Sandy Gore) excitement in a young man’s touch. Norman Loves Rose.

Actually, I am in the process of writing another screenplay dealing specifically with these things.

As a drama or a comedy?

A comedy. It has to be funny.

All pseudo, heartfelt declarations of love lend themselves to comedy.

They are tragic to the people con­ cerned at the time, but with the distance of time they become ridiculous. I’m sure everyone has a tragic love story.

—

plated dedicating the film to him.

But I thought it was perhaps a little presumptuous.

Actually, the orthodox Jew who appears throughout the film was, in the original version, a much more important character. He was, in a sense, my tribute to Woody Allen.

Another theme in all your films is the way roles trap people and how people try to escape the stereo­ types . . .

It’s part of the same symptom.

This is the Woody Allen quality in Everybody wants to be somebody you . . . they’re not, and lead a different life. “ I wish I . . . .” , “ I wish I this is I am a great admirer of Woody . . . .” , “ I wish I . . .

Allen, and at one stage I contem­ what you hear as you walk around.

There is always a lot of regret in people’s lives.

Your films are very strong visually, and often the dialogue is almost secondary to the visuals. Is that a quality missing from most Austra­ lian films?

I don’t think I can comment on that. But I don’t like much dialogue. Film is about images, and I use as little dialogue as I can.

It has something to do with the subtlety of the visual message.

One gets glimpses of it in your films, but that subtlety isn’t sus­ tained . . .

I see what you mean, but I don’t really care whether people get the meaning or not. If they happen to catch my intention, fine; if they don’t, it doesn’t distract from the story. They just miss out on an additional thrill.

412 — October CINEMA PAPERS

Well, the system that exists now encourages a sloppy attitude because a film has to be shot within a few months and released before June 30. Hopefully this situation will change. We film­ makers are doing our best to influ­ ence the government to alter this ridiculous time limit on making a film. .

Do you draw on European film culture to give sustenance to your work?

Absolutely. This is why Channel 0/28 is a blessing. I have found that life is that much better since its advent.

Do you find the film culture in Australia stimulating and support­ ing, or does it still show its youth­ fulness?

Its youth. What I miss in Aus­ tralian films, and I shouldn’t sound critical because my films are not intellectual, is any intellectual stimulation. There is so little probing of the mind, of the soul and emotions. I miss the literary quality of films that come out of Europe. I hope that one day we will get that in Australia.

Will your next film get closer to what you want to experience?

Yes. I don’t want to frighten anyone away, but my next film will probably be a little bit more intel­ lectual than the previous one.

So far, your films have worked at the box-office. You do seem able to blend the commercial elements with your other aims . . .

That is probably because I am an ordinary person, and my desires, wants and dreams are very much everybody else’s. You can only be true to yourself. ★

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414 — October CINEMA PAPERS

Moving Out: two turbulent, adolescent weeks in the life o f a migrant Italian boy living in Melbourne’s inner suburbs. His fam ily is preparing to move out o f their house fo r a new one in the more affluent outer suburbs, while a recently-arrived fam ily fro m Italy prepares to move in.

Moving Out is directed by Michael Pattinson from a screenplay by Jan Sardi, fo r producers Jane Ballantyne and Michael Pattinson. The film stars Vince Colosimo as Gino, with Kate Jason, Peter Sardi, Sylvie Fond, Luciano Catenacci, Brian James and Ivar Kants.

Opening page: killing time in the inner suburbs. Helen (Desiree Smith) and friend.

Opposite page, top: Gino (Vince Colosimo), Allan (Tibor Gyapsas) and Renato (Maurice de Vincentis). Bottom left: Gino, at an Italian party in the outer suburbs, is about to be cornered by the opera singer (Madame Emilica Vera). Bottom right: Helen waits in a subway fo r her friends.

Top right: Gino, Sandy (Sally Cooper), Helen, Renato and Allan muck about in an abandoned car. Centre right: Gino and his family (Peter Sardi, Kate Jason and Santina Failla) await the arrival o f an Italian family at Melbourne airport. Right: Gino with his art teacher, Miss Stanislaus (Sandy Gore).

CINEMA PAPERS October — 415

Neil Sinyard jPr ne of the most curious American H V films of recent years has been JRHp Michael Ritchie’s The Island L (1980). It is curious because there are few films which have seemed more consciously tailored to a modern audi­ ence’s relish for gore and violence, and yet the I film was a resounding commercial flop. It is I even more curious because of the decision to t e avjfeMichael Ritchie as the director. In the rJgj^t0s, this would have been like asking Preston p u rg e s to direct Cat People.

JPMichael Ritchie’s situation in the modern Hollywood is ratheri intriguing, particularly because, at the time of writing, it seems quite unpredictable. In the mid-1970s, especially after the achievement of Smile (1975) and the popularity of The Bad News Bears (1976), Ritchie looked set td become one of the leading figures of Hollywood in the next decade. In 1982, after the sinking without trace of An Almost Perfect Affair (1978), the critical and commercial drubbing of The Island (1980) and the almost total consumption of Ritchie’s individuality in the mouth of Bette Midler in Divine Madness (1980), it is extremely difficult to sense his future direction. Now seems a good time to^take stock of Ritchie’s achievements . Unt^prospects; to offer some observations on his' place in the new Hollywood, and on some stylistic and thematic characteristics of his films; and to suggest that The Island might be leés of an aberration than it first appears. | In the 1970s, Michael Ritchie tended to be regarded as a sort of bargain-basement Robert Altman. His films have the same improvisatory féel to them, and a similar sense of an idiosyn­ cratic director searching for the freedom and experimentation of the independent filmmaker within the constraints of the commercial cinema. His films are all set in modern times I yet, for the most part, they are somewhat outside the mainstream of modern American

cinema. They are not block-busters or especially sexy or violent. Even the violent subject matter of Prime Cut (1972) and The Island is turned inside-out by Ritchie whose burlesqueing of the material implies a comment on the grosser tendencies of modern Holly­ wood. “ It’s my country” , says Gene Hack­ man’s villain about the U.S. in Prime Cut. “ I give it just what it wants. Dope and flesh.” The comment is relevant to certain aspects of Holly­ wood, too. Like all filmmakers, Ritchie’s dilemma lies precisely in reconciling what Hollywood wants with what he wishes to give them. Unlike some, however, this dilemma seems to have become increasingly difficult for him.

There are other ways in which he seems a somewhat eccentric figure in the new Holly­ wood. Unlike directors such as Francis Coppola, Michael Cimino or Alan J. Pakula, his films do not reflect the anguish of American political unease and paranoia in the early 1970s.

Indeed, Ritchie’s The Candidate (1972) strikes a remarkably blithe tone considering the under­ lying cynicism of the content, and Ritchie has suggested that, if he had made AH the President’s Men, the film would have had less heroic posturing, more human fallibility, bungling and farce. Unlike the work of Brian de Palma, Peter Bogdanovich, Paul Schrader and John Carpenter, his films are not packed with references to his favorite old movies, or with modish devices like slow-motion and freeze-frames. He is not a ‘movie brat’ — that dreadful phrase for those luminaries of the modern scene like Martin Scorsese, John Milius, George Lucas and Steven Spielberg who have generally come up through film school and whose films are marked by a modernist sensibility crossed with a genuine nostalgia and admiration for the Hollywood past. He is not a protege of Roger Corman. In other words, he has very little in common with the new talents who rejuvenated the filmmaking scene in the U.S. during the past decade.

The point to emphasize is that this difference is itself significant. If Ritchie seems something of an outsider, a man who, although successful enough in his own way, does not quite seem to belong to the prevailing system, this is echoed by the kind of heroes who populate his films

Michael Ritchie

(for example, those played by Robert Redford in Downhill Racer and The Candidate). They too are men who either fail or refuse to be integrated into the system, who are torn between reconciling what is expected of them with their own sense of individuality and personal integrity. In other words, the particular nature of Ritchie’s filmmaking (individualist, independent) is precisely reflected in the kind of heroes who interest him. itchie’s first film, Downhill Racer (1969), sets out themes which he is to pursue in his subsequent work.

It tells the story of an ambitious c h a m p io n sh ip sk ie r, D avid Chappellet (Robert Redford), and, Robert Rossen’s The Hustler, the film relates the hero’s successes and failures to his person­ ality. Unlike The Hustler, however, the hero’s success is directly attributable to his character defects: namely, egocentricity and ruthlessness.

For all the moral homilies of the coach, Eugene Claire (Gene Hackman), about education and about the “ justice of sport” being “ sacrifice without end” , Redford’s hero remains selfish, voluntarily choosing isolation as a necessary corollary to becoming champion.

Ritchie has said that practically all the discussion he had with Redford during the shooting was concerned not with whether Chappellet was a heel or not, but how much of a heel they should make him. The skiing there­ fore becomes an ingenious dramatic correlative to the character: he remains as icy as the surface over which he has such mastery; his sin is pride and skiing is the one sport where to fall is tragic.

There are two essential strategies in this for Ritchie, which he is to pursue in later films. The first is to offer an ironic inflection of genre. In Downhill Racer, this takes the form of an interrogation of the sentimental equation usually proposed by sports films (even sophisti­ cated ones, like Body and Soul, The Hustler and Chariots of Fire) between winning and morality. The hero of Downhill Racer does not become a winner because he is humanized: it is simply that he puts winning above everything else. At the same time, the cost of winning is alienation, and this is the second part of Ritchie’s strategy: to propose the film as a critique of the American ideology of success.

Ritchie’s sports films — Downhill Racer, The Bad News Bears, Semi-Tough (1977) — are witty and satirical studies of sport as an exten­ sion of American aggression. More especially, they are studies of sport as an extension of American commercialism. Ritchie’s sports films are unusual in the emphasis they place not on the individual but on the commercial importance of sponsorship and on the capitalist dimension of sport (George Roy Hill’s Slap Shot owes a great deal to Ritchie in this regard).

If The Godfather posited an equation between crime and capitalism (“ It’s strictly business, Sonny” , says Michael on his road to becoming an assassin), Ritchie’s analogy with the com­ mercial world is sport: business as play, sport as big business. It is a truism to say that all of Ritchie’s films are structured around competi­ tions of one sort or another. It might be more true to say that Ritchie’s films are about the ideology of competitiveness, in the fullest sense of the word — “ competitiveness” being the magic word of modern industrial society.

All of Ritchie’s films, then, either implicitly or explicitly, are not only products of a capitalist society, they are about capitalism.

Smile is about selling yourself, just as The Candidate is about the process whereby political people are manufactured into political

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products. (The self-conscious documentary devices in Downhill Racer, The Candidate and Smile are not simply there to intensify immediacy but to draw attention to the opera­ tions of the media and the way it presents a highly subjective and saleable view of the world.) The boldness of Ritchie’s films lies in their questioning of commercial values within this capitalist structure. The central achieve­ ment of The Bad News Bears is the manoeuvring by which Ritchie convinces us that it is essential for the Bad News Bears to lose rather than win their final game. (The final shot of the U.S. flag over the stadium makes explicit the relevance of the film’s theme to the American obsession with competitiveness and winners.)

Given this interest, the central problem for Ritchie is the one that caught up quite quickly with Preston Sturges and has overtaken Billy Wilder in the latter stages of his career. How long can one satirize the American Dream, expose the ironies of so-called success and the hollowness of materialist endeavour, and still function in an industry so deeply wedded to those notions of competition, salesmanship and commercialism?

If Ritchie is obsessed with competitiveness, the reason is that he is intensely aware of what such an obsession might cost in human terms.

His affectionate and pervasive use of children suggests the alternative dimension to the theme of competitiveness and ambition, which is a regret for lost innocence, a yearning for secure and enduring human values which, in his films, often takes the form of a search for a father figure. The relationship between hero and father has great significance in Downhill Racer and The Candidate, implying that the heroes’ worldly ambition is in some ways a compensa­ tion for the failure of human contact at home.

The antagonistic relationship between father and son is a sub-text of Smile and the central theme of The Island. Both Poppy (Sissy Spacek) in Prime Cut and Amanda Whurlizer (Tatum O’Neal) in The Bad News Bears are searching for surrogate father figures.

Indeed, The Bad News Bears is perhaps ulti­ mately more about fathers and families than it is about sport. It is apprehensive about the callous way adults use children as a projection

Above: championship skier David Chappellet (Robert Redford) and coach Eugene Claire (Gene Hackman).

Downhill Racer. Below: coach Morris Buttermaker (Walter Matthau) and junior baseball team in The Bad News Bears.

Bottom: football star Bill Puckett (Burt Reynolds) and fans in Semi-Tough.

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CINEMA PAPERS October — 417

Michael Ritchie

Above: Puckett and Marvin Tiller (Kris Kristofferson) in Semi-Tough. Below: “Mary A n n e” (Gene Hackman), second left, and Nick Devlin (Lee Marvin), right, in Prime Cut. Bottom: politician Bill Mackay (Robert Redford) on the campaign trail in The Candidate.

(Michael Caine) and Nau (David Warner) in The Island. In each case the first character is shaken out of his dominant or quiescent state of mind by the actions of the second, which could, if allowed to proceed unchecked, pull down the facade of stability which the former has constructed.

Recognizing this pervasive pattern in Ritchie not only gives one a different perspective on the films, but provides a subtle shift of emphasis and implication. The ‘double’ in The Candidate is not Bill Mackay’s (Robert Redford) political opponent but Mackay himself, the private man looking askance at the public image he is creating and sometimes unable to restrain laughter at the split between what he believes and what he is called upon to say; In Semi­ Tough, Bill Puckett’s subconscious love for Barbara Jane Bookman (Jill Clayburgh) surfaces at the moment when Marvin Tiller becomes engaged to her. DiCarlo, the cynical alcoholic, represents the lurking doubt beneath Bob Freelander’s superficial good cheer in Smile: the confrontation between them in prison, where DiCarlo mocks Freelander’s values, visibly disconcerts the hero for the rest of the film, providing a glimpse of chaos which must be resisted at all costs. Turner’s assault on his son in The Bad News Bears is the moment when Buttermaker recognizes the brutality to which his own behaviour might lead if he pursues his obsession with winning. of their own personalities and ambitions.

The perception of this crucial Ritchie theme “ Look at yourself, look at that team” , coach throws *the greatest illumination on Downhill Morris Buttermaker (Walter Matthau) is told Racer and The Island. One of the implications early on: the team is both a reflection of him in the case of Downhill Racer is that the coach and a reflection on him. Both coaches and not the champion is, or should be, the physically attack children at different stages of central character. Interestingly, in James the film, the kids suddenly becoming the scape­ Salter’s original screenplay and when Roman goats of the adults’ frustrations and desires. Polanski was set to direct, this was the case and Buttermaker’s decision to let the Bad News it only changed when Redford came into the Bears lose is in a way his attempt to let them project. “ The essence” , said Salter of his stay in the realm of childhood for a little original script, “ was that a coach who had longer, to postpone the overt ruthlessness struggled for years to try and have a champion necessary for them to succeed in an acquisitive found himself close to his lifelong goal but adult world. If Ritchie is the greatest director of having to work with an instrument he despised, children since Alexander Mackendrick, the that’s Redford.” Part of the weakness of the reason is that he makes films about children film — and the reason why the last third is rather than for them, and that he has a complex much the strongest part — is its structural and unsentimental attitude towards innocence. indecision about the weighting of coach and champion in the narrative and its belated recognition that the centre of the film is really the coach. In the case of The Island, the itchie’s fascination with children recognition of the centrality of the Double and the ‘fatherless’ child might theme in Ritchie is actually quite momentous: immediately evoke Mark Twain the film becomes not peripheral to the (and certainly Ritchie’s themes, director’s main concerns but the most explicit possibly because of his educational manifestation of them. background in Literature and History, relate directly to various aspects of American culture rather than simply to American cinema). In f the implications of Ritchie’s themes another respect, he is closer to Herman need some teasing out, so too do the Melville, which immediately gives a different significant aspects of his visual practice. prominence to the savage mythology of The Ritchie’s style seems to derive its main Island. Like Melville’s work, Ritchie’s films characteristics from two sources: the have a concealed but pervasive structural comedy of small-town American life; and pattern of the Double, whereby the hero con­ cinema verite documentary. In the case of the fronts a dark antagonist who makes him aware former, Ritchie’s mentors are probably Buster of things within himself that he has not pre­ Keaton, Billy Wilder and, above all, Preston viously acknowledged.

Sturges. His most Sturges-like film is Smile, However one characterizes this ‘double’ which observes the community’s foibles and figure (the hero’s conscience, or his sub­ tensions and the little man’s odd dreams and conscious, or his negative demon), the effect is disappointments with alternate astringency and to threaten the security of the hero’s world. affection.

One can see this in the rivalry between Claire There is a darker side to the film, though, and Chappellet in Downhill Racer; Nick Devlin particularly in the extraordinary image it (Lee Marvin) and “ Mary Ann” (Gene Hack­ presents of American sexuality. The film is man) in Prime Cut; Buttermaker and Roy rampant with retarded adults, frigid females, Turner (Vic Morrow) in The Bad News Bears; and voyeuristic children, reaching its apex of Bob Freelander (Bruce Dern) and Andy suggestive confusion when one of the con­ DiCarlo (Nicholas Pryor) in Smile; Bill Puckett testants for the title of Young American Miss (Burt Reynolds) and Marvin Tiller (Kris Kris- does a recitation on the theme of ‘inner beauty’ tofferson) in Semi-Tough; and Maynard whilst performing a striptease to an orchestral

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Michael Ritchie

accompaniment of Beethoven’s Ninth. Because of the cold, sanitized view of sex in which sexuality is on display but not to be touched, the film builds up quite a powerful atmosphere of furtive prurience and frustration. Behind its comic frame lurks a powerful study of marriage, maturity and materialism in small­ town America, and the film is reminiscent not only of Sturges but the great 1950s melodramas of Douglas Sirk.

The documentary element in Ritchie derives from his early association with celebrated cinema verite practitioners such as the Maysles Brothers. It explains the power of the sports footage in Downhill Racer, the seeming authenticity of The Candidate, the apparent spontaneity of Smile. Ritchie has said that it is useful for him in every film to start from the ‘reality’ of a situation before inflecting it satirically or ironically, and one can see this operating even in an overt fantasy like The Island. Less positively, the documentary impulse might explain his apparent impatience and unease with narrative. His films tend to rely less on plot than on sharp observation of behaviour that culminates in a single point of crisis or climax.

In fact, the tension between documentary and narrative in his films has always provided structural problems, perhaps only satisfied totally in Smile. (It is hard not to think that one of the attractions for Ritchie of Divine Madness, which is simply the visual record of a performance, was the opportunity it gave for postponing the necessity for coming to terms with these problems.) This tension in his style throws the structure of Downhill Racer and is quite ruinous to the conviction of The Candidate. Whenever it is conveying the physical fact of political campaigning as a sort of absurdist circus, The Candidate is splendid.

But whenever it tries to psychologize the characters, the film becomes vague and evasive to the point where certain important narrative events (the father’s endorsement of the candi­ dature of his son; the candidate’s acceptance of a public relations man whom he detests) are completely inexplicable. The television debate between the candidate and his political opponent is nice on behavioural detail but in­ comprehensible on the level of dramatic charac­ terization: no reason is given for the supposedly experienced politician suddenly behaving like Captain Queeg. The process whereby the candi­ date’s face is marketed to the public is brilliantly observed, but the film’s rudimentary attempts to get behind the man’s face to his character (the hints about his middle-class background, his sexual infidelity) lead absolutely nowhere.

Ritchie has said that he would have liked to develop the candidate’s relationship with his wife more fully. As it is, the wife is simply felt in the background of the film as a wet appendage of her husband, and all the scenes of the marriage are inconsequential and thin. This exposes a general limitation of Ritchie’s work, which is simply that he has been unable so far to create any really rewarding female roles in his films. This might reflect his feelings about a male-dominated America, but the cumulative evidence seems to convict Ritchie of a lurking misogyny. Again one cannot help feeling that Divine Madness is a means of disguising this problem as well: it allows a raunchy female to let fly at her audience (she addresses them as “ ladies and germs” at one stage) but it simply observes the performance and takes no attitude towards it, provides no dramatic context for it, and, if anything, is an extended essay on the theme of the female as grotesque.

This in turn makes one wonder about the precise nature of comedy in Ritchie’s films. Is it

basically a mode of criticism or is it an aspect of evasiveness? In a marvellous film like Smile, with its fierce critique of aspects of small-town morality, it recalls a remark of Alexander Mackendrick about his preference for a certain kind of comedy that “ lets you do things that are too dangerous, or that a certain audience can’t accept” . In the case of a film like The Candidate, the humor is merely of the order of a superficial smartness, reflecting a refusal to acknowledge or engage with the darker implica­ tions of its material, preferring to sit back in cynical complacency. In the context of that, the uninhibited bile of a film like The Island, gener­ ally derided by the press, might well seem not only preferable but liberating. ne further dimension of Ritchie’s methods should be discussed, and that is his relationship with his writers and his use of stars. Rather like Richard Lester, Ritchie has never taken a writing credit on his films, yet un­ doubtedly is a powerful shaping influence on the final form of the script. Considerable changes were made to the original screenplays of Downhill Racer (mainly to accommodate Robert Redford) and The Bad News Bears (to place much greater emphasis on the children and to concentrate the world of the film on that baseball field). Certainly Ritchie’s way with a Robert Dillon screenplay for Prime Cut has many more elements, of parody and play than John Frankenheimer employed with the same writer’s material for 99 and 44/100 Percent Dead and French Connection 2. The elements of bizarre comedy Ritchie extracts from the Peter Benchley screenplay for The Island are quite distinct from the sober renderings of other Benchley scripts for Jaws and The Deep.

Ritchie has never used the same writer twice yet the films are identifiably his, which suggests the prominence of Ritchie’s personality and his claims to be recognized as an auteur.

A characteristic feature of his work is his use of actors. It is not just that some stars (Robert Redford, Burt Reynolds, Walter Matthau, the Young Miss America contest in Smile.

Bruce Dern) have rarely looked better than in Above: Bette Midler in Michael Ritchie’s “visual record their films for him. It is that there is no clear formance”, Divine Madness. distinction in the films between the characters

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Below: o f per­

CINEMA PAPERS October — 419

Michael Ritchie

Top: Buttermaker holds one o f his players while Am anda Whurlizer (Tatum O ’Neal) looks on. The Bad News Bears.

Above: Maynard (Michael Caine) and Beth (Angela Punch McGregor) in The Island. Below: Nau (David Warner) and Justin (Jeffrey Frank). The Island.

they play and their star persona, which partly accounts for their ease in Ritchie’s films but also relates to the director’s interest in play, performance and people on display. So Redford’s persona as the cool professional has never been better deployed than in Downhill Racer and The Candidate, and the same can be said for Walter M atthau’s rumpled and lovable rogue in The Bad News Bears and Burt Rey­ nolds’ quarterback Cary Grant in Semi-Tough.

Bruce Dern’s persona as the bundle of nerves beneath a coating of normality is rendered so vividly in Smile that, when he takes his son to see a psychiatrist, the doctor starts cross­ examining Dern. The logical consequence of this trait in Ritchie is for a star to wind up playing him- or herself, and this happens with Natalie Wood’s cameo as herself in The Candidate and Bette Midler’s performance in Divine Madness.

Clearly it would take quite a work to encom­ pass all of the many facets of Ritchie. It would have been interesting to see what he would have made of Paddy Chayefsky’s The Hospital before it was taken out of his hands and put into the dull palms of Arthur Hiller. Given his wit, his sense of the American character, his misogyny, his scepticism about social institu­ tions, his fascination with television, sport, child-like behaviour, therapy, innocence and escape, he seems a man born to direct One Flew Over the Cuckoo’s Nest. So it is all the more surprising that the producers chose to have it rendered sentimentally, unimaginatively and unidiomatically by Milos Forman. But for an up-to-date and inclusive example of the themes, style and preoccupations of Michael Ritchie, The Island will do quite nicely.

The critical response to The Island seemed unanimous in asserting that Peter Benchley’s pulp sensibility had completely submerged Ritchie’s personality. But even in an early scene when Maynard and his son Justin (Jeffrey Frank) visit a gun shop (and the father’s shoot­ ing at a target anticipates the shot he will fire into the pirate at the end), some Ritchiesque exchanges occur. “ He’s a competitor!” says the salesman of Justin, and the tone of the scene has the kind of irony that one certainly associates more with Ritchie than with Benchley, notably in Maynard’s mockery of the

man’s salestalk. When father and son are kid­ napped by Nau’s buccaneers, more Ritchie themes come into play, particularly his pre­ occupation with the father-son relationship and the theme of the Double (Nau tries to supplant Maynard as the boy’s father). The attitude to women is again misogynistic. The employment of the star persona of Michael Caine and of David Warner is self-conscious to the point of parody, most markedly so perhaps in the little flourish where Maynard loses control as he loses his glasses but rediscovers heroic potency when he regains them. The element of parody, strongly tinged by waspish­ ness, links The Island in tone to Prime Cut, the later work satirically crossing the horror film with Robert Louis Stevenson adventure in much the same way as Prime Cut mates the horror film with 1950s gangsterism.

he central theme of The Island is loss of innocence and this is rendered in the most concrete cine­ matic terms imaginable: that is, the death of Disney. “Not Mickey Mouse, not Donald Duck . . . ” proclaims th radio announcer prior to the pirates’ first attack on the boat. The ordeal of father and son is precipitated by their abortive attempt to journey to Disneyworld. (It is worth remember­ ing that Bruce Dern’s dreamy simpleton in Smile suggests at the end that he and his wife should have a holiday break in Disneyland.) It is as if, by the time of The Island, Ritchie believes this world of innocence no longer exists. The pirates may be, as Maynard puts it, “ a bunch of arseholes playing Long John Bloody Silver” , but the violence of the language suggests the corruption of innocent fantasy, and these comic villains are also lethal monsters.

When the pirates sail out on a rampage, the music swells over the soundtrack and it is Richard Strauss’ symphonic poem Ein Helden­ leben. This is more than straightforward irony.

It recalls Ritchie’s use of Bizet’s Carmen as a satirical accompaniment to the action of The Bad News Bears, and it might even be another Disneyesque reference, paying an ironical homage to Fantasia by offering a ‘visualiza­ tion’ of a piece of classical music. In fact, Heldenleben informs the whole structure of The Island, which might be the reason that the film holds together better than some other of Ritchie’s films. Both symphonic poem and film have a majestic opening exposition; take the critics for a ride; introduce the female theme, then the battle; offer wistful recollections of themes from earlier works; and conclude with a poignant and pensive epilogue — in Ritchie’s case, a notably nervy and visually off-key reconciliation between father and son. Strauss’ renowned fascination with Nietzsche and Darwin is also an appropriate association for The Island.

In total, it is one of the most brilliant and evocative uses of classical music in the history of the cinema: Luchino Visconti’s use of Mahler in Death in Venice is positively pedes­ trian in comparison. It is also a nice private joke. In order to emphasize The Island as indeed a Michael Ritchie film, why not refer potently to Heldenleben which is, after all, the most singular example of auteurism in symphonic music!

The most important thing about the music, though, is that its use in the film is mockheroic. It emphasizes the absence of heroes and heroism, and the ambivalence we must feel when Maynard turns the gun on the pirates —

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Concluded on p. 489 420 — October CINEMA PAPERS

In one describe as being What do

of your reviews you “My Brilliant Career” “essentially taxidermy” . you mean by that?

It is a Victorian or post-Vic­ torian novel told in its own terms.

It is very much a feminist princess fantasy because the girl has nothing to recommend her but her charms and wit, yet everybody wants her. Prince Charming wants her to be his wife but she says no, she’s going off to have her career. I didn’t know women novelists had more experience by not marrying; I rather thought they would have a good deal more.

We have no sense of what her life is going to be. It is a 16-yearold girl’s vision of the life of an important artist. That is partly why it was so successful here. It would be very difficult for Ameri­ cans to take simple-minded American films, but when you get a beautifully-crafted Australian one, which is essentially an oldfashioned romance, it is easy for people to lull themselves into thinking they’re getting something new.

By “ taxidermy” , I mean the same kind of nicely-crafted thing that you get in Masterpiece Theatre, which has a great follow­ ing with the same people who go to art houses to see Australian films.

What’s wrong with well-crafted films?

There’s no essential excitement in them. The great thing about

Pauline Kael is one of America’s best-known and controversial film critics. Her reviews in The New Yorker and her many books take delight in upturning conventional wisdoms, particularly about Hollywood and its ‘‘mediocre” films. Preferring films which emotionally confront and disturb an audience, Kael has prom oted directors of independent spirit and obsession. It is not surprising her favorite Australian director is Fred Schepisi.

In the following interview, conducted by Sue Mathews as research for “ American Movies, Australian Dreams” , a radio series produced by Mathews and Peter Hamilton, Kael discusses recent Australian films and, not surprisingly, offers some startling opinions.

films is that they can break through academic barriers and take us to places that books can’t.

They can really excite and involve us. Australian films are like reading an old-fashioned novel.

I think there is an audience which is frightened of American films, because the emotions often are raw; they are not pre-digested.

It is often true that the most honored films in this country are those in which the emotions are pre-digested, such as On Golden Pond and Ordinary People.

There’s no sense of discovery. It’s all laid out.

When Australians take a novel, and just carefully and faithfully

follow it, they are giving you a pre­ digested experience. They make no discoveries. Well, that’s not what real filmmaking is about. It is about finding meanings as you go along and being open to the possi­ bilities that the actors bring; it is about keeping the process alive.

That is why I like Robert Altman’s films so much. You have a sense of self-fulfilment in the film itself. I think you get this sense with only one Australian director, Fred Schepisi.

And yet his films also hâve a straightforward, narrative struc­ ture . . .

Sure. But his films are full of personal obsession. You can feel it in The Devil’s Playground and perhaps a little less so in The Chant of Jimmie Blacksmith, though the film is magnificent anyway. The way he uses landscape is very sensual; there is a way he looks at faces. It doesn’t come from the book. The Chant o f Jimmie Black­ smith is a marvellous novel, but it has a totally different sensibility.

When you see a Schepisi film you are responding to his sensibility.

When you see Bruce Beresford’s The Getting of Wisdom, you are responding to a craftsman’s view of something that is already finished.

In your review of one Schepisi film, you praise “ the sanity” of the way he presents his characters.

What is the difference between that sanity and the carefulness of a Bruce Beresford?

His sanity is a sense of propor­ tion, a wonderful sense of what is due people. People in his films can do some terrible things but you don’t see them as villains; you see them in terms of what made them do those things. Take, for example, the minister in Jimmie Blacksmith. By the end, it is really his tragedy because he knows that he is responsible for what happened to Jimmie.

With other directors, it is very often pedantry, a learned thing, whereas with Schepisi it is a found thing. You feel that he is realizing his own vision. It is a great gift.

CINEMA PAPERS October — 421

Pauline Kael

Director Fred Schepisi (right): “his film s are fu ll o f personal obsession. You can feel it in The Devil's Playground [left] and perhaps a little less so in The Chant o f Jimmie Blacksmith [centre] . . . His sanity is a sense o f proportion, a wonderful sense o f what is due people. ” '

Jean Renoir also had this kind of balance and sanity. He never melodramatized people and turned them into monster villains.

The wonderful thing in Jimmie Blacksmith, which keeps it from being just an ideological film, is that you feel for each of the characters. They’re wonderful.

The schoolteacher, for example, who could have been made to appear horrid, is quite heroic in his own terms.

You have criticized “ Chariots of Fire” for being “ the best Austra­ lian film made in England” and for what you call “its techno­ logical lyricism” . What’s the difference between that and Schepisi’s visual lyricism?

With Schepisi, I never feel the technology is what makes his lyricism possible. In Chariots of Fire, every race is lyricized and the characters don’t mean that much to you. It is set up so that you want the two men to win and, when they finally do win, the audience is meant to feel good. But the values inside that film are very old fashioned. That is why it can open so easily to a wide audience; it doesn’t upset people in any way.

Good films tend to provoke a cer­ tain amount of resistance. They bug people because they tend to shoot you off in ways you didn’t know about. They make you feel things in a way that you hadn’t quite experienced before.

Several recent films I have liked are Shoot the Moon, about which a lot of people are arguing, point by point, and Pennies from Heaven, which has a certain audacity that disturbs people.

People think it is cynical, whereas it is perhaps one of the least cynical films around.

Then there is a film like Personal Best, which deals with women athletes. You can feel the direc­ tor’s obsession: he really loves those women. The camera seems to 422 — October CINEMA PAPERS

be carrying out the director’s infatuation.

In Australian films, you never have that sense of personality behind them, with the exception of Schepisi. Bruce Beresford is, for me, perhaps one of the most academic of directors. There is a certain gloomy, clumsy fidelity in his work. The sheer lack of imagination is perhaps his greatest weapon.

Yet, it is precisely a notion of integrity or authenticity that people seem to be responding to in Australian films . . .

Australian films are new and almost always set in the past. If they were set in contemporary circumstances, people would view them very differently.

Now, it is understandable that Australians, who have not had a

‘Bruce Beresford is, fo r me, perhaps one o f the most academic o f directors . . . The sheer lack o f imagination is perhaps his greatest weapon. ” Pauline Kael

strong cinema movement for many years, want to go back to their roots and see how Australia became what it is now. But I don’t think they’re showing that.

They’re showing us what the Vic­ torian novelist thought was going on.

Will you be more interested in the contemporary Australian films as they are released?

Well, The Last Wave is contem­ porary, but it is preposterous also.

That is certainly not what I mean.

Yes, I would love to see films set in contemporary circumstances, because it is very exciting to see a new culture revealed. And one of the things that is wonderful for us in your films is the sense of the landscape, which is so different from our own. Now the little film Strange Behaviour [Dead Kids], which was shot in Australia [New Zealand], although it pretends to be set in this country, was great fun because the light is so differ­ ent. I must say I enjoyed the film.

For a little horror movie, it was very well done.

Do you get that sense of the land­ scape from other Australian films?

Oh yes. My Brilliant Career is very beautifully shot, and Don McAlpine is a fine cinemato­ grapher. Most Australian films are terribly well done, including Caddie. Even there, and it is in period, we have a sense of a civilization different from our own. You see the pubs and the working-class districts, and they are a little more interesting than the country estates. We have had an awful lot of the country-estateapproach-to-life in American films, 40 or 50 years ago.

How do you respond to the parallel made between the Austra­ lian cinema and the films of the old West?

Pauline Kael

Left: Peter Weir’s “contemporary, b u t . . . preposterous” The Lost Wave. Middle: Michael Laughlin’s New Zealand feature Dead Kids [Strange Behaviour in the U.S.J. Right: Tim Burstall’s Alvin Purple, “the nearest to an American film I have seen fro m Australia”.

I think they are very different.

The Australian films are made, in general, with a high degree of craftmanship, self-consciousness and awareness, whereas the old Westerns were thrown together.

They were shot quickly by people who didn’t think too much about what they were doing. The Westerns that were carefully planned, like those by John Ford, have a different ambience, of course. But much of the appeal of the Westerns was simply the quick shooting and the easy assumptions about bad and good men, and virtuous women.

I suppose the nearest to an American film I have seen from Australia was the little soft-core porno film, Alvin Purple, which is like a lot of cheap American exploitation films.

Most of the serious films have been rather laborious, careful re­ stagings of the past, and done very honorably. Certainly people learn a lot of skills when making those films. But after that, you are inter­ ested to know, “ What are they going to do with those skills? Can they use those skills on contem­ porary material?”

Contemporary films have been made, but for some reason the period ones get released in the U.S. What is it about the American audience that leads distributors to make those choices?

There are many different kinds of American cinemas, and gener­ ally a film from Australia has to open at an art house. The people who go to them are often the same people who go to very respectable French films or went to the very respectable Czech films 10 years ago. It is an audience which was basically trained on the theatre.

They do not like the very qualities in films that make film hounds love them. It is not the audience which is going to go see what I thought was possibly the best

American film of last year, Blowout, by Brian de Palma. That art house audience doesn’t like violence or anything emotionally affecting, unless those emotions are very carefully controlled, as in Kramer vs Kramer, where they’re practically refined out of existence.

There is a security in a certain kind of film for an audience, and “ Australia” is almost like a seal of good housekeeping on a film. If a young man goes out on a date, it is safe to take a girl to an Australian film, just as it is safe to go to Cousin, cousine or a Claude Lelouch film. These are films with a certain date appeal, because a film that is terribly exciting can be upsetting to people out on a date.

Surely there were a great many French and Czech films that didn’t have that comfortable quality . . .

Well, look at Francois Truf­ faut’s The Last Metro, which played at one theatre in New York

television. But it is in French and it has a little bit of panache because Truffaut made it. The name of Truffaut is almost a guarantee that the film is not going to upset you.

He makes you feel comfortable.

Well, I don’t go to the cinema to be made to feel comfortable. I go to see something different and exciting.

Do you think that there is a tendency for Americans in general to have a fairly parochial view of culture?

No, sometimes Americans will rise to the occasion and go for something that is genuinely new and has social vision. Films like On the Waterfront, and the James Dean and early Brando films all spoke for a rebellious mood in the country, and the public responded well.

Also, you must remember that cinema-goers are not the same people they were 20 or 30 years

“There is a security in a certain kind o f film fo r an audience, and ‘Australia’ is almost like a seal o f good housekeeping on a film . ”

for a year. That film is not only set in the past, it is also so careful. It is the cleanest view of the Nazi era I have ever seen. It seems the only terrible thing the Nazis did was to come late to the theatre and disturb the actors. There is no real passion in that film; no real excite­ ment.

Take also The Woman Next Door, the new Truffaut film, which is enjoying a very long run.

It is like a very carefully-made tele­ vision show. There’s nothing in it.

It is very dull technically, and you can hear the dialogue any night on

simple, moral fables along the lines of “Star Wars” and “ Raiders of the Lost Ark” . . .

That’s right. There is a gap, and it developed because of the Vietnam War, which tore up American culture and Americans’ view of themselves. American films became more cynical and knowledgeable, and people fled for escape to the European and the Australian films. That is very interesting because people used to go to foreign films for greater realism, particularly in terms of sex.

American films have simply not been the same since the 1960s. The change in American life affected our writers and directors pro­ foundly, just as it affected almost every thinking person in the country. But it became too much for people who are worried about going out of their houses for fear of being mugged. They certainly don’t want to go see a film that

“American film s became more cynical and knowledgeable, and people fle d fo r escape to the European and the Australian film s .”

ago. The people who go regularly now tend to be better educated.

They have different expectations and desires to the old mass audi­ ence. Unfortunately, kids often respond with more honesty and vigor to good films than an educated audience does.

There is a sense that the Australian films fill a sort of gap. In Holly­ wood you seem to have either films that deal with disillusion, where the heroes are battling cynicism as their primary enemy rather than evil and adversity, or you have the

mugs them, and that’s how they feel about a lot of American films.

The violence and the emotions simply overpower them, and they want to relax. And you can relax with a 19th Century story very beautifully.

It has been suggested that what we are seeing, especially in these 19th Century films, is some sort of new frontier. Do you have that sense at all?

No, truthfully. What we see is a culture that in some ways is CINEMA PAPERS October — 423

Pauline Kael

. . the women who read [Gothic and love romances] would fin d the same kind o f pleasure in seeing M y Brilliant Career because it says, ‘By my own superiority I can do anything. ’ And, finally, the girl is so superior she has no sex needs either. ”

plagued by problems similar to our own, although you have your Aboriginals so tucked away in some of the films that they’re not very visible. In some films, they are not visible at all.

You also have a huge, rough country that was settled by people who weren’t exactly nobility. The people who went to Australia are very much like the people who came to the U.S. We are all aware of what we are descended from.

We are people who are outcasts, exiles or bums, people with the excitement of going to a new place.

One of the things that is appealing about Australian films is that while they are very traditional in a lot of ways, there is a new sort of hero.

The macho, sexist male has dis­ appeared to some extent, and there is a greater degree of vulnerability and sensitivity . . .

Well, that is true in American films, too. There is a fear of showing the real conflicts. For example, a film like Kramer vs Kramer is a con job from the start.

You have a husband who is so much like the child that of course he has to end up with him. If you had had a tougher male figure, the audience might not have been nearly so soft in its feelings.

At the start of the film the wife is so unhappy. What is she unhappy about? It isn’t really clear, except that she hasn’t found her own fulfilment. Well, when fulfilment is finally described to you, it seems that it is working for one of the women’s magazines as a graphic artist of some kind. I don’t really think that’s very fulfilling.

Rationally, we know that an intelligent, gifted woman with a child is able to find some work at home, or is able to work part-time.

In that marriage there had to be some sexual tension and confu­ sion, but none of that was spelled out. It simply became a tribute to 424 — October CINEMA PAPERS

the new wonderful male who wants to be a full parent.

That awful word parenting has developed in the language, and it stands for something which I think is essentially a vogue. After all, men were always fathers and a lot of women have worked before.

Well, the macho male now is only shown to us in American films as a villain. But we had that as early as Carnal Knowledge. The Jack Nicholson character was a monstrous portrait of the macho male, and he had to lose everything at the end. He had to be a real nothing. Well, a lot of macho men seem to do very well in their lives and careers, and they can be very smart in other areas. The films now tend to show us these men as totally ugly in spirit. They don’t show us a macho man with that as only one aspect of his personality.

was flirting with him all that time.

If it wasn’t sexual, what was it?

Was she just looking for a friend, as she later claims? If so, she was a very odd, confused and misguided girl. I have never seen such out­ going flirting throughout a whole film and then total rejection. He had a perfect right to think, “ Well, what were you teasing me for?”

One of the things that is happening in the Australian films is that they use 19th Century settings but impose a sort of 20th Century gentility . . .

There is a gentility all right. In the case of My Brilliant Career I think that worked perfectly for the American audience. There haven’t been many feminist films come out of Hollywood, and that film seemed to satisfy every possible

if. . . what could be more flattering fo r adolescent girls than the idea that even when they get the man o f their dreams, they say, ‘No, I shall go out and forge my own destiny. ’? There is an awful lot o f nonsense in that notion. ” What is your reaction to the treat­ ment of women and women’s issues in the Australian films that deal specifically with those things?

Well, they have been very sym­ pathetic to women’s issues, as in The Getting of Wisdom and My Brilliant Career. But My Brilliant Career is really an absurd situation because the girl flirts with a man for most of the film, and we assume that she is in love with him.

She publicly shows jealousy of him, but when he proposes to her she says no and pulls back in horror as if that wasn’t what she had in mind all along. I certainly thought that was what she had in mind.

It is a very confusing film because it doesn’t go into why she

feminine fantasy. It shows how this girl by her own innate quality won an elegant man, who is quite a catch, but whom she then didn’t want. I mean, what could be more flattering for adolescent girls than the idea that even when they get the man of their dreams, they say, “ No, I shall go out and forge my own destiny.” ?

There is an awful lot of nonsense in that notion. But it is exactly what girls at a certain age want to believe, and I fear what a lot of women who should know better want to believe. Hence the enor­ mous popularity of Gothic and love romances in this country.

Well, the women who read those novels would find the same kind of pleasure in seeing My Brilliant Career because it says, “ By my

own superiority I can do any­ thing.” And, finally, the girl is so superior she has no sex needs either.

You have chosen not to see a couple of Australian films. Is this a permanent state of affairs?

I hope so. I live in a country town which has a very good cable system. Often films that I couldn’t face seeing in a theatre I can watch at home on television. I have a good set in the kitchen and, while I’m fixing vegetables, I don’t mind watching these films.

At a certain point, for example, I decided I was not going to waste an evening seeing another film by Michael Winner. I simply hate what he does and There is some­ thing that offends me in his work.

I also don’t rush to see a John Alvidsen film because I think he’s a buffoon as a director.

So, you develop certain kinds of instincts for what you want to see.

I would like criticism to be a pleasure; I don’t want it to be a duty. If you flog yourself to cover things as a matter of duty, you turn into a hack.

Do you intend to see some of the new Australian films?

Well, it all depends on what they are.

How will you decide?

If you know who the director is and what his work is like, you can usually judge from the publicity material.

What about a film by a new director?

Well, I would almost always see a film of a new director because you just can’t judge anything about a film if you haven’t seen some of the director’s work. But I have seen 20 films of some direc-

Pauline Kael

Australian film s “have been very sympathetic to w om en’s issues, as in The Getting o f Wisdom [left] and M y Brilliant Career”. Right: “M ost Australian film s are terribly well done, including Caddie. ” ■

tors, and you get a pretty good doesn’t stand much chance. You sense of what you are going to get use your discretion. in the twenty-first, although every I do the same thing with small once in a while a director totally American films; if I don’t like surprises you. I was completely them, I don’t review them. It is surprised by Alan Parker’s work in just too unpleasant to be hard on Shoot the Moon, for example. I somebody who is having a rough had seen his previous three films time anyway. and could not have guessed he would direct it as effectively as he What do you think the place of did. It was only when I saw a foreign films in the American photograph of him and his family, cinema scene is, or should be? and realized how close they looked to Albert Finney and the children Well, it should be even larger in Shoot the Moon, that I made the than it is; American films go all connection.

over the world, yet we don’t see enough foreign films here. There was a period when Japanese films were very popular, but that died away. A lot depends on a single distributor. For a while, we saw a great many Italian films and Indian films because Edward Harrison distributed them. When he died, there was nobody quite in his position.

Two or three people will make a difference to whether a national cinema is imported.

As you know, a critic can do

Are you aware of pressures from distributors as a member of the press? Are you courted by them?

They have given up on me. They gave me a very bad time when I was younger. They barred me from screenings because they couldn’t count on me for the reviews they wanted. It was difficult for me to write a review because I had to go to the theatre the first day a picture opened. Fortunately, I am a very fast writer.

The way they generally put pres­ sure on critics is through the adver­ tising department. The loss of theatre advertising has been a con­ siderable factor in the collapse of certain American newspapers. But I am lucky enough now to work for a magazine that is sufficiently independent not to be concerned about me costing them advertising.

But I have worked for other maga­ zines where the loss of that adver­ tising was significant enough for them to let me go.

It seems strange in a way that the U.S. has for 50 years been the w orld’s biggest exporter of popular culture and films, but seems to import very little . . .

Maybe it is related to the fact that the greatness of American films is their crude vitality, and that Americans trained on that have a harder time adjusting to films from abroad which have a much slower rhythm and a differ­ ent temperament. But, the people who were trained on those Ameri­ can action films now sit at home watching television, and newer generations and older people want something th at seems more cultured. So they often reject American films, which are caught in the middle. Sometimes wonder­ ful action films don’t have any­ thing like the audience they should in this country.

There’s an interesting line in Wim Wenders’ “King of the Road” about American culture: “They colonized our sub-conscious” . . .

Given the crucial nature of the reviews that a foreign film gets, how does that make you feel as a reviewer?

Well, if I don’t like a foreign film, I tend not to review it. There are plenty of big, bad films that you can kick in the head. So I won’t review a foreign film that

only so much. You can give all your space in a magazine to an Indian film, but unless that dis­ tributor has the wherewithal to publicize a quote from your review, then next week people are going to forget what you wrote.

“ When Australians take a novel, and ju st carefully and faithfully follow it, they are giving you a pre-digested experience . . . When you see Bruce Beresford’s The Getting o f Wisdom, you are responding to a craftsm an’s view o f something that is already finished. ”

I think that’s true. When I meet foreign directors I am often amazed at their over-evaluation of Hollywood. They feel like step­ children of the H ollyw ood industry. They want desperately to work there, because for them that’s real filmmaking, whereas what they do in Europe or South America is just playing around.

They want to help colonize the world. They don’t realize how bad a lot of Hollywood filmmaking is in its effect. But even when they realize that, they still want to be in Hollywood because it represents glamor and excitement to them. ★ CINEMA PAPERS October — 425

ululimi.... ....................................................................... mini

FILM FESTIVAL 1982 Mari Kuttna

mimiiiiiiiiiiiiiiiiiiiiiiiiiiitiiiiiiiiiiiiiiiiimimiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii In August 1982, E.T. The Extra-Terres­ trial was still quite a scoop to open the 36th Edinburgh International Film Festi­ val, with special permission and good wishes from director Steven Spielberg for its first European screening since Cannes.

The large Playhouse was packed and the crowd was jubilant, succumbing to the film’s beautiful manipulation of mass emotion, and leaving the theatre on a high crest of euphoria.

No euphoria could last through a festival, especially this one. Having sur­ vived the financial crisis of 1981 by limit­ ing it to one week, this year’s Festival was back at full length, but still a little austere.

The new cinema in the Filmhouse had been built by last February: for the rest of the year, it functions as a National Film Theatre for Scotland (officially called a Regional Film Theatre). It seats about 500, which turned out to be a mixed bless­ ing, for while it cut down the financial risks involved in renting a town cinema, it is still too small for popular evening shows. The public, accustomed to the first-come-firstserved system, without favor or protocol, queued patiently, but guests and dele­ gates had to be put in lists, counted and organized, and allowed advance tickets at prescribed times — all of which gave a lot of trouble to both staff and guests. How­ ever, there were four more gala previews in sizeable theatres, for Taylor Hackford’s An Officer and a Gentleman, John Car­ penter’s The Thing, Ridley Scott’s Blade Runner and Hans Jurgen Syberberg’s Parsifal.

New British Films_____ Most important for Edinburgh’s stand­ ing as a showcase for home produce, there were also premieres for new British feature films. By far the most exciting, Peter Greenaway’s The Draughtsman’s Contract (also competing in Venice), was given additional honor and dignity by a Peter Greenaway retrospective. Like The Draughtsman’s Contract, most of his previous films were financed by the Pro­ duction Board of the British Film Institute, and this chance to see them all proved that fostering Greenaway’s talent, and enabling his films to be made, justifies the Board’s existence. However, seeing them, all celebrations of the odd, within a few days, or even hours, may be too much of a good thing. Much of their effect depends on surprise and originality, and they could perhaps fare better when slotted into programs of more conven­ tional films.

In The Draughtsman’s Contract, for the first time Greenaway has a story to hold together his very English jokes and ironies. It is set in 1694, at a time when the aristocratic but bawdy tone of Restoration society still prevailed, but a more hypo­ critical and bourgeois era was beginning with a strong Protestant influence imported from Holland along with William of Orange. The dialogues and the unfold­ ing of the plot recall Restoration comedy, but the filmic emphasis on visual detail, the sumptuous, slightly anachronistic designs, and the underlying violence save it from appearing a pastiche.

In an interview, Greenaway excused the

426 — October CINEMA PAPERS

Peter Greenaway’s The Draughtsman’s Contract: “fo r the first time Greenaway has a story to hold together his very English jo k es and ironies”. anachronisms by saying that a historic film was like a science fiction one: there was no history in it, any more than there is any science in the latter. He also admitted that it was too ambitious on his part to take on a costume film with the amount of money available: he was lucky to find a superb-looking location and to have good weather, but the nearness of Gatwick Air­ port and the streaking jets necessitated more re-takes than the budget allowed.

When the money ran out, Channel 4 came to the rescue; but Greenaway, like the rest of us, hopes that the film will have theatrical release to display its visual wonders before it is nabbed by television.

The acting is somewhat uneven, though most of the cast cope well with the demanding combination of stylized speech and “ unconsciously” revealing behaviour. A beautiful young actress (Anne Louise Lambert) is particularly worth noting as the daughter who joins and embellishes the conspiracy of her imperious mother (Janet Suzman).

The other feature financed by the BFI Production Board, Crystal Gazing, is un­ likely to break box-office records. It was written and directed by Peter Wollen and Laura Mulvey, whose previous collabora­ tions were, like Peter Greenaway’s, experimental, avant-garde, non-narrative structures. Their lack of interest in narra­ tive is still obvious, as Crystal Gazing lurches with uneasy jerks from scene to scene.

The four characters are too self­ absorbed to make contact on any but the most superficial level, and so they cannot strike sparks of conflict or even contrast, to create dramatic tension. Their dialogue is banal, and the film lacks wit; but, at least, Wollen and Mulvey made an attempt to relate the elements of fantasy

to some sort of real life, in which un­ employment, strikes, traffic accidents and academic failure impinge on the lives of the characters. In this, Crystal Gazing is more ambitious and more honest than the third British feature premiered at Edin­ burgh, Privileged.

Privileged is also a tyro work by pro­ ducer Richard Stevenson, writer-director Michael Hoffman and the whole cast, but they had the tutelage and advice of John Schlesinger. It deals with mixed-up love affaires among undergraduates in the rarified atmosphere of Oxford, and it captures adolescent emotions where they are always at their stormiest: in a drama club.

Apart from loving, chatting, punting and drinking, the youngsters cast, rehearse and perform Webster’s The Duchess of

Mam. The hero (Richard Wolley) plays Bosola, not without talent; he is also seen twice with some laboratory rats; the heroine (Diana Katis) is an excellent Duchess; but there is a touch of mystery in what, if at all, they expect to graduate. This is, of course, how Oxford looks to the outsider, but Privileged was made by students who should know better than to perpetuate the myths, especially as they are a re-hash of the Cambridge scenes of television’s The Glittering Prizes.

There are many interesting and new themes, even in Oxford: the agonizing effort of always appearing effortless, the carefully-contrived appearance of not caring about appearances, the strain of losing touch with home, family and friends as a result of adapting to Oxford, even the strain of always performing at top form: these are the real stresses for the “ privil­ eged” .

Some short films helped to restore faith in new British talent, such as Steven

Blackman’s witty 8 Track, and Jennie Howarth’s The Walk, a fictional treatment of a notorious, artistic experiment by three young painters who walked a week-long circle in the English countryside linked together by a six-foot pole, attached to their caps. This is Howarth’s second film; it was made, like her earlier And They Called Me Pussy Dynamite, at the National Film School: both show a talent which would be worth fostering into features.

American Independents Edinburgh is one of the key festivals introducing shorts and documentary features, as well as off-beat, independent, fiction films, from the U.S. to Europe.

Apart from the horror films, which have an unshakable cult following, ,the most enthusiastic reception was given to Paul Bartel’s Eating Raoul, a black comedy which teeters on the edge of vulgarity for 83 minutes without once toppling from its pose of faux-naif innocence. Like the other outstanding features, David Carradine’s Americana, Neil Jordan’s Angel from Ireland and Sam Pillsbury’s The Scare­ crow, Bartel’s film too first appeared in the Cannes “ fringe” , and its life, whether on release or on the festival-circuit, is just beginning.

The documentary features are very much an Edinburgh special import: some, like Howard Petrick’s courageous The Case of The Legless Veteran, came via Mannheim; two other political works are new: A Crime To Fit The Punish­ ment, by Stephen Mack and Barbara Moss, is a documentary investigation tell­ ing the story of making Salt of The Earth in 1954, accomplished in semi-secret by filmmakers and actors blacklisted during the McCarthy era. The Atomic Cafe by

Edinburgh Film Festival 1982

Kevin Rafferty, Jayne Loader and Pierre Rafferty is a full-length montage feature collated from U.S. propaganda and teach­ ing films during the 1940s and ’50s, revealing the horrifying fatuity and irresponsible double-talk emanating from Washington about nuclear weapons.

These three films together give a clear if depressing picture of American politics during the Cold War. The period was also 'described by a contemporary from memory, but completely avoiding the simplifications of hindsight, in Amalie Rothschild’s Conversations With Willard Van Dyke, which has already been seen in Australia before reaching Edinburgh.

Made In Switzerland, showing a civilian’s eye view of the Queen’s visit which circumvents all the protocol surrounding her, and Do It Yourself, which seems a definitive argument, in all of 9 minutes, for and against consumerism.

There were also a handful of documen­ taries rescued from Poland before the fall of Solidarity, including a couple by Kieslowski and Lozinski. With any luck, they will form a travelling package that could be routed towards Australia. But I promise to do my best to ward off the film version of Virginia Woolf’s The Waves, made by Annette Apon in Holland, and m isguidedly dubbed into elocution English.

Australasian Contributions_________ Of the eight Australian short films, four were by Arthur and Corinne Cantrill. Like Greenaway’s abstract features, they too would be easier to assess one at a time, and away from festival pressures. There was also Peter Tammer’s Journey To The End Of Night, which I unfortunately missed, together with Angels of War. But my dereliction should not matter: by the time this report can appear, they should all be amply reviewed in Australia. From New Zealand, there was a short as well as The Scarecrow: I missed the first and described The Scarecrow from Cannes.

From Japan, there was a piece of high­ brow erotica, Spirit of Tattoo by Yoichi Takabayashi, a tale of attrition by sex, and not everyone’s cup of sake. Its melo­ drama, and the even starker melodrama of Mike de Leon’s two new films from the Philippines, Kisapamata and Batch of ’81, were offset by two understated, shoe­ string-budget documentaries by Anand Patwardhan. His Prisoners of Con­ science, begun in 1978 but only recently provided with proper titles and a visible print, is about political persecution during Mrs Gandhi’s notorious ‘Emergency’.

His new agit-prop report, about Muslim and Indian farmworkers in Canada, A Time to Rise, is the record of an almost 19th Century-stye struggle for unioniza­ tion among the exploited casual laborers. It found an unexpected echo in the Scottish audience: during Patwardhan’s press conference a Scot stood up to say that similar exploitation still prevails, and is still being fought today by the “ travellers” , the part-gypsy itinerant laborers, on the fruit farms of the Scottish borders.

Cheers fo r Retrospectives

European Roundup Apart from Britain and the U.S., the largest batch of new films came from West G erm any. They in clu d e d W erner Herzog’s Fitzcarraldo, two features by Rosa von Praunheim, Syberberg’s filmed opera, Parsifal, Hartmut Bitomsky’s Highway 40 West, and Niklaus Schilling’s The Lite Trap, and many documentaries.

Apart from Herzog’s Fitzcarraldo, which was one of this year’s Cannes highlights and had already opened in London, only Schilling’s The Lite Trap (a terrible title,

Rita Hayworth as Gilda on an atomic-equipped B-29: from Kevin Rafferty, Jayne Loader and Pierre R afferty’s montage on U.S. propaganda, The Atom ic Cafe.

intended to reflect an allusion to the deceptive brightness of the West) is likely to survive outside festival circuits. It is a stylish romance about an East German spy whose contact turns out to be a beautiful young widow. Under the suspicion and toughness of their spycraft, they are both vulnerable and sensitive: not easy victims, but victims none the less.

From Switzerland, Christian Schocher’s Krieger’s Road captures and holds the attention in spite of its games with “ reality” and “ fiction” . There were also two hilarious shorts by Erich Langjahr,

The predominance of films from the U.S. and affluent Western Europe results, in spite of a wide range of subjects and styles, in a prevalent overall tone, or mood, easier to recognize than to describe. Perhaps it could be summed up as a mood of mild disenchantment, show­ ing the trappings of wealth as decadence, the intricacies of technology as anti­ human devices, and altogether favoring some sort of drop-out scene and men­ tality. Too many films are preoccupied with the fringes of society, but look at them with insight instead of understand­ ing, offering exposure rather than sympathy.

The retrospective called “ Scotch Reels — The Construction of Scotland on Film and Television” stressed the prevalence of this “ tone” by its contrast. The films dated mostly from the 1940s and ’50s, ranging from romantic slush like Bonnie Prince Charlie (1948) and Brigadoon (1954) to attempts at social realism in The Brave Don’t Cry (1952) and The Gorbais Story (1949). But audiences were delighted by the 1934 sentimentality of The Little Minister (with the young Katharine Hepburn) and by the wit which compensated for the folksiness in the Grierson-produced comedy, Laxdale Hall. By introducing outmoded ideas of humanism and unfashionable moods of hope, cheer, or amused rebelliousness, instead of dour resignation, retrospective seasons satisfy a thirst for variety. This also points to the need for a wider catch­ ment area for festival films, with more variety of tone and ideas. Well, perhaps next year. ★

A Time to Rise, Anand Patwardhan’s “agit-prop report, about Muslim and Indian farmworkers in Canada”.

CINEMA PAPERS October — 427

Wendy Hughes is one o f Australia's most acclaimed actresses, with striking performances in Newsfront, M y Brilliant Career, Petersen and now Lonely Hearts. Here she talks to producer Richard Brennan.

When did you first become in­ volved in “ Lonely Hearts” ?

About two years ago when Paul Cox mentioned that he and Norman Kaye were thinking of doing a script together. I said, “ Yes, it sounds great” , thinking I would never hear anything more about it. But six months later Paul sent me a draft, and I thought it read very well.

I was involved from then on and had a lot to say in what I wanted the character to do, what her back­ ground was like and that kind of thing.

Yes. It is just that Paul has this thing about how one should be able to do low-budget films. He is opposed to really big budget films and calls anything more than $1.5 million a wank.

But, of course, some films really do need $3 or $4 million. It just depends.

On a film such as Lonely Hearts, which is about personal relation­ ships and is simple logistically, with no great location treks, the budget should be kept small. But that extra money was worth it. It made sure the film didn’t look skimpy.

How much did the script change when John Clarke was brought in as co-writer?

How long did you spend on “Lonely Hearts” ?

John tightened the script and added a few more humorous situa­ tions and some witty dialogue. The actual form and story didn’t change at all, though he deleted the less relevant and fuzzy parts.

Two weeks in rehearsal and a six-week shoot.

Most of the films made last year cost $1.5 to $2 million. “ Lonely Hearts” cost less than half that.

Was it difficult raising the money for a film about a relationship between a thirtyish spinster, who is fairly inhibited, and a middle-aged bachelor, who is rather diffident?

Yes. Paul went to quite a few people without much success.

Then he approached John B. Murray [producer], who got Adams Packer to finance it.

Paul actually wanted to work on an even lower budget but Adams Packer wanted it lifted.

That extra money was probably well spent. The film doesn’t look over-budgeted . . .

Did Cox cast you in the role of Patricia, which isn’t the sort one might normally think you’d want to play, because you had worked together before?

Yes. I had developed a great rapport with Paul and really trusted him and his sensitivity. I wanted to play Patricia because it was so different to what I had done before. And when I said to people I was playing a 30-year-old virgin, they’d just laugh. “ It’s okay; it’s a comedy” , I’d say in justification.

I don’t think many directors would have cast me in that role.

Was “Kostas” the first time you had worked with Cox? Yes. Then I did a short docu­ mentary on childbirth at the Royal Women’s Hospital [Birth], CINEMA PAPERS October — 429

■ ■

Above: Patricia (Wendy Hughes) and Peter (Norman Kaye) meet fo r the first time at the Melbourne Wentworth. Right and bottom: Patricia and Peter, after dinner at Patricia’s. Paul C ox’s Lonely Hearts.

Had you worked with Norman Kaye before?

No, though he was terrific to work with. He has been around for a long time in the Melbourne Theatre Company, and been on tours. He has also done a lot of television.

Norman is actually a highlyaccomplished musician. He spent a lot of time devoting himself to music, and acting came out of that.

A lot of “Lonely Hearts” looks improvized, particularly in the scenes with Jon Finlayson and Chris Haywood . . .

No, it wasn’t heavily impro­ vized. We changed lines if they didn’t work, and added odd things, but that was all.

Paul was actually very loose and

430 — October CINEMA PAPERS

encouraged us to experiment, but most of the time we kept to the script.

scenes. It is never super glossy or false.

It is just that a lot of the dialogue appears to come off people’s tongues . . .

Yet “ Lonely Hearts” is a beautiful film to look at. I think he used a Greek cameraman on “ Kostas” and . . .

That’s right. That has to do with the naturalistic way Paul shoots

No, he used an Italian camera­ man [Vittorio Bernini] on Kostas

and a Russian one [Yuri Sokol] on Lonely Hearts. His cameramen rarely have a good grasp of English.

Of the 30 or so 35mm feature films made last year, you worked on three . . .

Yes, Duet for Four, A Danger-

Wendy Hughes

ous Summer and Lonely Hearts — I think in that order.

“Duet for Four” was the third time you have worked with Tim Burstall. How do you find working with him?

Tim is terrific. He is very differ­ ent from Paul, mainly because the subject m atter is always so 1 different.

Duet for Four, which Tim did with the other two Burstalls [Tom Burstall, co-producer, and Dan Burstall, director of photography], was one of my most enjoyable experiences.

On Petersen, which was my first film, I didn’t know whether I was Arthur or Martha half the time.

As for High Rolling, Tim didn’t direct it [director: Igor Auzins].

Tim produced it, Tom was first assistant director and associate

my second or so feature, and I found the whole American feel — it was done for Universal — slightly disturbing. And there was an American actor, Ben Murphy, with whom I didn’t quite get on.

It was just an action film, and the bikes were more important than anything else. Earl was very efficient, but we didn’t have any in-dfepth discussions about the character. It was left up to me mainly. Sometimes it worked; sometimes it didn’t. I tried hard.

I haven’t seen it for so long. I think I’d die if I did.

As for Hoodwink, I only had a small part. But Claude was lovely, and very British — quite different to the American. Claude went into things with far more depth. The script allowed for it, too.

happening today. What do you think the reasons for that are?

Actors Equity made it a bit tougher to bring them in and pro­ ducers and directors realized that they are not essential. So many of the films that have made a big wave overseas have had no foreign actors involved, such as My Brilliant Career, Mad Max and Caddie.

producer, and Dan was cinemato­ grapher. Again one had a three­ way thing going, which I thought was wonderful.

“Duet for Four” was a project that had been around for some time . . .

Yes, and sometimes I think it is a little dated. The role I was playing, in particular, seemed more a part of the early 1970s, when in fact it was written [by David William­ son]. Barbara should have had her act together by now — maybe. She quotes quite a tough feminist line, which I think relates more to the early 1970s than now.

Okay. Sidecar Racers was only

I never saw it. I don’t know what happened to it, except that it

did a week in Brisbane.

How important do you rehearsal time on a film?

find

Absolutely essential. That’s one reason I really admire Karen Arthur [director] on Return to Eden. She had to fight hard for two weeks of rehearsal before we went into it, which was essential on something treading a fine line between melodrama and up­ market soap.

With something like Touch and Go, there was no rehearsal, other than a few days. But more and more directors are demanding it today. You save so much time in the end.

What about your stage work? You did a lot in the early 1970s . . .

Yes, and I didn’t do anything again until Cat on a H ot Tin R o o f last year.

What has happened with “ A Dangerous Summer” ?

You have done 10 films, two of them with overseas directors: Earl Bellamy on “ Sidecar Racers” and Claude Watham on “ Hoodwink” .

How did you find working with them?

You have mentioned all your recent films except “Touch and Go” . . .

So, if you like the part, you have no worries about working with

Above: Peter and Patricia meet again at Albert Park. Left: Patricia confronts her parents (Vic Gordon and Irene Inescort) over her relationship with Peter, while Bruce (Jon Finlayson), a friend, stands bemused. Below: Patricia and a bank supervisor (Richard Hutson) at work.

Lonely Hearts.

No idea. I haven’t seen it, and I don’t even know if it is going to be released. No one’s told me.

plete character on screen, and there were no really heavy scenes for me to get my teeth stuck into.

It was all innuendo and slightly enigmatic.

foreign directors, here or over­ seas . . .

Which film have you most enjoyed doing?

Is that the first time you and John Hargreaves have worked together?

None, if the part is right. It can be really stimulating to work with people from a different country, or with a different lifestyle: they have different ways of looking at things.

I think Lonely Hearts, because of the part. In all the other films the characters have never been fully developed. My role in My Brilliant Career wasn’t rounded out — or, if it was, the scenes where this happened didn’t appear on screen.

The same thing happened with Newsfront. There wasn’t a com­

On stage, yes. We had done Hoodwink, but there weren’t any great scenes between us in that.

Cat on a Hot Tin R o o f was the first time since NIDA that we had done a big thing together.

A couple of years ago there was controversy about overseas actors coming to work in Australia.

There seems to be far less of that

You obviously like working with one another; it is a pity nobody has taken fuller advantage of that . . .

CINEMA PAPERS October — 431

Wendy Hughes

Well, we are together again in Careful He Might Hear You. John is playing the one man in my life, though he is really a figment of my imagination. He is a bit of a rogue; a no-hoper adventurer.

You are also doing a television series “Return to Eden” . Is that simultaneous with “ Careful He Might Hear You” ?

I have a day off after Eden before I start Careful. It is going to be really difficult to swap charac­ ters: they are at opposite ends of the pole.

In Careful He Might Hear You, I play a very self-contained, elegant, pristine, 30-year-old spinster. I don’t think she has had an affaire in her life. There is some big hang-up there. She’s a very contained lady, calculative and immaculate.

She is sort of a 1930s version of Patricia in Lonely Hearts, only that she is more complicated and not as warm.

Yes, a teleplay by Alex Buzo called Coralie Lansdowne. I really enjoyed that because it was like doing a stage play. We used to do 30-minute takes, which were a real challenge — for the crew as well. It was something I could really get my teeth stuck into. It wasn’t two little sentences and cut!

great lady and someone I could identify with. That always makes it easier.

You did a television film four or five years ago called “ The Alterna­ tive” , for which you also won an award . . .

What about “ Lucinda Brayford” ?

I only saw one episode, which was where I was a 17-year-old girl.

It appeared very slow and I seemed to be trying so hard to be young.

Had I just forgotten about my age and played the part, it might have been a lot better.

I loved working on Lucinda, and found it challenging, particularly playing Lucinda when she is 40.

Have you any preference for stage, film or television?

I think the preference is film, just because you have more time than with television. You can dwell on things, and go for quality. But I do like the stage, I must admit. It’s so different. It took me two weeks on Cat on a Hot Tin R o o f to stop being nervous every time I stepped on stage.

When I step in front of a camera, I don’t get butterflies any more. I might be a bit apprehen­ sive about whether I can do some-

You received a Logie and a Sammy, I think, for “ Power With­ out Glory” . . .

Yes. I had a terrific part in Power Without Glory. She was a

thing well, but I don’t get that dreadful churning that happens on stage.

There is som ething m ore immediate about film. You can be more natural and play it more realistically. With the stage, you have to project your voice so that everyone can hear. It is also slightly more stylized.

Top: Melanie Hilton (Wendy Hughes) and child in Paul E ddy’s The Alternative.

Above: Gerard Kennedy and Hughes in Phil N oyce’s Newsfront. A bove right: Sophie McCann (Hughes), an insurance investigator in Quentin M asters’ A Burning Man. Right: Barbara Dunstan, taking a tough, fem inist line in Tim Burstall’s Duet fo r Four.

What about “ Return to Eden” ?

What are you doing after “ Careful He Might Hear You” ?

The woman I play is a dis­ contented, wealthy socialite, who falls desperately in love with her best friend’s recent husband. He is much younger than her friend, and I have a passionate affaire with him. The guy then kills his wife, and I am an accomplice because I don’t help her escape. I then turn into a helpless alcoholic; a scream­ ing, guilt-ridden mess. It is quite a different role.

Is there anything you have done for television that you particularly like?

432 — October CINEMA PAPERS

Yes, I did that after Power Without Glory. It was one of those spate of telefeatures produced by Bob Bruning, and from a Tony Morphett script. It was about a woman who decided to have a baby on her own without a man.

Paul Eddy directed it and we shot it in three weeks. It was a really good experience, even though we didn’t get any rehearsal. We were shooting about 16-hour days.

No idea. I don’t know if any­ thing is going.

Have you any plans to work again with Paul Cox?

^Áiuü.Wtoc

I’d love to work with him again, and there is talk of something happening next February or some­ thing. A script has been written, but he hasn’t the money together yet. It will be on a low budget, and shot in four or five weeks. It will be great if it happens. ★

F IL M

C E N S O R S H IP L IS T IN G S

May 1982

Films examined in terms of the Customs (Cinematograph Films) Regulations and States’ film censorship legislation are listed below.

An explanatory key to reasons for classifying non-“ G” films appears hereunder:

Films Registered Without Eliminations Andrus: Lithuanian Film Studio, USSR, 1731 m, USSR Embassy Band On The Run (16mm): H. Hodge, Australia, 987.30 m, Associated Screen Arts Black Beauty: Not shown, Britain, 3051.34 m, G.L. Film Enterprises Changing The Needle (16mm): Ansara/Ross/ Robertson, Australia, 603.35 m, Le Clezio Films The Crazy Westerners (16mm): BBC Film Prod , Italy, 1053.12 m, G.L. Film Enterprises Dot and Santa Claus (videotape), Yoram Gross Film Co., Australia, 72 mins, Yoram Gross Film Studio Far Away From Home: Pai’s Entertainment, Hong Kong, 2619 m, Comfort Film Enterprises A Hat: Mosfilm, USSR, 2516 m, USSR Embassy In The Beginning of The Game: Gorky Central Studios of Children’s & Youth Films, USSR, 1916 m, USSR Embassy The Men: Mosfilm, USSR, 2673 m, USSR Embassy Pictures At A Competition (16mm): Orpheus Films, Australia, 636.26 m, Orpheus Films Rainbow of Seven Hopes: Uzbekfilm, USSR, 1924 m, USSR Embassy Roar (a) (revised version): American Filmworks, U.S., 2733 m, Filmways (A’sian) Dist. P/L The Seventh Match (videotape): Yoram Gross/Sarah Enterprises/AFC, Australia, 57 mins, Yoram Gross Film Studio P/L South Africa Belongs To Us (16mm): C. Austin, S.Africa/W. Germany, 614.32 m, Oceania Media Network Unsinkable Miss Calabash: Sunshine (H.K.) Motion Pictures Corp., Taiwan, 2388 m, Golden Reel Films Upside Down: Gorky Studios of Children’s & Youth Films, USSR, 1890 m, USSR Embassy (a) Previously shown on July 1981 List.

Not Recommended for Children (NRC) The Black Torment: Compton Tekli Prods, Britain, 2457.28 m, G.L. Film Enterprises, V(i-m-g) Die neuen leiden des jungen W. (videotape): Artus Film, W. Germany, 108 mins, German Embassy, S(i-l-j), L(i-H), V(i-l-j) Drunk Blows, Crazy Blows: Kuk Hing Wah, Hong Kong, 2399 m, Comfort Film Enterprises, V(f-l-g) Express N34: Mosfilm, USSR, 2286 m, USSR Embassy, S(i-l-j), V(i-l-j) 0(adult theme) Fact: Lithuanian Film Studio, USSR, 2486 m, USSR Embassy, S(i-l-j), V(i-l-j), Ofadult theme) Great White: E. Amati/U. Tucci, Italy, 2358.98 m, Superstar Int’l Films, V(i-m-g) Lady In White: Moldova Film Studio, USSR, 4200 m, USSR Embassy, V(i-l-j) 0(adult theme) II mistero de Oberwald: Rai/Rete 2, Italy, 3569.66 m, AZ Assoc. Film Dist., Ofadult concepts) Legend Of The Owl: Zenith Film Prods., Hong Kong, 2303 m, Golden Reel Films, V(i-l-j) Liars Dice (16rnm): Leban Prods., U.S., 1034 m, National Library of Aust., S(i-l-j), L(i-l-j), 0(adult theme) Mahjong Heroes: Shaw Bros., Hong Kong, 2640.20 m, Joe Siu Int’l Film Co., V(i-m-g) ■ Muddy River: Kimura/Shibata, Japan, 2852.72 m, Ronin Films, S(i-l-j) Return Of The Sentimental Swordsman: Shaw Bros., Hong Kong, 2646.70 m, Joe Siu Int’l Film Co., V(f-l-j) Rocky III: R. Chartoff/I. Winkler, U.S., 2705.40 m, United Int’l Pictures, V(i-m-j) The Salamander: Lord Grade/ITC, Britain/ltaly, 2715.57 m, Hoyts Dist., V(i-m-j) The Shooting Stars: Mosfilm, USSR, 2540 m, USSR Embassy, S(i-l-j), 0(adutt concepts) Take The Rap: Yangtze Film (Hong Kong), Hong Kong, 2667 m, Eupo Film Co., V(f-l-j) Teheran-43: Mosfilm, USSR, 4191 m, USSR Embassy, S(i-l-j), V(f-l-j), 0(adult theme, drugs) Wasser fur canitoga (16mm): U F A., W. Germany, 1200 m, German Embassy, S(i-l-j), V(i-l-j), L(i-l-j) A Wild Field: Not shown, Vietnam, 2496.13 m, Pan American Prods, V(i-l-j)

For Mature Audiences (M) Attack Force Z (reduced version) (a): J. McCallum, Aus­ tralia, 2541.53 m, Roadshow Dist., V(f-m-g) Barbarosa: Wittliff/Nelson/Busey/ITC Films, U.S., 2413.84 m, Hoyts Dist., Vff-m-g) The Boat: Bavaria Atelier/Radiant Film, W. Germany, 3428.75 m, Fox Columbia Film Dist., L(i-m-j) C’est pas moi, c’est lui: Fideline Films, France, 2578.42 m, European Film Dist., 0(adult theme) Circle Of Deceit (Die faelschung): Bioskop/ Argus/Artemis, W. Germany/France, 2962 m, United Int’l Pictures, S(i-m-j), V(i-m-j) Cornin’ At Yal: C/A/U Prod., U.S., 2496.13 m, 3rd Dimensional Films, V(f-m-g) Crosstalk: E. Sullivan, Australia, 2203 m, GUO Film Dist., 0(sexual allusion) Dangerous Person: Lo Wei Motion Picture Co., Hong Kong, 2323 m, Golden Reel Films, V(f-m-g) A Dangerous Summer: Film Co. Ltd, Australia, 2441.27 m, Film Co. Limited, V(i-m-j), O(nudity) Dead Men Don’t Wear Plaid: Aspen Film Soc., U.S., 2413.84 m, United Int’l Pictures, Ofsexual innuendo) Die bleierne zeit (Dark Times): Filmverlag Der Autoren, W. Germany, 2935.01 m, Arclight Films, Ofadult concepts) , Diner: MGM, U.S., 2909.87 m, United Int I Pictures, Lffm-j), Ofadult concepts) Dirty Trick: Sunrise Film Trading Co., Hong Kong, 2492.03 m, Comfort Film Enterprises, Vff-m-g) Early Frost: D. Hannay, Australia, 2413.84 m, Film Co. Limited, Vfi-m-j) Film About A Woman Who . . . (16mm): Y. Rainer, U.S., 1107.97 m, National Library of Aust., Ofsexual allusion nudity)

S (Sex) .........................

V (V io le n c e ).................

L (Language) .............

O (Other) .....................

.......... ........ ......... .........

Purpose

Explicitness/lntensity

Frequency

For General Exhibition (G)

Infrequent

Frequent

Low

Medium

High

Justified

Gratuitous

/ i / i

f f f f

/ / /

m m m m

h h h h

i i i i

g g g g

Goodbye Paradise: Petersham Pictures, Australia, 3291.60 m, Petersham Pictures, Sfi-l-g), Vfi-m-g) The House By The Cemetery (pre-censor cut version), Fulvia Film, Italy, 2331.55 m, GUO Film Dist., Ofhorror) Journey To The End Of Night (16mm): P. Tammer, Australia, 789.84 m, Peter Tammer, Lff-m-g) Kristina Talking Pictures (16mm): Not shown, U.S., 965 m, National Library of Aust., Lfi-m-j) Life After Life: M. Kar/S. Tin, Hong Kong, 2988 m, Golden Reel Films, Vfi-m-j) Lola: Rialto/Trio Film Prod., W. Germany, 3207.12 m, Filmways (A’asian) Dist., Lfi-m-j), Ofadult concepts) Missing: Edward Lewis Prod., U.S., 3346.56 m, United Int’l Pictures, Vfi-m-j), Ofemotional stress) Mobfix Patrol: Shaw Bros., Hong Kong, 2828 m, Joe Siu Int’l Film Co., V(f-m-g) Nocturna: Nai Bonet Prods, U.S., 2249.26 m, Crystal Film Corp., Ofsexual allusion) Queen Bee: Not shown, Hong Kong, 2600 m, Comfort Film Enterprises, Vfi-m-g) Readlips: Not shown, Hong Kong, 2677.25 m, Grand Film Corp., Vff-m-g) Rivals (b): Avco Embassy, U.S., 2825.29 m, Crystal Film Corp., Sfi-m-j) Soldier Girls (16mm): Churchill Films, U.S., 921.48 m, Ronin Films,, Lff-m-j), Ofemotional stress) A Study In Terror: J. Hill, Britain, 2661.20 m, G.L. Film Enterprises, Vff-m-g) (a) Shown as Z-Men on December 1980 List; reduced by producer’s cuts from 2621.47 metres. (b) Previously shown on September 1973 list.

For Restricted Exhibition (R) Acquaintances (pre-censor cut version): R. Steiner, U.S., 2091.60 m, 14th Mandolin, Sff-m-g) Agent 69 (modified version) (videotape): Harlequin Films, U.S., 52 mins, Intercontinental Video, Sff-m-g) Angie Baby: Cal Vista Studio, U.S., 2227.08 m, Blake Films (Vic.), Sff-m-g) The Beyond (pre-censor cut version): Fulvia Films, Italy, 2276.69 m, GUO Film Dist, Ofhorror) Big Snatch (a): Argon Prods, U.S., 1645.80 m, 14th Mandolin, Sff-m-g) Bloody Moon (videotape): W. Hartwig, W. Germany, 82 mins, Video Classics, Vff-m-g) Boss Lady: Lima Prods, U.S., 2139 m, Regent Trading Enterprises, Sff-m-g) Cat People: C. Fries, U.S., 3209.31 m, United Inter­ national Piet., Sfi-m-j), Vfi-m-j) Christiane F. (pre-censor cut English-dubbed version): Golden Harvest Ltd, W. Germany, 3456.18 m, Fox Columbia Film Dist., Lff-m-g) Co-Ed Fever (modified version) (b): H. Lime, U.S., 1848 m, AZ Associated Film Dist., Sff-m-g) Death Wish II (soft version) (c): Golan/Globus, U.S., 2426.26 m, Fox Columbia Film Dist., Vff-m-g) Delirium (videotape), Odyssey Pictures, U.S., 86 mins, K&C Video, Vff-m-g) Double Jeopardy: U. Lommel, U.S., 2314.70 m, Pacific Telecasters (Aust.), Sfi-m-g), Vfi-m-g) Exposed (videotape (d): W. Emerson, Sweden, 78 mins, Blake Films (Vic.), Sff-m-g), Vfi-m-g) The First Exposure: Ma Ming Chi, Hong Kong, 2687.20 m, Grand Film Corp., Vff-m-g) Five Loose Women (videotape) (e): A.C. Stephens, U.S., 81 mins, K&C Video, Sfi-m-g), Vff-m-g) Games Of Love (videotape) (f): J. Chan, Hong Kong, 90 mins, J&P Videohire, Sff-m-g) The Golden Box: Donald A. Davis Prod., U.S.,

,

/

2175.26 m, Regent Trading Enterprises, Sfi-m-g), Vfim-g) Horny Vampire (16mm) (g) (reconstructed version): Not shown, U.S., 438.80 m, 14th Mandolin, Sff-m-g) International Red Tape (videotape), Red Tape Prods, Britain, 59 mins, F. Steedman, Sff-m-g), Vfi-m-g) Intimate Moments: Avco Embassy, France, 2715.57 m, Hoyts Dist., Sfi-m-g) Matinee Wives (h): Gentlemen II Prods, U.S., 2245.70 m, Blake Films (Vic.), Sff-m-g) The Mistress (videotape), Not shown, Italy, 101 mins, N.S. Productions, Sff-m-g) Night Flowers: S. Faile, U.S., 2249.26 m, Video Classics, Sfi-l-g), Lfi-l-g), Ofsexual violence) Night Of The Animals (videotape), L. Taylor, U.S., 58 mins, Intercontinental Video, Sff-m-g) The Other Side Of Madness: Aunic Limited, U.S., 2286.82 m, Video Classics, Sfi-m-g) .

Personal Best: Giffen Co., U.S., 3428.75 m, Warner Bros (Aust.), Sfi-m-j), Lfi-m-j) Richard Pryor Live On The Sunset Strip: Rastar Prod., U.S., 2194.40 m, Fox Columbia Film Dist., Lff-m-g) Savage Connection (i), A. Weber, U.S., 2057.25 m, Blake Films (Vic.), Sff-m-g) Sex Clinic: Not shown, W. Germany, 2401.70 m, G.L. Film Enterprises, Sff-m-g) Sex World (videotape) (reconstructed version) (j): Thornberg, U.S., 77 mins, Blake Films, Sff-m-g), Lfi-m-g) Smash Palace: Aardvark Films, New Zealand, 2880.15 m, Roadshow Dist., Sfi-m-g) SS Girls (videotape): Media Home Entertainment, W. Germany, 78 mins, Video Classics, Sff-m-g) A Stranger Is Watching: S. Beckerman, U.S., 2482 m, United Int’l Pictures, Vff-m-g) Tarz & Jane & Cheeta & Boy (pre-censor cut version): D. Fine, U.S., 1755.52 m, House Of Dare, Sff-m-g) (a) Previously shown on November, 1977 list. (b) Previously shown on September, 1981 list. (c) See also under “ Films Refused Registration.” (d) Previously shown on March, 1974 list. (e) Previously shown on April, 1981 list as Fugitive Girls. (f) Previously shown on October, 1979 list. (g) Previously shown on February, 1982 list. (h) Previously shown on July, 1977 list as Matinee Hookers. (i) Previously shown on May, 1977 list as Thigh High In Sex. . (j) Previously shown on April, 1980 list; see also under “ Films Refused Registration” .

Special condition: That the film will be exhibited only at the 1982 Sydney/Melbourne/Brisbane/Perth and/or Adelaide Film Festivals and then exported.

Americana: Skip Sherwood, U.S., 2386.79 m, Sydney Film Festival An Indian Story: Cinemart, India, 1609 m, Sydney Film Festival The Aviator’s Wife: Eric Rohmer, France, 2990 m, Sydney Film Festival Bad Blood: Southern Piet. Ltd, New Zealand, 3143 m, Sydney Film Festival Beyond Reasonable Doubt: Endeavour Prod., New Zealand, 3240 m, Sydney Film Festival Brighton Beach (16mm): River Productions, U.S., 625 m, Melbourne Film Festival Broken Sky: Swedish Film Inst., Sweden, 2600 m, Sydney Film Festival Burden of Dreams (16mm): Les Blank-Flower Films, U.S., 1160 m, Melbourne Film Festival Burning An Illusion (16mm): British Film Inst., Britain,

634 m, Sydney Film Festival Carry Me Back: Kiwi Films, New Zealand, 2715 m, Sydney Film Festival Casablanca Circus: Film Co-operative Casablanca, Denmark, 2598 m, Sydney Film Festival Celeste: Pelemele Film GMBH and Bayerischer Rundfunk, W. Germany, 2941 m, Melbourne Film Festival Conversation with Willard Van Dyke (16mm): Anomaly Films, U.S., 655 m, Sydney Film Festival Coup de torchon: Louis Wipf, France, 3460 m, Sydney Film Festival Cry Of The Wounded: Devi Dutt, Narayan Kenny, India, 3900 m, Sydney Film Festival The Decline of Western Civilization: Penelope Spheeris, U.S., 2730 m, Melbourne Film Festival Diva: Irene Silberman, France, 3217 m, Sydney Film Festival Donna (16mm): Rolf Orthel, Netherlands, 693 m, Mel­ bourne Film Festival Eyes Without A Face: Champs-Elysees/Lux, France, 2414 m, Sydney Film Festival Farewell To The Land: Gunro & Atelier Dancan, Japan, 3580 m, Sydney Film Festival Fear Not Jacob: Galla Film, W. Germany, 2710 m, Sydney Film Festival A Foolish Love (I apenanti): Giorgos Panoussopoulos Ltd Greek Cinema Centre, Greece, 3000 m, Melbourne Film Festival The Ghost Ship (16mm): R.K.O. Radio, U.S., 821 m, Sydney Film Festival The Girl With The Red Hair: The Movies Film Productions BV, Netherlands, 3112 m, Sydney Film Festival The Hungry i Re-Union (16mm): Cinema Ventures, U.S., 1015 m, Melbourne Film Festival In Our Water (16mm): Foresight Films, U.S., 655 m, Melbourne Film Festival Inside Out (16mm): Film Transform, U.S., 640 m, Mel­ bourne Film Festival The Invisible Man (16mm): Universal, U.S., 840 m, Sydney Film Festival A Lady Named Baybie (16mm): Martha Dandlin Prod., U.S., 634 m, Melbourne Film Festival Light Years Away: Pierre Heros, Ireland, 2923 m, Sydney Film Festival Looks and Smiles: Black Lions Films/Kestrel Films, Britain, 2824 m, Sydney Film Festival Love Passion (Passion d’amore): Franco Committeri for Massfilm-Rome/Marceau Cocinor (Paris), Italy/ France, 3221 m, Melbourne Film Festival Malevil: Claude Nedjar, France, 3287 m, Sydney Film Festival The Man Who Changed His Mind: Gainsborough, Britain, 2057 m, Sydney Film Festival Mark Of The Vampire: M.G.M., U.S., 1673.22, Sydney Film Festival The Most Dangerous Game (16mm): R.K.O. Radio, U.S., 726 m, Sydney Film Festival The Mystery of the Wax Museum (16mm): Warner Bros/First National, U.S., 800 m, Sydney Film Festival Neon City (Neonstadt), Tura Film, Munich in collabora­ tion with Trio-Film, W. Germany, 2874 m, Melbourne Film Festival Nightshift (16mm): Mary Rose, Britain, 2660 m, Sydney Film Festival One Man’s War (La guerre d’un seul homme): Marion’s Films, France, 2894 m, Melbourne Film Festival On n’est pas des (16mm): Angesles Prod. Prisma Inc., Canada, 853 m, Melbourne Film Festival On Probation: Defa, E. Germany, 2687 m, Sydney Film Festival Prends 10,000 balles et casse-toi: Fennec Production, France, 2457 m, Melbourne Film Festival Prison For Women (16mm): Spectrum Films, Canada, 966 m, Sydney Film Festival Rent Control: Fisocon Prod., U.S., 2457, Melbourne Film Festival Sandino Now And Forever (Sandino hoy siempre) (16mm): Tercer Cine, Netherlands/Nicaragua, 625 m, Melbourne Film Festival The Scarecrow: Rob Whitehouse, New Zealand, 2430 m, Sydney Film Festival Snow: Babylone Films, France, 2422 m, Sydney Film Festival Something Becomes Evident (Etwas wird sichtbar): Harun Farocki Filmproduktion, W. Germany, 3400 m, Melbourne Film Festival Sometimes I Look At My Life: I.C.A.I.C., Cuba, 1925 m, Sydney Film Festival So That You Can Live (16mm): Cinema Action, Britain, 972 m, Sydney Film Festival Stagefright (16mm): Jon Jost, U.S., 866 m, Sydney Film Festival Stages: Houseman Directs Lear (16mm): A. Pope Prod., U.S., 642 m, Melbourne Film Festival A Strange Affair: Sara Films, France, 2967 m, Sydney Film Festival Tender Hours: Carlos Saura, Spain/France, 3042 m, Sydney Film Festival Traveller (16mm): British Film Inst., Britain, 942 m, Sydney Film Festival The Unknown: M.G.M., U.S., 1371.50 m, Sydney Film Festival Vernon Florida (16mm): Errol Morris, U.S., 672 m, Sydney Film Festival

Concluded on p. 483 CINEMA PAPERS October — 433

The Return o f Captain Invincible: a madcap, musical comedy-adventure where the flying super hero crushes Nazis, threatens bootleggers, helps boy scouts and battles M oscow .

Return is directed by Philippe Mora, from a screenplay by Andrew Gaty and Steven de Souza, fo r producer Andrew Gaty. It stars Alan Arkin as Captain Invincible, with Christopher Lee, Kate Fitzpatrick, Bill Hunter, Graham Kennedy, Michael Pate, Hayes Gordon and John Bluthal.

Clockwise from top right: Captain Invincible (Alan Arkin) takes aim in the great pie fight inside K atzka’s delicatessen in New York; the evil Mr Midnight (Christopher Lee), right, and associates; Detective Sergeant Tupper (Bill Hunter) gazes through a hole in the wing o f the Sydney Opera House, where Captain Invincible has broken his way to freedom; Captain Invincible strikes up a song on the subway.

434

October CINEMA PAPERS

It encompassed a collection of short-term training activities: • on-the-job training; • grants to craft guilds; ® short courses at the AFTS Open Program; 9 specialist seminars1; and 9 catalyst appointments in Western Aus­ tralia and Tasmania.

Table 1 shows the list of jobs in the on-thejob training scheme, the numbers of trainees in each job and the state where they worked.

Overall, there were 15 different job categories for on-the-job trainees, which makes the National Industry Training Scheme unique.

The training scheme run this year by the New South Wales Film Corporation (its first training initiative), by comparison, has confined itself to five job categories and taken only five trainees, who are paid an annual salary of $15,000 each for one year. At the AFTS, where students are trained for a range of jobs, to date there has been no training for gaffers, props, or set construction, and no specific courses for continuity, sound mixing or production design in the full-time program.

In its approach and its breadth, the National Industry Training Scheme has pioneered the way for on-the-job and short-term training for film and television. In its first 15 months, more than 430 people in the film industry were assisted in upgrading their skills. The AFC con­ tributed about 60 per cent of funding, while the state corporations, the AFTS and private employers contributed the remainder.

Background he impetus for the scheme came from the unprecedented level of films produced in the past financial year. Producers com­ plained to the AFC that they could not get experienced technicians to make their films at the high level of expertise needed. Two

T

1. “ The Law o f M aking M ovies” was put together as p art of the N ational Industry T raining Scheme. See C in e m a P a p e r s , No. 38, pp. 213, 281.

he National Industry Training Scheme, the first Australia-wide, on-the-job train­ ing program for the film industry, is com­ pleted. The trial scheme finished in June with an impressive record of 80 per cent of trainees employed.

Major sponsor of the training scheme, the Australian Film Commission, is now looking at where to concentrate further funds for training.

General manager Joe Skrzynski said: “ The AFC saw itself acting as a catalyst with a one-off program designed to assist an immediate shortage of skills and to stimulate longer term action by other bodies.”

Discussions on the future direction of the National Industry Training Scheme are under way between the AFC, the Australian Film and Television School, and the Film and Television Production Association.

The National Industry Training Scheme was set up by the AFC in March 1981 (see Fig. 1).

The scheme was significant for the extent of co-operation throughout the industry, and included government film bodies in South Aus­ tralia, Western Australia, Queensland and Tas­ mania, as well as the AFC, the AFTS, and production houses and studios in most states.

The scheme cost approximately $285,000 and was aimed at short-term improvements in the number of trained film technicians in Australia.

T

* D aniela T orsh was the c o -ordinator and one o f four consultants for the A F C on the N ational Industry T raining Scheme.

CINEMA PAPERS October — 435

The National Industry Training Scheme

independent surveys of the industry, by the FTPAA and the research unit at the AFTS, backed their claims and showed serious shortages of technicians.

The AFC then asked Malcolm Smith, executive producer of Manganinnie and now working on the mini-series The Migrant Experi­ ence, to assess the extent of shortages in early 1981 and to recommend some immediate remedies. “ The Commission considers that such an initiative is important in trying to ensure that Australian films maintain the recognizable quality which has attracted such notice at home and overseas” , wrote the then chairman of the AFC, Ken Watts, in his 1981 annual report to the Minister for Home Affairs.

After talking to producers, production houses, government film bodies, rental and equipment suppliers, Smith confirmed that shortages were serious. He added several new categories to the program and outlined the scheme as a multi-faceted approach aimed at upgrading skills rather than increasing the “ intake” of new people into the industry.

Major emphasis was on six months of full­ time learning on-the-job for an estimated 55 trainees, who would be employed in production houses and studios in a supernumerary job supervised under the guidance of an experi­ enced technician. Smith approached the major production houses which had a constant supply of work to keep trainees busy and able to work in a variety of either commercials, documen­ tary, television or film work.

Among the producers with whom he negoti­ ated were AAV Australia, The Film House, Crawford Productions and Cambridge Films in Melbourne; Martin Williams Films in Brisbane; the state film corporations of South Australia and Tasmania; and Atlab, Film Australia and the Grundy Organization in Sydney. Also in Sydney, production accountant Penny Carl of Moneypenny Services set up a training scheme for production accountants which involved working on feature films and attending lectures at the Open Program at the AFTS. Carl con­ centrated on teaching the seven trainees the new computerized system she had devised for weekly cash flows and budgeting.

It was decided not to advertise the training scheme. Smith thought that suitable applicants could be found through “ word of mouth” , thus avoiding the high administrative costs of a lengthy selection process. A short article in the Australian Financial Review in early April elicited 150 written applications, which were checked and passed on to the relevant employers. Overseas applicants or people without previous work experience or training were advised they were ineligible.

A critical feature of the training scheme was the agreement by all employers that trainees would not take jobs from freelancers and so they were paid at minimum rates for the job.

The Australian Theatrical and Amusements Employees Association was one of the organizations that Smith had obtained agree­ ment and support from in his earlier national industry survey.

The scheme was similar to an apprenticeship, the main difference being that the period of training was six months and not four years, Instead of attending classes at a technical college, trainees were encouraged to attend a relevant course at the Open Program of the AFTS. Administration of the training scheme was carried out by three part-time consultants for the AFC in addition to Smith as supervising consultant. The three were producers Gilda Barrachi, Tim Read and the author. The notion of a special task force which can be quickly 436 — October CINEMA PAPERS

formed and disbanded when the job’s over was one of the most important innovations of the National Industry Training Scheme as far as the AFC was concerned, according to Skrzynski.

Production Design n unexpected bonus for the scheme was a special program in production design undertaken at the AFTS; unexpected because it was not part of Smith’s original blueprint but arose as a result of a timely approach halfway through the scheme

by Richard Thomas, head of the full-time The production designers training scheme at the program. The AFTS offered six diploma design Australian Film and Television School. Dennis Gentle, head o f the A rt Department, is on the students from other tertiary colleges the chance right. to work under Dennis Gentle, head of the art department. The students had eight months to make the transition from interior and graphic worked through the holiday period. By the time design to film and television. the full-time students came back from their Gentle, whose film credits include Wake in vacations, they found six student designers Fright and who previously worked as head of available to work on their productions. This the Australian Broadcasting Commission’s had not happened before in the eight years of design department, was ecstatic about the the full-time program. Gentle said: scheme’s success: “ Their training was broad in concept, aiming “ My own impression of the project as a not only at the transfer of knowledge, but whole is that it is a total success. The final encouraging personality development and a test will come when it is job finding time, of general polishing of their attitudes and course, but I do think the attachments they awareness.” went on introduced them to the industry.

Gentle wanted them to be able to work as an Some employers have already offered them assistant designer when they finished working jobs. Certainly all six of them will be with him. Five of the trainees were 21 and one equipped to work as young designers — the was 20 years old. According to Gentle, they shortfall is in the opportunities.” soon began to emerge as excellent designer With AFC assistance and the support of the material. They worked with Graeme Murphy two tertiary colleges which ‘loaned’ their on a production of the Sydney Dance Com­ students, Gentle was able to virtually create a pany, visited film sets (e.g., 1915 and The professional design department within the Return of Captain Invincible), made visits to AFTS. He took on the role of senior designer television stations and the Opera House to look with the fledgling designers learning on-the-job at staging and special effects, and went to the as they ‘contracted’ their work on the full-time theatre, films and the National Institute of students and often even to the AFTS. Dramatic Arts. They were quick to learn, used One of the student designers did the 1982 what they were taught, absorbed the benefits of AFTS handbook design and the invitations to exposure to the various experiences and became student showings of their diploma films. a well-knit and happy group.

Another student designer did the sets, props, By the time they were due to leave in July, all costumes and standby props for all the second six regretted what they now saw as an unavoid­ year films. In addition to the ‘in-house’ work, ably early departure. The full-time program the designers went on attachments for about was just moving into high gear for student pro­ four weeks each to one of the Grundy ductions but the designers had to return to their Organization, Crawfords, ATN-7 in Sydney, home colleges to complete their final semesters and the ABC in Melbourne and Sydney. and qualify for their diplomas.

The six students selected by Gentle — four Thomas is enthusiastic about the possibility from the Sydney College of the Arts and two of another group of five student designers from Swinburne Art School in Melbourne — training for a full year in 1983. However, started their training in November 1981 and funding for the course is still uncertain.

A

O c c u p a tio n Accountant Editing Assistant (incl. sound edit) Video Editor Production Assistant Continuity Sound Assistant Sound Mixing Camera Assistant Gaffer Production Manager Assistant Director Set Construction Standby Props & Set Dressing Production Design Legal TOTAL

N .S .W .

VIC.

6

1

2

2 2 3 2

2 1 1 2 2

1 1

S .A .

W .A .

TAS.

Q LD

7 1

1

1 1 3 1 1 2

2 1 1 4 1

2

24

15

TOTAL

6 2 6 4 4 2 4 2 2 2 1 1 6 1

7

2

1

1

50

The National Industry Training Scheme

Gentle with Scott Bird, on attachment fro m the Swinburne Post-graduate Diploma course. w aam m m

Craft Guilds he tentacles of the scheme extended to the craft guilds. Smith had proposed special ‘seed’ training grants to stimulate the guilds to set up their own programs for short-term training. Grants went to the Australian Cinematographers Society, the tralian Writers Guild and the FTPAA. The ACS has plans for a national round of lighting seminars to be led by Don McAlpine, Russell Boyd, Phil Pike and John Leake, among others.

The AWG proportioned its money to three states: Victoria, South Australia and Western Australia. Each state branch was asked to look at its local training needs. In Melbourne, the AWG decided that its monthly workshops would be greatly improved by having scripts and craft manuals locally available in a resource centre for writers. The script collection is being bought, bound and catalogued, and the centre is well on its way with a room in the old YMCA building next door to the new Victorian Arts Centre.

In Adelaide, a seminar on writing for feature films and the state of the South Australian industry was held at the SAFC on the weekend of June 18. Rob George, local AWG secretary, says it concentrated on, “ the need to get the 21 participants to think about film as a commercial medium, to con­ sider just what is required to get the public to go out and spend $6 on a ticket” .

Three local films (Breaker Morant, Money Movers and Freedom) were screened for discus­ sion with their writers and producers present.

Writers contributing to the panel discussions were dramatist Ken Ross, story editor Graeme Koetsveld and two South Australian writers, Roger Dunn and John Emery.

In Perth, local AWG members will be invited to six discussion and lecture seminars on writing for film and television arranged by Helen Boyd, creative director of the Perth Institute of Film and Television. Her discus­ sions with Joan Ambrose, secretary of the West Australian branch of the AWG, resulted in PIFT plans for video workshops of scripts in progress.

J , The FTPAA spent its grant on a detailed sub­ mission to the Department of Employment and Youth Affairs in Canberra for further funding

T

industries where there is a lot of seasonal or freelance work and varying workloads among a large number of small businesses.

To support their claims for Commonwealth funding through the Skills in Demand program of the Department of Employment, the FTPAA conducted an industry survey of shortages and determined the type of short-term training most suitable for the industry’s needs.

The survey of 39 employer-members of the FTPAA was made in October 1981. It con­ firmed the shortages found in the by-now three other recent surveys and also confirmed that employers were keen on setting up a short-term training scheme and apprenticeships. There was some division of opinion about whether apprenticeships or short-term training was pre­ Aus­ ferable, depending on the kind of work the employer did.

Commercials producers, laboratories and equipment suppliers were more in favor of apprenticeships while feature film producers and television program makers preferred sixmonth attachments. Clearly this reflects the different needs of -producers and suppliers.

Feature films and often television series do not last long in production — at most six months — of on-the-job training. The lengthy submission while commercials are made constantly outlines the shortages of technicians in the film throughout the year. Laboratories and equip­ industry and the reasons for the shortages and ment suppliers also run continuously. the steps taken by the industry viz the scheme Twenty-two employers said they would have described above. They asked the Department work for an apprentice or trainee and on the for a contribution of $140,000 towards the total projection of this sample an estimated 63 costs of training 21 technicians in 1982. members of the FTPAA would be able to offer The FTPAA also proposed that an appren­ employment for apprentices or trainees. The ticeship scheme be set up to ensure a continuing type of job available for training covered the flow of trained young people into the industry entire range from script editor to laboratory in future years. They see the apprentice system technician to animator to grip. applying to jobs where no training is currently Despite the strong evidence presented of available: e.g., in set construction, electrics, industy support for continuation of on-the-job grips, special effects, make-up, laboratory and training and a survey which shows that existing equipment technicians, animation. training does not fill industry’s needs at The apprenticeship system would be slightly present, the Department of Employment different from the usual arrangement for, say, rejected the submission, claiming it did not fit hairdressers to allow for the peculiarities of the the guidelines of the Skills in Demand program. film and television industry. The apprentice Perhaps the Department could see further would be employed by the FTPAA, but lent to into its crystal ball than the industry. Some an individual employer for part of a three-year observers believe feature film production will apprenticeship. That way, the apprentice gets a nose-dive from 40 films last year to perhaps breadth of experience over the three years in, fewer than 20 this year. The argument for say, drama, documentary and commercials in further training seems harder to sustain in the film and videotape while working for a number face of a massive downturn in the production of different production houses. And the industry with large numbers of technicians employer does not have to take on an appren­ returning to commercials so they can eat and tice for the whole three years. pay the rent. A lot of technicians have been un­ If the employer realizes he hasn’t enough employed for months. Perhaps the continued work to keep an apprentice occupied, the training of young people for the film and tele­ apprentice can be sent to another member of vision production industry is a statement of the group of employers involved who has work. % faith in the future viability of the film industry, This kind of apprenticeship is called a group I but it grates against the hard reality of a employer scheme and is in use in the building bleak and uncertain economic climate and the trade and by the Hunter Valley Board in New paranoia of out-of-work technicians in feature South Wales. It has been especially designed for films. ★ CINEMA PAPERS October — 437

11#

From Peter Thornton in The Trouble­ shooters to Captain Farrell in The Chant of Jimmie Blacksmith and to Mike Stacey in Goodbye Paradise, Ray Barrett has been one o f Australia's best actors. Here, Barrett talks to Mark Stiles about his latest film, and what it means to play that loveable failure, ex­ Deputy Police Commissioner Mike Stacey.

How did you first become involved in “ Goodbye Paradise” ? Did scriptwriters Bob Ellis and Denny Lawrence have you in mind for the part?

Yes. I am very flattered because this is the first film that has been written for me.

Bob and Denny conceived the idea, and then we all went up to Surfer’s Paradise for a week or more, soaking up the atmosphere.

We also went up the Nerang, met various people and went into sleazy bars. This was about three years ago.

Bob is a great observer, and when I finally read the script, I thought, “ You bugger; you’ve observed Barrett!” But I didn’t mind. I was flattered because Stacey is a living person. He is a failure really, but a loveable failure; a kind man at heart. Yet everything’s slipped by him, and he hasn’t achieved the things he’s wanted to.

The character relates to a lot of people, including myself. Bob’s put the finger on it. He is brilliant.

Then, Jane Scott came in as pro­ ducer and raised the money. She is a wonderful producer and a very clever woman, who is going on to bigger and better things. She was always there, in control, but never seemed to intrude. She kept the crew together, and nobody felt left out. In the evenings, we were all invited to her suite to see the rushes, even the lowest of the low, from the runner to the dog trainer!

What Jane successfully did was keep people reassured that it was their picture as much as Jane’s or Carl’s or mine. And that is most important because I have been on so many productions where you get one little upset or jealousy running through a crew like wild­ fire. That’s dangerous, especially at the start of shooting.

Have you known any characters like Mike Stacey?

No. I would love to know what is in the book he is writing . . .

Bob didn’t go into it and neither did Carl. I accepted the fact that he Did the director, Carl Schultz, was battling to write about his experiences of working up through come in later? the police force to the stature of Yes. When Bob and I were talk­ Deputy Police Commissioner. ing about the production all those What I thought was more impor­ years ago, Bob asked me to pro­ tant was that Mike Stacey couldn’t duce it. We talked to a few people come to grips with it. He looks at on the Gold Coast and they were the page, opens a bottle and then quite interested, but I didn’t hear goes to the nightclub.

Stacey has been commissioned any more. I then realized I couldn’t produce it because I was to write this book but nothing has in every scene of the film, and that come through to the publishers, in itself is pretty demanding over and finally the publisher sacks him. He hits the grog again and an eight weeks shoot.

then the political faction picks him up. People from his past emerge and they know him for his failures.

He is down on Skid Row almost, and then he is told, “ Here’s four thousand dollars, find my daugh­ ter” , which leads him into another area. He finds himself utterly bewildered. All these people are about, and suddenly there is a coup . . .

What I found fascinating in the story was the fact that, through all this aggro and ugliness, fighting and intrigue, and through an alcoholic haze, Stacey was given the chance to show some tender­ ness. There are his moments with Kare (Robyn Nevin), for instance, and his putting the little girl to bed.

These to u ch es give Stacey tremendous dimension, which I find fascinating.

What was brilliant about the conception of the film, and the way Carl shot it, was that Stacey could tell h is story.

The film starts with Stacey walk­ ing along Surfer’s Paradise, and it is just his voice: “ I miss my wife, I miss my dog, I miss my hip flask of Johnnie Walker. I’ve been off the grog for six weeks.” Then it cuts to Stacey walking along to his sleazy boarding-house and immediately suggests the failure of the man.

For the audience, this sets up the character straight away.

The voice-over is a marvellous guide to Stacey’s thoughts . . .

Yes. It puts the audience in the picture. "People can relate to the guy’s failures, idiosyncracies and personal sorrow.

But is Stacey a failure? He has been a Deputy Police Commis­ sioner, and did receive an OBE in the 1976 New Year’s Honors . . .

He has done a hell of a lot in life, but in his own mind he has missed out on things that he might have wanted. Life is passing him by. You sense that in the scenes with Robyn Nevin, who is brilliant. I’m furious with Bob for killing Kate off, because we might have a sequel!

Another pleasing feature of the film is that the hero isn’t 18 years old . . .

Well, for me Goodbye Paradise is a very healthy step forward in the Australian film industry, even though I don’t think Bob and Denny intended to buck prevailing wisdom when they wrote it. For one thing, it is not an adaptation of an Australian novel. It is a film we wanted to make! It will be ter­ ribly interesting to see if it is accepted in the general market.

I believe it was very well received in London, and in California where it was shown at Filmex. It is the type of film, too, which I think people will look at and say, “ My God” , especially Australian audi­ ences because they have been con­ ditioned to films about gold miners and shearers. But I think we are all sick of that.

It is a little unhealthy that pro­ ducers still say a film has to have the virile Australian outback, sheep being sheared and all that.

That is why I think Jane was very CINEMA PAPERS October — 439

Top: M ike Stacey (Ray Barrett), right, meets his old friend Richard Quiney (Guy Doleman), who is supervising an Asian army exercise in Queensland. Right: nude photographer and bus tour operator Con Kandos (Lex Marinos) and Stacey. Below: Stacey fin d s Cathy (Janet Scrivener) dead on a bed. Carl Schultz’s Goodbye Paradise.

440 — October CINEMA PAPERS

Ray Barrett

game by saying, “ This has guts, a wonderful character and a fascina­ ting story. This is a goer!” It is unlike anything that has been pro­ duced in Australia before.

Yet it has a very Australian sense of humor to it . . .

Yes, though there is also a lovely send-up quality which other films don’t have. It is a great step for­ ward in my opinion. And I don’t say that just because I play the lead role; I would say the same no matter who played Stacey.

I hope it is a breakthrough because it will give producers and investors a little more courage to invest in an original screenplay, an original film, without going for security of a novel about the beef­ cakes out there cutting cane.

If Stacey were still Deputy Police Commissioner, how would he react to something like the Commonwealth Games Act, which allows the Queensland Govern­ ment to control protests during the Games in Brisbane . . .

I think Stacey would be more sympathetic to the protesters.

The reason I ask is because I think part of the appeal of Stacey’s character is that he is not an inflex­ ible, authoritarian cop . . .

That’s exactly why I think Stacey would be sympathetic to people who want to demonstrate for a cause. If he were still Deputy Police Commissioner, he would be a thorn in the side of the state government. I don’t think he would allow things to run riot, but he would be certainly against the sledgehammer approach on this issue. He would fight tooth and nail to see that justice is done and that everybody had a say. I think he’s anti-apartheid, for instance.

He’s knowledgeable enough, for goodness’ sake. He reads, he’s a bit of a writer, and a thinker. He is a kind man.

If he were called into the Minister of Police’s office, and the Minister said he intended to meet demon­ strations with a show of strength, and there was every indication that there would be violence, what would Stacey do?

I think he would advise his superior officer. He wouldn’t hold back or walk away from it. He is not the type of man to take a com­ mand lying down. He would resign rather than be talked down to by someone who has come up the ranks.

In the film, it seems as if it is only his drinking that got him sacked as Deputy Police Commissioner. Is that the whole explanation?

It has never been answered and I purposely didn’t go into it. What I loved about that character was that when he, like a lot of people, closed that door, he felt lonely and vulnerable, and said to himself, “ If only I’d done things differ­ ently.”

I don’t think the bottle was the great failure, though it could have added to it. Perhaps in various police forces in which he served — he was also in Sydney — he might have come in contact with a certain superior officer and gone against the normal. He’s not a guy that plays the book; he’s a humani­ tarian. And because he is the kind of bloke that he is, he couldn’t reach the higher echelons. So, he was stashed away, and told to write his memoirs.

I think he was made Deputy Commissioner purely and simply because of his good record. They couldn’t deny it. But he couldn’t jump up the next rung. And that’s what makes him a lovely, interest­ ing character.

I find Stacey increasingly fascinating. I said to Bob the other day, “ For God’s sake write another one. Stacey shouldn’t die — even if it is in a series. He’s an interesting enough character.”

Ray Barrett and Michael Carmen in Fred Schepisi’s The Chant o f Jim m ie Blacksmith.

Do you get to see a lot of scripts?

Yes. I had to pass one up recently, for various reasons, but I have just done a test for Film Aus­ tralia. I am interested in every­ thing. When I see a script, I am not concerned whether it is the lead part; I am more concerned if the part is good, such as the one in The Chant of Jimmie Blacksmith.

The part they want me to play in Annie’s Coming Out (for Film Australia) is a doctor and that interests me. I don’t care whether he’s only in one scene; I couldn’t care less, provided the character stands up. Gone are the days when you count the scenes your charac­ ter’s in and all that bullshit. I’m an actor, and that’s what it’s all about.

I have often wondered whether all the waiting, while the mechanical side is set up, destroys an actor. It must be difficult sustaining a per­ formance . . .

Well, I have worked that way for most of my working life. It is up to an actor to know how a camera works and what the prob­ lems of a lighting cameraman can be. And if an actor understands this, it enables him to accept things, instead of jumping up and down shouting, or walking away and losing his performance. You should just go off to the caravan and sit down, thinking about your performance. After all, when it goes on the emulsion, you are buggered, aren’t you? — especially when you shoot out of sequence.

They don’t start at the beginning, like a play. You might do the last scene first, and this is where you have to watch it. Once you have committed a character to celluloid, that’s the way you have to go on playing him in the film.

So you have more control in the theatre over your performance . . .

Yes. You have total control, but that might mean total failure.

There have been a number of times where I have come off the stage and said, “ My God, I did well tonight” , and a friend has come up from the audience — a fellow actor, invariably — and asked, “ What was wrong with you tonight?” It’s a delicate area.

Audiences in the theatre can vary greatly. You walk on a stage and think, “ Oh, I have them tonight” , and then you fall into the trap of going over the top or going under­ neath.

I prefer films because one can get it right — or try to get it right.

And if it doesn’t work, we can still think about it.

What is the best thing about acting?

The satisfaction that comes when you know you have done something good. There are so many frustrations in this business and the reward comes in the know­ ledge that you’ve tried hard and that your efforts have been appre­ ciated by the public.

Take The Troubleshooters, which I did for the BBC 10 to 15 years ago. People still come up to me and say, “ Peter Thornton, how are you? God I loved that show.”

That’s the sort of thing you appre­ ciate; the knowledge that they have really got pleasure from something that I have done. That’s all I need.

I can go to bed happy.

Is “Goodbye Paradise” the best thing you have done?

Well it is the most original and up-to-date. I think it is the best but I thought that when I played Mischa in Brothers Karamazov and then the knight in Luther. I suppose that’s part of the fascina­ tion of acting. It is what keeps you going. You say to yourself, “ Here’s another part. I’ll do this well.”

But certainly I’m proud of Goodbye Paradise. I loved that character Stacey and I hope he goes on . . . ★

Anderson (Tom Skerritt) and Webster (Ray Barrett) in Quentin M asters’ A Dangerous Summer.

CINEMA PAPERS October — 441

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UOCUMENTARY

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Numerous books have documented the Australian cinema, This critical and historical neglect is to be changed, fro m its origins last century to the feature film revival o f the however, by the publication o f The Documentary Film in 1970s. Rarely, though, has much mention been given to the Australia, edited by Ross Lansell and Peter Beilby. one continuous area o f production fo r these 90-odd years: A s a preview, printed below is the opening chapter by John documentary.

Langer.

What is a Documentary?

“A documentary film increases understanding o f the subject and brings out its meaning or significance. A t best it enlightens and stimulates; at worst, it deceives.

“It must necessarily be highly creative, but to limit it to the creative treatment o f actuality is inadequate. Whether or not it involves reality is unimportant: the essential thing is that it achieve its objective. ” r , „ John Heyer Veteran documentarist, principally with the Shell Film Unit, 1982

442 — October CINEMA PAPERS

Clockwise fro m top left: film m aker Baldwin Spencer in 1901 with som e Australian Aborigines; Chris N oonan’s Stepping Out; John H eyer’s Back o f Beyond; scene fro m one o f 43 one-minute shorts recently fo u n d in Queensland; fram e enlargement fr o m one o f the two 10-minute Pathe film s on Victorian Aborigines made in 1912.

What is a Documentary?

Left: director Ira Wohl (right) and cousin Phillie. Best Boy. Right: Stanley H awes’ School in the Mailbox.

opposite direction from the box-office. It hen John Grierson (1898­ implies that they are going to have to suffer 1972), usually credited with through some horrible ‘learning experience’.” 3 giving British documentary its In an attempt to clear away this termino­ reformist shape and institu­ logical confusion, the critic Richard Meran tional structure, declared that Barsam has opted for the designation, “ non­ “ ‘documentary’ is a clumsy term, but film” let it4 but, despite all the objections fiction stand” 1, he was giving expression to a dissatis­ the term “ documentary” remains obstinately faction long felt by filmmakers and critics: the established in the theory, practice and term is seen as inadequate, but no acceptable institutions of filmmaking. alternative is readily to hand.

Part of the problem resides in the capacity of Lindsay Anderson, a member of the ‘Free the word to mean different things to different Cinema’ documentary movement in Britain in people. Dai Vaughan perceptively describes this the mid-1950s, explained that “ one of the state of affairs by suggesting that “ ‘documen­ things that has fouled up the discussion of tary’ is one of those terms which referfs] not to documentaries . . . in recent years has been the an entity, which may be definitely described, but identification of documentary with information to an ideal, attainable or otherwise, perhaps or even instruction. Maybe it is a word that has even self-contradictory, to whose fulfilment we outlived its usefulness, because . . . it no longer aspire in our specific uses of it. Documentary, has a very clear significance.” 2 Ira Wohl, in other words, is the history of our attempts to director of the 1980 Academy Award-winning find meanings for the word ‘documentary’.” 5 documentary Best Boy, says, “ I hate the word ‘documentary’. It sends people streaming in the 3. Tom Ryan, “ Ira W ohl Talks A bout Best Boy” ,

W

1. In Richard Dyer M acCann (ed.), Film: A Montage o f Theories, D utton, New Y ork, 1966, p. 207.

2. In G. Roy Levin, Documentary Explorations: 15 Interviews with Filmmakers, D oubleday, New York, 1971, p. 62.

Cinema Papers, No. 30, Decem ber 1980-January 1981, p. 433.

4. Richard M eran B arsam , Non-fiction film : A Critical History, Allen and Unw in, L ondon, 1974, esp. ch. 1.

5. Dai V aughan, Television Documentary Usage, BFI Television M onograph No. 6, L ondon, 1976, p. 1.

Anterior Reality In the case of the fiction film, the events taking place in front of the camera and the recording of those events exist at the same level or artifice: the events exist only to be filmed and their status in the ‘real world’ plays no part in making the film meaningful.

The documentary, on the other hand, makes the claim that the events that end up in front of the camera are not specifically there for the purpose of being filmed. They have a life of their own, anterior to and independent of the camera’s intervention. Even when action is rehearsed or reconstructed, as in the documen­ taries of Robert Flaherty and Humphrey Jennings, the filmed event is assumed to be authentic, typical of what ‘really happens’. In this context, the documentary is seen as a ‘trace’ of the world, and its implicit message — that these events really happened and this piece of film is the proof — “ has with singular obsessiveness guided documentary ever since Lumiere first turned the handle on his workers leaving their factory” .6 6. Ibid., p. 24.

What is a Documentary?

“Documentary seeks the dramatic pattern in actuality. A documentary film has a theme, which it dramatizes without necessarily using actors, and a story conveyed by appropriate camera and sound techniques. It should be interesting — able to hold the attention o f the audience for which it is intended — and it must have integrity; that is to say, it should not distort reality and should make some social comment.

“Basically, a documentary film is made in the service o f the community, in the belief that the responsible spread o f information between the people o f different countries and between the people o f different parts o f the same country cannot but improve the human condition. "‘N o te: This is a personal definition o f the original concept o f documentary.

Used in this sense the word ‘documentary’ describes the method o f approach to the material o f the film, not the material itself. The word is widely used now in a less precise sense to include any film which deals with actuality rather than fiction. ” Stanley Hawes Stanley Hawes

Former producer-in-chief, Film Australia,

1982

CINEMA PAPERS October — 443

What is a Documentary?

What is a Documentary?

“Scripted drama is drawn from reality. The potential strength o f a dramatized film is that, through perception and control, it can reproduce the familiar, telescope it or fantasize it.

“Pure documentary, though it can be quite organized, is unscripted in the formal sense and seeks to capture reality. The potential strength o f the documentary is that reality can be stronger than the fiction which draws upon it.

To capture that reality, however, a filmmaker must be blessed with intuition, time, a high shooting ratio, an adventurous spirit or just plain luck. ” K e n t C h a d w ick

Former executive producer (Documentaries), Film Victoria, 1982

444 — October CINEMA PAPERS

Top left: Dziga Vertov. Top right: V. I. Lenin in KinoPravda. Clockwise from second row left: Kaiser Wilhelm II in a 1914 German newsreel; Frank Hurley’s Pearls and Savages; Humphrey Jennings’ Fires Were Started; David Bradbury’s Frontline; Carolyn Strachan and Borroloola women during the film ing o f Two Laws.

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The Australian Motion Picture Yearbook 1983 The Documentary Film in Australia .....................

The New Australian Cinema ...................................

Australian T V : The First 25 Years .......................

Film Expo Seminar Report ......................................

Cinema Papers Subscriptions ..................................

Cinema Papers Back Issues ......................................

Order F o rm .....................................................................

pp. 7 and 8

'

E d ite d by P eter B e ilb y an d Ross L a n s e ll

A U S T R A L IA N

M O T IO N P IC T U R E YEARBOOK 19 8 3

The third edition o f the Australian Motion Picture Yearbook has been totally revised and updated.

The Yearbook again takes a detailed look at what has been happening in all sections o f the Australian film scene over the past year, including financing, production, distribution, exhibition, television, film festivals, media, censorship and awards.

A s in the past, all entrants in Australia’s most comprehensive film and television industry directory have been contacted to check the accuracy o f entries, and many new categories have been added.

A new series o f profiles has been compiled and will highlight the careers o f director Peter Weir, composer Brian M ay and actor M el Gibson.

A new feature in the 1983 edition is an extensive editorial section with articles on aspects o f Australian and international cinema, including film financing, special effects, censorship, and a survey o f the impact our film s are having on U.S. audiences.

Reactions to the Second Edition “The 1981 version o f the Australian Motion Picture Yearbook is not only bigger, it’s better — as glossy on the outside as too many Australian film s try to be and as packed with content as many more Australian film s ought to be . . . ”

“.. . an invaluable reference fo r anyone with an interest — vested or altruistic — in the continuing film renaissance down under . . . ”

“Anyone interested in Australian films, whether in the industry or who just enjoys watching them, will fin d plenty to interest him in this book. ”

Variety

The Sydney Sun-Herald

“The most useful reference book fo r me in the past year . . . ” Ray Stanley

“This significant publication is valuable not only to professionals but everyone interested in Australian film. ”

Screen International

The Melbourne Herald

“The Australian Motion Picture Yearbook is a great asset to the film industry in this country.

We at Kodak fin d it invaluable as a reference aid fo r the industry. ” David Wells

“May I congratulate you on your Australian Motion Picture Yearbook. It is a splendidly useful publication to us, and I ’m sure to most people in, and outside, the business. ” Mike Walsh

“I have been receiving the Cinema Papers Motion Picture Yearbook fo r the past two years, and always fin d it to be fu ll o f interesting and useful information and facts. It is easy to read and the form at is set out in such a way that information is easy to find. I consider the Yearbook to be an asset to the office. ” Bill Gooley

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Colorfilm

.. one has to admire the detail and effort which has gone into the yearbook. It covers almost every conceivable facet o f the film industry and the publisher’s claim that it is ‘the only comprehensive yellow page guide to the film industry’ is irrefutable. ”

The Australian

‘Indispensable tool o f the trade.

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Theatre Australia

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“... another good effort from the Cinema Papers team, and essential as a desk-top reference fo r anybody interested in our feature film industry. ”

The Adelaide Advertiser

Documentary films occupy a special place in the history and development of Australian filmmaking. From the pioneering efforts of Baldwin Spencer to Damien Parer's Academy Award winning Kokoda Front Line, to Chris Noonan's Stepping Out and David Bradbury's Frontline, Australia's documentary filmmakers have been acclaimed world-wide.

The documentary film is also the mainstay of the Australian Film industry.

More time, more money and more effort goes into making documentaries in this country than any other film form — features, shorts or animation.

In this, the first comprehensive publication on Australian documentary film, 50 researchers, authors and filmmakers have combined to examine the evolution of documentary filmmaking in Australia, and the state of the art today.

Contents The History of the Documentary: A World View International landmarks, key figures, major movements.

The Development of the Documentary in Australia A general history of the evolution of the documentary film in Australia, highlighting key films, personalities and events.

Documentary Producers An examination of the various types of documentaries made in Australia, and who produces them. A study of government and independent production. The aims behind the production of documentaries, and the various film forms adopted to achieve the desired ends. This part surveys the sources of finance for documentary film here and abroad.

The Marketplace

Repositories and Preservation

The market for Australian documentary films, here and abroad. This section examines broadcast television, pay television, theatrical distribution, video sales and hire, box-office performances and ratings.

A survey of the practices surrounding the storage and preservation of documentary films in Australia.

Comparisons of procedures here and abroad.

Making a Documentary A series of case studies examining the making of documentaries. Examples include large budget documentary series for television; one-off documentaries for television and theatrical release; and educational and instructional documentaries.

Each case study examines, in detail, the steps in the production of the documentary, and features interviews with the key production, creative and technical personnel involved.

The Australian Documentary: Themes and Concerns An examination of the themes, pre-occupations and film forms used by Australian documentary producers and directors.

The Future A look at the future for documentary films. The impact of new technology as it affects production, distribution and marketing. A forward look at the marketplace and the changing role of the documentary.

Producers and Directors Checklist A checklist of documentary producers and directors currently working in Australia.

Useful Information Reference information for those dealing with, or interested in, the documentary film. This section will include listings of documentary buyers, distributors, libraries, festivals, etc.

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THE NEW AUSTRALIAN CINEMA In this major work on the A ustralian f i l m industry’s dramatic rebirth, 1 2 leading f i l m writers combine to provide a lively and entertaining critique.

Illustrated w ith 2 6 5 stills, including 5 5 in f u l l color, this book, is an invaluable record fo r all those interested in the N e w A ustralian Cinema.

The chapters: The Past (Andrew Pike), Social Realism (Keith Connolly), Comedy (Geoff Mayer), Horror and Suspense (Brian McFarlane), Action and Adventure (Susan Dermody), Fantasy (Adrian Martin), Historical Films (Tom Ryan), Personal Relationships and Sexuality (Meaghan Morris), Loneliness and Alienation (Rod Bishop and Fiona Mackie), Children’s Films (Virginia Duigan), Avant-garde (Sam Rohdie).

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Nationalism in Australian Cinema The Little Con­ vict.

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What is a Documentary?

Another facet of this claim to realism is pointed up by the genre’s roots in an early opposition to, and contempt for, the illusion and spectacle of popular cinema. Grierson, for example, took the side of stories “ taken from the raw’’ against those with “ artificial back­ grounds” , criticizing studio films for their “ shim-sham mechanics” and neglect of the “ real world” .7 Dissociation from the fictive products of the dream factory gave documen­ taries cultural respectability in an era when films were regarded merely as mass entertain­ ment; it also served to underline the documen­ tary’s affinity with the real by insisting on its objectivity, neutrality and search for truth.

Acceptance of this notion of a special rela­ tionship with the real world has had an adverse effect on the critical discussion of documen­ taries by creating a tendency to overstress the immediate conditions of production. Essays on such classics as Flaherty’s Nanook of the North (U.S., 1922), Joris Ivens’ The Spanish Earth (U.S., 1937) and Thor Heyerdahl’s Kon-Tiki (1951) often focus as much on the hazardous situations in which they were made — the Arctic, the Spanish Civil War, a raft expedition across the Pacific — as on the films themselves.

The documentary, as a result, comes to be explained in terms of the skill, tenacity, per­ severance or courage of the maker who, in turn, is cast in the stereotyped role of struggling artist and cultural hero. This element of romanticization acts as a powerful inducement to audiences to accept the idea that all documentaries reveal some kind of ‘truth’ about the ‘real’ world.

Some Approaches to Documentary The approaches described below are neither complete nor representative; the intention is simply to demonstrate how certain Jucumentarists attempted to define both their work and the term ‘documentary’.

The Dramatic Approach Most accounts attribute the first use of the word ‘documentary’ to John Grierson in a dis­ cussion of Robert Flaherty’s film of the South Seas, Moana (U.S., 1926). Flaherty himself never theorized extensively about his work, but his first film, Nanook of the North, has been described by the film historian, Lewis Jacobs, as containing a “ unique vision” which would eventually become “ the model for the creative drives and innovative skills of other non-fiction filmmakers” .8 N otw ithstanding its neo-R ousseauian attempt to revive the notion of the ‘noble savage’, and its manipulation of the ethno­ graphic facts — Eskimos were shown engaged in a walrus hunt that had not taken place since the arrival of Europeans — Nanook was both a critical and popular success in the U.S., even generating a Broadway song. Flaherty went on to make other important documentaries — among them Moana, Man of Aran (Britain, 1934) and Louisiana Story (U.S., 1948) — all of which reiterated themes first introduced in Nanook: the connection between past and present, the relationship between nature and culture, the struggle for survival, a sense of space and of the individual’s place in it.

Flaherty’s skill as a documentarist lay in his ability to transform events into ‘episodes’: the everyday acts of building an igloo or har7 . In M a c C a n n , ib id ., p . 2 1 0 .

8. L e w is J a c o b s ( e d .), The Documentary Tradition: From Nanook to Woodstock, H o p k in s o n a n d B la k e , N e w Y o r k , 1 9 7 1 , p . 12.

pooning a seal became, in Nanook, part of a suspenseful process of discovery, development and identification, and thus met the essential requirements for satisfying dramatic viewing.

Interestingly, Flaherty’s achievement as a film­ maker sprang directly out of his use of the grammar of the fiction film: the single character, crucial close-ups, reverse angles and camera movements that created moments of anticipation and revelation. By applying this grammar to his subjects, Flaherty generated naturalistic drama “ rendered far more vital than any trumped-up drama could ever be by the fact that it was all real” .9 The characteristic Flaherty documentary was not strong on plot, but it told a good story.

environment, he emphasized social processes, “ the team-work of men and machines” .

Ironically, Grierson chose the same formal structure as Flaherty: the narrative account.

Just as Flaherty had earlier depicted the work of the Eskimos chronologically, Drifters follows the fishermen as they prepare on shore, set out to sea and finally return to watch the catch being sold and distributed. The purpose to which Grierson’s account was to be put was, however, distinctly different.

Grierson believed that cinema, as the most powerful of the mass media and a key instru­ ment of information and communication, had an important role to play in the solution of social problems, particularly the problem of

What is a Documentary?

Dialectical “A documentary is any film or videotape project based on fact. The form encompasses any style o f presentation or structure which draws its impetus from that basis in fact. The documentary can record reality, expound and interpret information, even dramatize a known sequence o f events. It must not tell lies.

Proscriptive “.A documentary is anything that does not have Jack Thompson, Helen Morse, Kate Fitzpatrick, Bryan Brown, Jacki Weaver, Mel Gibson, Bill Hunter, Ray Barrett, Lynda Stoner, Angela Punch-McGregor, Graeme Blundell, Bruce Spence, Penne Hackforth-Jones, George Mallaby, Judy Davis, John Ewart, John Meillon, Gwen Plumb, Arthur Dignam or Abigail in it.

Semiotic “Within the context o f image/time co-relationship, the documentary form offers the perceived realities o f the audiovisual language arranged in a meaningful sequence. The conscious juxtaposition o f both negative and positive thoughtmoments generates within the viewer a parallel response o f either assent or dissent energy — arguably, I hope.

Alternative “Well, shit, man, like, the documentary is this really together thing, you know.

All the known facts and stuff, you kind o f put them together so you can expose these really amazing conspiracies and things. We started on a grant, you know.

Knocked the stock o ff from the Film School.

Commercial “A documentary is a very poor way o f making a living. Two documentaries mean you can eat for a year. Twenty documentaries in a row — also called a series — mean you can eat quite well. Thirty-six documentaries mean you can afford a bottle o f wine to drink with it. ”

,

David Salter Producer-director, This Fabulous Century, and producer, The Australians, 1982

making democracy work in a time of increas­ ingly rapid change. In his view, films such as Drifters and Flaherty’s Industrial Britain For John Grierson, Flaherty’s approach to (Britain, 1931) and Basil Wright’s Night Mail documentary was misconceived and would later (Britain, 1936) could increase public awareness be accurately summed up by Paul Rotha as and understanding of new institutions and the “ waxwork figures acting the lives of the grand­ magnitude of change, while others, such as fathers” . The proper course, in Grierson’s Edgar Anstey and Arthur Elton’s Housing views, was not this romantic aestheticism but Problems (Britain, 1935) and Workers and Jobs realism; and “ the penalty of realism is that it is (also Britain, 1935), could venture directly into about reality and has to bother forever, not social problems and social criticism. about being beautiful, but about being right.” 10 Grierson’s aim was to portray “ the common Grierson directed only one film, Drifters man, not in the romance of his calling as in (Britain, 1929), about the changing shape of the earlier documentaries, but in the more complex fishing industry in Britain, but as an . . . drama of citizenship.” 11 Through docu­ administrator and producer his influence on mentary, he believed, film could actively work documentary was extensive. It was with towards changing attitudes and behaviour: if Drifters, however, that he first made his break the problems facing society had grown beyond with Flaherty visible in cinematic form. He the comprehension of most citizens and their rejected the remote, the exotic, the nostalgia for participation in the democratic process had some earlier, more noble time, in favor of “ the become at best perfunctory, the documentary, drama of the door-step” ; and far from present­ by presenting issues of the day, could help to ing the individual as the adversary of the provide a basis for greater understanding and involvement.

9 . R o b e r t S h e r w o o d in ib id ., p . 16.

Continued on p. 487 10. In A n d r e w T u d o r , “ T h e P r o b le m o f C o n te x t: J o h n

The Purposive Approach

G r ie r s o n ” in h is Theories o f W arburg, L o n d o n , 1979, p. 69.

Film, S eek er an d 11.

In T u d o r , ib id ., p . 6 7 .

CINEMA PAPERS October —■445

INNEr H Tom Ryan

A

major part of the sense of unity which My Dinner With Andre

offers is the product of an inter­ section betw een its form al organization and the conversation of its two characters over dinner at a Man­ hattan restaurant. The movement of their dialogue seems to reflect the film’s visual flow of repetition and variation, and to underline a central thematic concern with the relationship between ‘art’ and ‘life’. My Dinner With Andre thus becomes not merely a work about the rela­ tionship of two men conversing over an evening meal, but also a discourse about the relation­ ship between a film, this film, and its audience.

Just as the individual viewer seems to be invited to engage with the thrust of ideas in motion between Andre (Andre Gregory) and Wally (Wallace Shawn), so too he/she is constantly reminded of the place of the viewer in the con­ struction of the film.

Visually the film is remarkably consistent, largely structured around patterns of repetition of angles on each of the characters, with sequences (defined in terms of the shifts of the conversation) ruled by the cutting back and forth between them, to a point where it becomes uncertain whether the flow of the con­ versation is controlling the arrangement of the images or whether it is controlled by it. There are variations, however, which immediately call attention to themselves, not because they are greatly different (they’re not at all, apart from a movement into several very close one-shots in the latter part of the dinner), but because they break an established pattern and, thus, the film’s carefully-constructed formal rhythm.

The effect of this is to produce an immediate sense of distance for the viewer, an interruption which cuts across too close an engagement with the film’s narrative realism.

Related to this, there is much talk from Andre, and later from Wally, about various modes of theatre and performance . . . and life.

Bertolt Brecht is explained in terms of the way in which his work produces excitement, but an excitement which doesn’t overwhelm with its spectacle, demanding that its audience think about what it is seeing. Concern is expressed for a need to wake up “ sleeping audiences” , audi­ ences which have become too settled in their preferences (though with a delightful irony, as this discussion proceeded, the gentle sounds of slumber emanated from a dozing distributor seated beside me), relating to an earlier concern declared for the way in which “ life becomes habitual” and for how “ comfort can well you into a dangerous tranquillity” .

Andre speaks of his fear of having “ squan­ dered” his life, and of his hostility at the intel­ lectual pretences of an audience at “ that show about Billie Holliday” , of which he was a member, being overtaken by his recognition of 446 —, October CINEMA PAPERS his part in those pretences. Via the character’s

tth ^

experience and self-reflection here, the film makes precise reference to the social role that art (film!) has to play.

Wally pursues the point, referring to how people really “ didn’t see anything, just little things they wanted to see” , later questioning the self-satisfaction of his own life (of which the “ little plays” he writes are a part) because he is “ ignoring a whole section of the real world” .

The discussion about how “ to wake people up” implicates both characters in the narration of their lives, leading them towards a more enlightened self-awareness. But it also func­ tions as an articulation of a rationale for the interrupting camera angles and other devices used to create a distance from the spectacle of the dinner, reminding the viewer of the need to remain alert, not to succumb too readily to the familiar, but to wake up, watch, think, analyze.

4

n d re

and by the prospect of being able to voice his self-doubts, reassured by the questioning manner that has become a part of Andre’s talk.

Much of the talk is stimulating, even if that stimulation has the air of pleasurable transience that predominates in the play of bourgeois intellects across a dinner table. Andre’s account of a Swedish conservationist’s description of New York as a modern concentration camp, whose order is in the charge of its inmates, is a perception that offers a flash of recognition and sudden awareness.

Wally’s eventual “ I don’t really know what you’re talking about” opposes his rationalist perspective to Andre’s belief in some cosmic order that has ruled the coincidences in his life.

And this kind of challenging of Andre shifts the tone of the conversation entirely, Wally taking on the role of a devil’s advocate for his com­ panion, offering him an alternative perspective on the order he has given to his life. nother unifying factor in the film This produces a transformation in Andre, the can be found in its construction of sudden discovery of a warmth of contact with characters, constantly identified as Wally that his constant performance of his subjects in the psychoanalytic difference had earlier denied him. Wally, no sense, individuals produced by the longer ill at ease, is at last able to turn in on his “ language” of their lives, and straining find life,to asserting his pleasure in the repetitions it a self beyond that. offers him, declaring that their surface banality In the brief prologue, Wally speaks of a conceals the sense of constant renewal they pro­ friend who came upon a weeping Andre one vide, furnishing him with a guarantee of night in New York, his tears the result of a another day in which he can seek “ the sun” . viewing of Ingmar Bergman’s Autumn Sonata in which the Ingrid Bergman character had said: “ I could always live in my art, but never he epilogue sees him on his way in my life.” The significance of the incident home in a taxi (an indulgence he can soon becomes clear after the introduction of an afford, for Andre has paid for the Andre whose conversation insistently evokes dinner), surveying the familiar terri­ the sense of a performance. His stream of tales tory of his neighborhood, but about his adventures abroad are either to do seeing it with a different understanding with his contacts with the famous (especially recalling past experiences that are now signi­ with Grotowsky, the Polish ‘avant-garde’ fied by these places. The encounter has meant performance teacher) or else are colored by a for him a very real, albeit private, renewal of literary allusion (“ I went on the road, like the familiar.

Kerouac” ). His life appears very much to be The point returns one both to the way in one organized by a framework supplied by his which people see “ just little things they wanted experience of art. to see” , and to the way in which the “ habitual” Wally’s voice-over, which takes the audience can become more than that if we see it through into the dinner, speaks of the way he sees different eyes. The implied reference, in the himself, in his own fashion, as a private detec­ context of the film as a discourse about art, and tive: “ I always enjoy finding out about specifically about the cinema, is to the way in people.” The first part of his dinner with Andre which the viewer participates in the work. sees him (comically) relying on an interviewing In its own way, My Dinner With Andre is a style to sustain the conversation: “ Well, what defence of the familiar narrative film, which happened then? . . . What do you mean? . . . does not reject those works whose structures What else happened?” Towards the end of the are different from that. Its defence takes the film, his reflection on his fears of inadequacy form of an encouragement to the viewer to returns the viewer to the function of such an persistently seek out new perspectives on the interrogative style for a reading of the charac­ familiar, to refuse the comfortable responses ter, in awe of the breadth of experience of his that reflect nothing more than a surrender to its learned companion. surfaces. Despite its humble appearance — how It is a measure of this side of the film’s does one make a film about two intellectuals meticulous construction that the two characters conversing over dinner sound interesting? — are built with such an unerring psychological My Dinner With Andre, in its dramatic realiza­ consistency, a consistency which is maintained tion and in its scrupulous thematic organization through their development within the shifting around the relationship between the construc­ patterns of their conversation. tion of drama and the construction of the Gradually Wally comes to contribute more subject that is the self, assumes the stature of a than questions, clearly stimulated by the talk major work.

A

T

At what point in the hours of taping did the two characters, as seen in the film, start to emerge?

We worked for about four months, four or five times a week, in five- to six-hour sessions. I would tell Wally stories, which triggered discussion on anything that came to mind. Out of that we got about 2200 pages of single­ spaced transcript of conversation.

The two of us then looked through all that material and dis­ covered there were 45-odd major themes. We cut that down to what for us were the four or five most important themes. And, once we chose those themes, topics of con­ versation that were now no longer relevant fell away. That reduced the material to some 600 pages.

Wally then took it away for about six or seven months and out of it created a screenplay which was about twice as long as what you have in the film.

REGORY Tom Ryan talks with Andre Gregory, one o f the two stars o f Louis M alle’s marvellous conversation piece, M y Dinner With Andre.

Intuition. Malle questioned our choice and during rehearsals he thought of a lot of other places where it might take place. But, he alw ays cam e b ack to th e restaurant.

I guess there are several reasons.

One is that a restaurant, in a way, is a place in which you are trapped.

It would be very difficult for the Wally character to just get up and leave. If he visited my home, it would be awfully easy for him to say, “ Oh, God, I have to get home now.” In a restaurant, he is stuck.

Another reason was that by being in this posh restaurant, talk­ ing about the troubles of the world, we are, in a way, mocking ourselves as well as the comfort of many Americans. Without such an element of self parody, there would have been the danger of the film being pretentious.

Were there other settings which might have produced that effect, but with fewer problems in terms of setting up a visual style for the film?

Did you intend to turn what you were writing into a film, or was it to be a radio or stage play?

We had two premises. First, we decided it would become a film, in which the juxtaposition of Wally and myself would produce some­ thing intrinsically comic, like George Burns and Gracie Allen, or Abbott and Costello. We thought there would be something funny about the juxtaposition of our voices and our physical selves.

Second, we assumed that in these very frightening times, when half the world is at war and much of the world is subject to economic recession or depression, that people have stopped talking about what is closest to their minds and hearts. Somehow, we felt we could create a film about talking, whose purpose would be to open up the audience’s ability to talk.

Why did you settle on a dinner as T h is is a n e d ite d v e r s io n o f th e in te r v ie w o r ig in a lly b r o a d c a s t o n t h e p r o g r a m , “ W ild S p e c u la tio n s ’ ’, o n 3 R R R -F M . T h e a ss ist­ a n c e o f th e V iila g e -R o a d s h o w o r g a n iz a tio n a n d th e c o - o p e r a t io n o f A n d r e G r e g o r y , w h o g r a c io u s ly t o o k tim e o f f fr o m fin a l re h e a r sa ls fo r A D oll’s House t o m a k e th is in te r v ie w p o s s ib le , a re g r a te fu lly a c k n o w ­ le d g e d .

the place for the conversation?

Wally (Wallace Shawn) and a reflection o f Andre (Andre Gregory). Louis M alle’s M y Dinner With Andre.

We thought of Wally and I sit­ ting on a rock with water all around us, which would have been surreal. All our alternatives were surreal, and what we ultimately felt was that it was more interest­ ing to give the illusion of reality.

Actually, one of Malle’s talents is as a surrealist, and he brings that to Wally’s journey in the film, which is the kind of journey that Joseph Campbell calls the hero’s journey — the kind of journey that Dorothy takes in The Wizard of Oz. When the film begins, Wally is walking through the streets look­ ing like a half-dead rat. Then, like everyone on the hero’s journey, he goes into the underworld where there is this strange bizarre graffiti, and then on to the restaurant where he is greeted by this giant head waiter.

If you look carefully at the people in the restaurant, there is no way they could ever be in the same restaurant at the same time. So there is a kind of dream-like quality at the beginning of the CINEMA PAPERS October — 447

Andre Gregory

Given that the foundation of the conversation in the film is in the arts — it is full of references to theatrical experiences, from the point of view of a producer or a viewer, or to works of literature — why do you scarcely discuss film, apart from Wally’s early mention of “Autumn Sonata” ?

film, though at the same time there is a feeling of realism.

Filmmakers have often used the dinner table, or a situation like yours, to reveal certain things about the mores of their charac­ ters . . .

That’s true. You know, it is strange, because there has been a dinner table in every single produc­ tion that I have directed. And people pull Malle’s leg, because in every film he has made there has been an eating scene. Some direc­ tors feel that in My Dinner With Andre Malle has made the ultimate eating film.

Andre belongs to a dinner table tradition in which a framework is created for characters to reveal themselves. In the beginning, Wally hides behind silence and I hide behind words. We are both quite masked, and the film is the process of the two of us being able to open up our own feelings. In fact, that is probably one of the key dramatic tensions of the film.

People have seen the film as a talk between two men, but of course it isn’t. It is only the middle part of the film where we actually con­ verse, because in the beginning I have long arias of storytelling, and in the end Wally and I have long arias of self-revelation. Malle’s first impulse when he read the script was to see it as a kind of ancient rock opera.

Given the source of the material that you use in the film, did you feel uneasy about playing a charac­ ter who, in a sense, was yourself?

One of the ironies about the pro­ cess of making the film was that, of all the adventures I have had, the only one on which I truly learnt something about myself was making this film.

When I started rehearsing my role, I kept playing Andre as myself, and it tended to be self­ indulgent. But I felt I had to find a character that was a distillation of myself. I had to be able to see myself the way my best friends see me, but would never tell me. It came as a shock when I finally managed to do that. But when I did, and I could see this character as manipulative, ambitious, stingy, and so on, I started having fun with the role.

448 — October CINEMA PAPERS

We talk about the theatre because that’s what we do. If we had been astronauts or business­ men, and written this film, we would have talked about business or space travel.

A lot of my references to books provide me with a means of hiding myself behind an intellectual framework. If I were a business­ man, my defence would probably be talking about the stock market and the world economic problems.

But, being an artist, I use literature as a defence to avoid opening up my feelings.

Also, we wouldn’t talk about films because, until My Dinner With Andre, Wally and I had never been in one. It was some­ thing that we didn’t know anything about.

But you must have seen films during your life and been affected by them?

“It is become harder and harder . . . to really make, keep and hold friendships. ” My Dinner With Andre.

Why did you privilege Wally with the prologue, the epilogue and the introductory voice over, and not Andre?

Because, as a character, I have already been on my journey. It is really Wally’s journey in the film.

You will notice at the beginning he looks sort of weak, pale, emaciated, nervous — as I said, a bit like a rat going through a New York that is filled with trash and rubble and garbage cans. When the film ends, he is driving through a brilliantly-lit, magical New York, and he can’t wait to tell his girl­ friend about this amazing adven­ ture he’s had.

The structure as it is now is saying that the journey can take place in a restaurant or in your own home, and that you don’t really need to go out to the Sahara or to Everest to do it.

The most important reason for privileging Wally was that the Andre character is different from the norm, because most people don’t do what he did. Wally is more like the hundreds of thou­ sands of people who never could, or would, do as Andre has done, but who could still change within their own environment. It is there­ fore important that the audience should enter the film, as it were, with Wally.

That’s true. There are so many realities within realities in this film: there is Andre, the Andre character, Andre and Wally writing Andre and Wally, and so on. Perhaps if we had talked about films, it might have made the film too self-conscious. Of course, the mention of Autumn Sonata at the beginning is a rather startling one.

It sets the tone for the film.

To what extent did Malle change the shape of the material from what you had originally envisaged?

He changed it to a degree. He took a script, which would have probably run two hours and 40 minutes, and boiled it down to two hours. Wally and I were amazed by his ability as a kind of literary editor, because nothing was removed just for the sake of time.

It was always because we had been redundant.

At one point Andre speaks of “ a magnificent cobweb” , and that provides a useful analogy for the

Andre Gregory

No. Wally and I had almost no conversations with Malle; we just started working. Unlike a lot of Frenchmen, who are first and fore­ most cerebral, Malle is very intui­ tive, which is, I think, one of the reasons why he likes the U.S.

film’s visual patterns and struc­ ture, which seems to be constantly turning in on itself. Andre says, “People have an instinct for when things get boring” , and there is a cut to a wide-angle shot of the table which hasn’t been used before. There is a real filmic quality that one might not have ex­ pected . . .

Yes. Malle himself considers it the most difficult film he has made. We actually rehearsed it for six months with video, partly because Malle had to train me as a film actor, and partly because we had very little money to do the film. We ended up shooting it in 16 days.

Of the 16, about five days were spent with Malle trying out rather tricky things. He then threw them out and decided to do it all in the simplest way. So, it was really only about 11 days of shooting.

A lot of the time when we were rehearsing with video, Malle was also intuitively learning how to find the musical rhythm he wanted, preparatory to what he was going to do in the editing room. He always works with the same editor and the two of them are an amazing team to watch.

Did either you or Wally talk to Malle about the visual form of the film?

We left it completely to him.

The only thing he knew was that he wanted a mirror. That turned out to be unbelievably difficult: not showing the reflection of the camera, constantly keeping the lights just right.

Wally and I considered this a film like Reds, Dr Zhivago or Bridge on the River Kwai, because, even though we sit at that table, each member of the audience is seeing the world our words create in his own way. The script itself is actually action-packed, but it requires the audience, as well as the camera, to work on it.

The film seems to invite one to care for the two characters, but not to judge them. That is a very difficult effect to achieve, given that many of the ideas being dealt with could easily become the target for an un­ kind humor . . .

The effect you have observed

In the film, Andre makes reference to Brecht and that seems to reflect on one of the ways in which “ My Dinner With Andre” works. It engages the audience with the spectacle but also sets it apart . . .

was what we hoped for. Both of us felt that being too judgmental gets in the way of living.

We tried to do something in the script that reflects the way in which, just as you think you are getting to know a terribly good friend, or a lover, they do some­ thing very bizarre or different, and you realize that you don’t know them at all. You have to start look­ ing at them in a completely differ­ ent way. We tried to do that with the characters.

One of the things that struck me about Andre, in terms of the shift­ ing attitudes that the audience is asked to take towards him, is the sense of his emotional distress towards the end of the dinner.

That is evoked in the performance, I think, by the tears that are almost there, which seem to suggest the intimacy that he has found with Wally: he is no longer talking at him, but with him . . .

Absolutely. In that sense, he has grown in the film. When he gets terribly emotional about his experience of being buried alive, there is something very self­ indulgent about his emotion. It is not something that he is sharing with Wally. But at the end he is somebody who has found a real tenderness with another.

This is terribly important for all of us. Wally and I both felt that the subject of friendship was very

contemporary: in the world we live in, it is becoming harder and harder, especially given an urban way of life, to really make, keep and hold friendships.

You spoke earlier of your aware­ ness of a danger of the film becom­ ing too self-conscious. It seems that all the things that you say about the theatrical experience could well apply to the film that contains them, and to the audience watching it. Was that something that you wanted to happen when you wrote the screenplay, or was it Malle’s contribution?

It was inherent to the script. We were constantly thinking of the audience. We never in our wildest dreams imagined that the film would reach so large an audience, but we did consciously write a script that would not be geared towards so-called intellectuals con­ cerned with the arts.

When we finished the script, the first people I showed it to were a doctor, a dentist’s assistant, two stockbrokers, a woman who runs a gymnasium and a psychoanalyst.

Maybe we couldn’t help making a film about art, but at the same time what interested us was bring­ ing to life the participative imagination of the audience itself.

Did you ever discuss Bertolt Brecht with Malle when he was planning the film?

You are absolutely right. It is interesting because I have never thought of my work as Brechtian, and yet I did spend a year at the Berliner Ensemble when I was 24 years old. It was his work that was the first profound theatre influ­ ence on me.

One of the things that I found at Brecht’s theatre, in his rehearsal process, in the way he directed and in the results of his productions, was how much fun and life they created, as well as that sense of precision and distance. Laughter itself can be a wonderful method of distancing.

I can’t see any connection, apart from the theatre, between Grotowsky and Brecht, yet they seem to provide two focal points for your references in the film . . .

It is funny but Grotowsky and I were at the Berliner Ensemble watching rehearsals at the same time, though we didn’t meet then.

I would say that the Grotowsky influence in the film comes from the strong, spiritual or mystical quality in his theatre work, and from its strong emphasis on con­ fession and on the ability to con­ fess. Both those elements, of course, are in my character.

One does get the sense, simply on the basis of the fact that you use your own names in the film, that there is an aspect of the confes­ sional, not only in the performance but in the authorship of the per­ formance . . .

Yes. And you know one of the things that is so interesting about conversations, especially if they’re good, is that they can lead you towards things that you haven’t thought about before.

In his book, Towards a Poor CINEMA PAPERS October — 449

Andre Gregory

Theatre, Grotowsky asks a basic question which profoundly influ­ enced the direction that he fol­ lowed in the theatre, and also affected a lot of the other theatres influenced by him: “ What is it that the theatre can do without?” He pointed out that the theatre can do without costumes, sets, make-up and music. The only things that it cannot do without are the actor and the audience.

In that stripping down to nothing but the actor and the audi­ ence, Grotowsky created his aesthetic. And though Wally and I were never conscious of this fact, and I never thought about it until you asked this question, that is, in a way, what we have done in this film. We have stripped everything away except for the actors and the audience. You have to have a camera, of course, but in that sense you could say there is a fundamental Grotowsky influence, even if it is on a sub-conscious level.

The film is both very modernist, as Brecht was, and very oldfashioned, in that it seems to invite a humanist reading. It is constantly reminding one about the human worth of the characters, and encouraging the audience, along with Wally, to see what is signifi­ cant in the everyday . . .

five times. Then, a few months ago, we tried the experiment of opening the film in a Chicago suburb, in one of those film com­ plexes that shows films like Mid­ night Express and had never had an art film. We talked with the audience afterw ards. It was middle- to lower-middle-class black, middle to lower-middleclass Jewish, and blue-collar workers. They were asking us the same kind of questions — about marriage, God, how to live — that college students were. It was an amazing thing.

When you are an American artist, you feel at best a pariah and at worst a criminal. You don’t feel a part of society. You don’t feel that sense of community. And one of the miracles on this film, for Wally and myself, is to have come to feel that we are part of the human race; that we have infinitely more in common with people than we had ever dreamt.

I feel that a lot of art now does lull people, and that it is very dangerous. You know, there is a negative side to the Wally and the Andre characters. Wally is a kind of man who is so ambitious that he would have looked the other way and let Hitler come to power, and Andre is so ambitious in his quest for enlightenment that he could be the kind of religious fanatic who would become the leader of the moral majority in the U.S., or a Khomeiny fundam entalist, or create another Jonestown.

To go back to an earlier point, the film changed me in another sense, which is that now one of my major commitments is to the anti­ nuclear movement, a commitment which I don’t think I would have discovered had I not made this film. It is a movement which I con­ sider both political and spiritual, and definitely humanist in the sense that, if there weren’t such a movement, then there may not be any human beings left.

Absolutely. I feel that art now that isn’t humanist is rather dangerous. There seems to be something a little dangerous about Brian de Palma’s films, because, while aesthetically and cinematically they are very good, they seem to say that the human being is really quite worthless and that people are basically either killers or victims. Given the rather frighten­ ing world we live in, that message sends people out of the cinema somewhat grieved.

So you are right, our film is humanistic, and also, in a funny way, quite classical. We go back to words, which Wally, Louis and I all love. You could say this is going back to the tradition of Plato and In what way precisely do you identify it as being spiritual?

Socrates.

There is another view that would say that the work which isn’t also reflexive is dangerous, in that it lulls the audience, and in fact the two characters, Andre and Wally, do talk about that problem . . .

450 — October CINEMA PAPERS

I came in shamefully late on the Vietnam Anti-War movement, when the U.S. started the bombing of the hospitals in North Vietnam.

Of course, that movement was an extremely aggressive one. But if

you had been at that incredible June 12 anti-nuclear rally, when nearly a million people showed up, you would have found a feeling that was very different.

The anti-nuclear movement so far has been as close to Gandhi’s movement, or Martin Luther King’s, as anything that I know of.

There’s a feeling of true non­ violence and communality, of people coming together, and in the U.S. it has crossed party and social lines. It was an amazing thing on June 12 to see Liberals and Con­ servatives, rich and poor, and hard-hat union members all marching side by side. There was something in the air that gave many people who had never used the word “ spiritual” a use for it.

It is a sense of a common bond, of a comradeship . . .

Yes, definitely a common bond.

There’s an interesting thing, about the response to the film, which has been such a surprise to us. In the U.S., it has touched some kind of common bond across social, financial, economic and political boundaries. The other night, Wally and I went to a fund­ raising event for this theatre, and the audience was full of very rich, rather conservative people, many of whom had seen the film four or

If you were to re-do “ My Dinner With Andre” , would you do it in any way differently?

No, I don’t think so. Years later you sometimes think of things. But right now, no.

Why does Andre pay for the dinner at the end?

That is a kind of in-joke. One of the things I had not realized, before doing the film, was how stingy I am. It was my vice and all of my friends knew it. Now, as a result of the film experience, I am constantly picking up the check. I haven’t made any money on the film yet, but I have found out how much fun it is to be generous.

The way I read it, in terms of the character, was that it was Andre’s way of saying, “ Thank you” ; that he had learned something as well as Wally . . .

That makes sense. It is a good example of doing something with a conscious intention and finding other meanings coming out of it.

And I certainly have a lot to be thankful for to Wally, because it was Wally who got the idea for the script in the first place. If he had never got that, I would have never learnt as much about myself as I have. ★

Film Corporation o f W estern Australia

PtyLtdL

Eighth Floor, Guardian Royal Exchange Building, 248 St. George's Terrace, Perth, W estern Australia.

Telephone: (09) 321 7469, Telex: AA93179

452 — October C IN EM A PAPERS

BOX-OFFICE GROSSES TITLE

2 1 .3 .8 2 to 4 .9 .8 2

cr

& 9

Total

MLB.

PTH

(24*)

(24*)

(18*/16)

1,169, 295

1,289, 002

1,029, 111

SYD.2

The Man From Snowy River

Hoyts

Starstruck

Hoyts 305,481 230,849

(13)

(5*)

(11)

(6*)

ADL.

BRI.

(18*)

(17*)

(8)

(8)

(9)

55,807

49,866

107,533

(5*/2‘)

(5‘ )

(5*)

114,966

82,612

87,234

(1/2/1/3)

(5)

(4)

RS

Mad Max 2

RS

Mad Max

RS

(3*)

(3*)

(2*)

Fox

(2*)

The Pirate Movie

91,861

83,830

24,879

26,130

(12)

(7)

(10)

Gallipoli

RS

74,968

61,607

58,872

(2*)

(5*)

(3*)

Running on Empty

RS

36,951

112,747

36,012

139,653 172,981 (3/18)

(7)

RS

Mad Max/ Mad Max 2

RS

Freedom

RS

Breaker Morant

RS

(3)

(6/2/2)

Total Rank

SYD.

MLB.

PTH

ADL.

BRI.

Rank

$

1

749,536

2

597,446

3

—

4

—

5

226,700

6

195,447

7

185,710

8

161,488

9

116,080

10

(8*)

(8*)

(8*)

(8*)

(8*/3)

t

N/A

N/A

N/A

N/A

N/A

N/A

2

(20V6/6)

(20V11/2)

(19V8/10)

(20*/3)

(20V12)

723,543 553,453

607,723

2,722,694

1

5576

8

(4)

459,680 428,295

(12*)

OTH

Heatwave

(6)

$

617,241 722,890 4,827,539

Far East

Monkey Grip

PERIOID 4.10.81 to 2 0.3.82

PERIOD

Od) 3) "t

161,488 (6)

(3/8)

(2)

(4)

41,712

64,464

4601

5121

(7)

11

(2)

(1)

(1)

(5)

12,013

4817

2745

28,814

(3)

(3)

8978

14,828

48,389

12

23,806

13

(1)

(1)

2308

3268

- rf •

(2 )

16,095

(4 )

21,528

m CO oo CNJ

05 cd

co CD cg r-~05

LO

( 1 /1 )

4,300,682 3,927,965 2,435,059

2813

149,582

(6/1*)

BRI.

27,297,156

40,436

1,142,047

$

Total Rank

(1) Australian theatrical distributor only. RS — Roadshow, GUO — Greater Union Organization Film Distributors; HTS — Hoyts Theatre>s; 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 — Australisan Film Commission; SAFC — South Australian Film Corporation; MCA — Music Corporation of America; S — Sharmill Films; OTH — Ot her. (2 ) Figures are drawn from capital city and Inner suburban first release hardtops only. (3) Split figures Indicate a multiple cinema nalease.

34,311,572

4045

(7 *)

121,783

(6‘ )

141,697

ADL

m

oo T" CO T“ in CO CD T“ Is" CO cn

CM f"

T-

* Figures exclude N/A figures.

D . . . „ ce 9rosses °* individual films have been supplied to Cinema Papers by the Australian Film Commission. o This figure represents the total box-office gross of all foreign films shown during the period in the area specified. * Continuing into next period NB: Figures in parenthesis above the grosses represent weeks In release. If more than one figure appears, the film has been released in more than one cinema during the period.

t Not for publication, but ranking correct.

in

5,043,116 3,617,080 3,578,371

*

Grand Total

20

8136

8740

o> 1—

Foreign Total0

0)

3543

13,267

(10V2/1)

(10V6/6)

464,030 264,955

MLB.

SYD. CO

Australian Total

GUO

(1)

1510

O)

3803

15,301

00

The Killing of Angel Street

RS

(2 )

8740

14

R ank

17,916

$

Total

1

Best of Friends

(2)

Is" to w N CO 1“

9249

BRI.

CO 1—

GUO

RS

Squizzy Taylor

ADL.

in i—

My Brilliant Career

RS

Attack Force Z

(2)

7508

(2)

7793

S

R S

(3)

17,916

CO

Breakfast in Paris

Distributor

RS

OJ

Puberty Blues

d > 0) (e )

H id

TITLE

PERIOD 4.10.81 to 20.3.82 H id

PERIOD 21.3.82 to 4.9.82

Box-Office

The third edition o f the Australian Motion Picture Yearbook has been totally revised and updated.

The Yearbook again takes a detailed look at what has been happening in all sections o f the Australian film scene over the past year, including financing, production, distribution, exhibition, television, film festivals, media, censorship and awards.

As in the past, all entrants in Australia’s most comprehensive film and television industry directory have been contacted to check the accuracy o f entries, and many new categories have been added.

A new series o f profiles has been compiled and will highlight the careers o f director Peter Weir, composer Brian May and actor Mel Gibson.

A new feature in the 1983 edition is an extensive editorial section with articles on aspects o f Australian and international cinema, including film financing, special effects, censorship, and a survey o f the impact our films are having on U.S. audiences.

S

e e

fo

r d

c e

n

tr e

e

ta

ils

p a g e s

CINEMA PAPERS October — 453

Introducing the acadamy award winning remote controlled camera crane, Louma, by Samcine and our newly completed commercial sound stage.

A double feature you should definitely make a point of seeing.

Vt

a

SAMUEISON filin service Australiapty.ltd.

SYDNEY: 1 Giffnock Avenue, North Ryde. 2113.

Tel: 888 2766 MELBOURNE: 25 Lothian Street, N.Mel bourne. Victoria.3051 Tel: 329 5155.

There is always something new and exciting at Sammies.

The Louma crane and Cyclorama at Sammies North Ryde headquarters.

MIXING POST-SYNC RECORDING VOICE-OVERS We have a well equipped sound department with first rate staff and one of Australia’s most talented mixers. A t present we have some spare capacity and invite you to phone for details:STUDIO MANAGER STUDIO SECRETARY MICHAEL ROWAN GREER LEACH (0 8 )4 5 2 2 7 7

(0 8 )4 5 2 2 7 7

South Australian Film Corporation

Director.................................... Simon Wincer 1st asst director.............................Les Currie 3rd asst director................. Michael Faranda Scriptwriter............................................ DavidWilliamson Art director................................ John Watson Continuity.............................................. Jenny Quigley Photography..............................Russell Boyd Mixed a t..................................Atlab Australia Casting.............................Mitch Consultancy Sound recordist............................Gary Wilkin Laboratory...............................Atlab Australia Clapper/loader........................ Sean McClory Prod, designer........................................ LarryEastwood Length.................................................95 mins Camera assistant............ .......... Keith Bryant Prod, supervisor......................Richard Davis Gauge................................................... 35mm Key grip...............................................GrahamLitchfield Prod, co-ordinator..................................CathyFlannery Synopsis: Two men and a girl set up house G affer..........................................Derek Jones Prod, manager....................................... PaulaGibbs in an abandoned mining shack on the Boom operator........................................SteveMiller Unit m anager................................ Philip Corr outskirts of a small country town in the Art director................................................ KenJames Prod, secretary.................... Elizabeth Wright mid-’50s. The scandalized townsfolk resolve Make-up..................................................FionaSpence Prod, accountant.......Moneypenny Services, to move them on, but the situation gets out of Wardrobe............................................... FionaSpence hand.

Androulla Ward, assistant.................. Kerry Thompson BUSH CHRISTMAS Asst prod, accountant.................................Jill Coverdale Props buyer............................................ BrianEdmonds Prod, assistant.........................................Julia Ritchie Prod, company..................... Bush Christmas Standby props........................................... IgorLazareff 1st asst director................................... MurrayNewey Producer................................. Gilda Baracchi Asst e dito r.............................. Michelle Cattle STRIKEBOUND To ensure the accuracy of your 2nd asst director................................ MichaelBourchier D irector....................................Howard Rubie Stunts co-ordinator................................ PeterWest entry, please contact the editor of 3rd asst director..................................... DeuelDroogan Scriptwriter..................................Ted Roberts Still photography....................................Bruce Haswell this column and ask for copies of Prod, company........................T.R.M. Prods.

4th asst director...............Christopher Walker Photography.,.............................. Ernie Clark Best boy.................................................... MattSlattery our Production Survey blank, on Producers............................... Miranda Bain, Continuity.....................................................Jo Weeks Prod, m anager.......................Carol Williams Timothy White Publicity..................... Rea Francis Company which the details of your produc­ Producer’s assistant................................... DiHolmes Art director...................................Harry Zettle Unit publicist.......................................... AnniePage Director..........................Richard Lowenstein tion can be entered. All details Casting...................................................AlisonBarrett Synopsis: The adventure involves a group Catering.................................................. JemsCateringmust be typed in upper and lower Scriptwriter.................... Richard Lowenstein Camera operator................................... NixonBinney of teenagers in pursuit of two would-be horse Laboratory................................................CFL Photography....................... Andrew de Groot case.

Focus puller............................................ PeterMenzies thieves.

• Lab. liaison.................................................CalGardiner The cast entry should be no Prod, designer......................................TraceyWatt Clapper/loader.................................. GeoffreyWharton Length...............................................100 mins Length........................................................ 100mins more than the 10 main actors/ Key g rip .....................................................

Ray Brown DEATHWATCH Gauge...................................................16mm Scheduled release........................... February1983 actresses — their names and Asst grips........................................... GeordieDryden, Synopsis: In 1936, the miners in the small Shooting sto ck......... .....Eastmancolor 7247 character names. The length of the Prod, com pany...............Deathwatch Prods.

Stuart Green South Gippsland town of Korumburra Cast: Tony Barry (Frank Nelson), Allen synopsis should not exceed 50 G affer......................................................BrianBansgrove — Virgo Prods. barricaded themselves in the main shaft of Bickford (Ted Finch), Aileen Britton (Gran words.

Producer.....................................Judith West Electrician................................................ColinChase the Sunbeam colliery, demanding better pay Mason), Simone Buchanan (Jenny Nelson), Editor’s note: All entries are Director................................... Peter Maxwell Boom operator........................ Mark Wasiutak and conditions. Their story is that of the Carmen Duncan (Margaret Davis), Bill Kerr supplied by producers/producScriptwriter..............................................PeterWest Art director.............................. David Bowden (Mr. Anderson), Martin Lewis (Peter Nelson), Australian Labor Movement in the 1930s. tion companies, or by their agents.

Based on the original Asst designer....................... ............Lisa Elvy John Ley (Leo Baldwin), Paul Smith (Jim Cinema Papers cannot, therefore, idea b y ................................ Michael Ralph Costume designer.................................. AnnaSenior Mason), Henri Szeps (Winston Bell). accept re s p o n s ib ility fo r the Photography..............................................RayHenman Make-up......................Lesley Lamont-Fisher Synopsis: Saboteurs, attempting to cripple correctness of any entry.

THE WINDS OF JARRAH Sound recordist.......................... Bob Clayton Hairdresser.......................................... .CherylWilliams the tug-boat Platypus, and put her owner out Exec, producers.................................... BrockHalliday, Wardrobe supervisor.............Graham Purcell of business, are thwarted by young Prod, company....................Film Corporation Peter West Wardrobe standby....................................RitaCrouch of Western Australia deckhand Jim Mason who is anxious to clear Prod, m anager....................Victoria Christie Asst wardrobe standby........................... LeahCocks himself of suspicion of the sabotage.

2nd asst directors .................Kevan O’Dell, Producers................................................MarkEgerton, Prod, accountant............N. G. Prabsch & Co Props buyer............................................ ClarkMunro Jonothan Barraud Film Corporation Art director...........................Owen Patterson Standby props................. Karan Monkhouse 3rd asst d ire c to r...........................Geoff Hill of Western Australia Wardrobe....................................David Rowe Set decorator.......................................... Sally Campbell C on tin u ity.................Jacqueline Saunders RUNNING MAN D irector................................................... MarkEgerton Fight choreography................................... Jim Richards Scenic artist............................................PeterHarris Director’s assistant.................... Cass Coty Scriptwriters................................. Bob Ellis, Stunts co-ordinator................................ PeterWest Asst painter...............................Tony Babicci Prod, company................................

Eastcaps Producer’s assistant: Anne Brooksbank Studios............................................... Artransa Carpenters............ ’ ......... Errol Glassenbury, Producers................................... Pom Oliver, Asst to Mr G in n a n e __ Sylvia Van Wyk Editor..................................................... SarahBennett Laboratory............................................... Atlab Peter Watson, Errol Sullivan Asst to Mr Barnett ..........Frances Gush Prod, designer.......................................DavidCopping Christopher Reid Completion guarantors....................... Haliday Director..................................................... KenQuinnell Casting: Prod, supervisor..................................... Julia Overton and Nichollas Set construction..................................... BrianHocking Scriptwriters.........................................Robert Merritt, A ustra lia __ M & L Casting Consultants 1st asst director............................John Rook Length........................................................ 100minsDraughtsman...................Marc Schulenberg Ken Quinnell New Zealand ...................... Diana Rowan Casting..................................... Alison Barrett Gauge................................ 35mm Panavision Art dept runner................................Geoff Full Based on the novel Camera operator ......................David Burr Scheduled release................................March1983 Still photography.......................David Parker b y ..................................... W. A. Harbinson Focus puller ....................Malcolm Burrows Wrangler................................... Heath Harris Cast: Hugh Keays-Byrne (Quin).

Photography........................................... LouisIrving Clapper/loader...................... Roland Carati Synopsis: A suspense thriller horror film of a Best boy.................................... Paul Gantner Sound recordist....................................... NoelQuinn Camera dept, tra in e e ........ William Grieve night watchman who spends his last shift in a Publicity................................................. SuzieHowie Editor..........................................Greg Ropert Key g r ip ...........................Grahame Mardell department store. Twelve hours later, two Catering...................... Chris Smith “ Feast” Art director................................. Robert Dein Asst g r ip s .............................. Gary Carden, men are insane, three men are dead and (Sydney), Assoc, producer................................ BarbaraGibbs Richard Scott there is blood everywhere.

Helen Wright Prod, manager.................................. BarbaraGibbs G a ffe r................................................. WarrenMearns (Melbourne) ABRA CADABRA Unit manager....................................AdrienneRead Electricians......................................... Murray Gray, ELDORADO PARK Budget......................................................... $5million Prod, accountant...................... Moneypenny Ian Beale Prod, company ...................Adams Packer Synopsis: The story of the world's greatest Lighting dept, tra in e e ...........................John Kaiser Services, Prod, company.................................StandardFilms Film Prod. racehorse, set against the backdrop of the Boom operator...................................... MarkWasiutak Anthony Shepherd Producer............................................ Andrew Wiseman P ro du ce r.............................................. Phillip Adams Great Depression of the 1930s. It tells of Art director .................. Virginia Bieneman 1st asst director...................................... MarkTurnbull Director................................................... BrianMcKenzie D ire c to r................................Alexander Stitt Costume designer .......Aphrodite Kondos Phar Lap's sudden rise to national fame and 2nd asst director..............................Ian Page Scriptwriters........................................... BrianMcKenzie, S criptw rite r.......................... Alexander Stitt Make-up .....................................Jose Perez the controversies surrounding his career, in­ Continuity................................................... LizBarton Bob Jewson Based on the original Make-up assistant ........ Robern Pickering cluding attempts on his life before the 1930 Casting...................................................SusieMaizels Original idea b y ......................................BrianMcKenzie Idea by ............................ Alexander Stitt Hairdresser ................................ Joan Petch Melbourne Cup. The story moves to America Focus puller......................... Jeremy Robbins Sound recordist.....................................BruceEmery W a rd ro b e .............................. Julia Mansford with Phar Lap’s success at the world’s Sound recordist ............. Brian Lawrence, Clapper/loader............................. Derry Field Editor....................................v......David Greig AAV Australia Key g rip ................................................. StuartGreen Ward, assistant .................Glenls Hitchens, richest horserace, and his untimely death in Assoc, producer......................................... IanPringle Composer .............................. Peter Best mysterious circumstances.

Elizabeth Jowsey G affer........................................................RegGarside Prod, manager......................................... AlanMcKenzie Exec, producer ..................... Phillip Adams Boom operator...................... Andrew Duncan Wardrobe dept, tra ine e ........ Jude Crozier Unit manager...................................... DannialScharf Assoc, producer ................. Andrew Knight Costume designer.............................AnthonyJones Props buyer.......................................... PaulDulieu Prod, secretary................................... AnnetteKardachi Prod, secretary .........................Janet Arup Standby p ro p s ................................... TrevorHaysom, Make-up..................................................... VivMepham RED ALERT WEST Prod, accountant ...................Caroline Fyfe Animation director ................Frank Hellard Hairdresser................................................VivMepham Morris Quinn 1st asst director......................................PeterAskew Key a n im a to rs ......................................AnneJolliffe, Standby wardrobe.................................Roger Mork Dressing props .......................Mike Becroft Prod, company.............................FSA Prods 2nd asst director................................... ClaireDobbin Gus McLaren, Standby prop s.....................Jock McLachlan Art dept, tra in e e s............................

FranceyYoung, Producer......................................Lynn Barker Lighting cameraman................................ RayArgali Steve Robinson, Scenic a rtis t...........................................DavidMcKay Jeremy Chunn Director.........................................Don Sharp Camera assistant................................... ReneRomeril Ralph Peverill Armourer...................................... Brian Burns Scenic artist ..............................Ray Pedler Photography.........................Ross Berryman G affer...................................................... JohnWhitteron Painting supervisor ........... Marilyn Davies P a in te r....................................Paul Radford Editing assistant................Josephine Cooke Supervising editor............... Brian Kavanagh Boom operator..............................................J.Dunwoodie Director special fx Stand-by stage hand ............. Adrian Lane Stunts co-ordinator................................ GrantPage Editor........................................................ KenSallows Art director..........................................RichardFrancis photography.................. Mike Browning Motorbike stunts....................................... GuyNorris Set construction ....................Trevor Major Prod, designer....................................BernardHides Wardrobe.......................................... ChristineJohnson Art d ire c to r...........................Alexander Stitt Best boy...............................Sam Bienstock Asst e d ito r...........................Virginia Murray Exec, producer................................... MichaelMilne Musical director ......................... Peter Best Runner..................................................... JudyRymer Standby prop s................................. ChristinaPozzan Editing dept, trainee ... Vicky Yiannoutsos Prod, co-ordinator................................. LyndaHouse Publicity................................................ Jennie Crowley Tech, a dv is e rs ..................Mike Browning, Still photography..................... Rob Tucker Catering..............................DJ & CJ Location Prod, m anager........Carolynne Cunningham C atering..............................................KristinaFrohlich Volk Mol Tech, adviser ....................... Greg Newbold Catering, Unit manager.......................................... ChrisJames Laboratory......................................... Cinevex S tudios............................................... Al et al John Welch Unit nurse..............................Toni Okkerse Location manager............................Phil Rich Length...............................................100 mins Laboratory ............................ Victorian Film Post-production...................Studio Clip Joint Best boy ........................................Ian Phllp Prod, accountant......................... Lea Collins G auge....................................................Super16mm Laboratories Laboratory...............................................Atlab Publicity: Accounts assistant.................. Candy Dubois Length .............................................. 90 mins Lab. liaison.................................Greg Doherty Shooting stock........................Eastmancolor W orldw ide......................Dennis Davidson Prod, assistant.................................... Maggie Scully Synopsis: Forced from her own home, Gauge .......................... 35mm Panavision, Cast: Tom Lewis, Hugo Weaving, Katrina Associates 1st asst director..................................MichaelFalloon Jenny summons her courage and with her Triangle 3D Foster, Mark Lee, Ralph Cotterill.

A ustralia..............................Carlle Deans 2nd asst director......................................KeithHeygate two kids in tow looks desperately for refuge.

Shooting s to c k ...................... Eastmancolor Synopsis: The story of a strange love affaire New Zealand .. .Consultus New Zealand 3rd asst director......................................ChrisWebb Seeking sanctuary in a caravan park, Jenny Scheduled release ...................... Late 1983 in a world of young outsiders living on the Unit pub licist.............................Tony Noble Continuity............................Roz Berrystone battles defiantly to protect her family and to Voices: Jacki Weaver, John Farnham, edge.

C atering................................

David Williams, Casting................................Forcast Casting make ends meet.

Hayes Gordon, Gary Files. Jim Smllie, Location Caterers Stills...................................................... Patrick Riviere Hamlsh Hughes.

S tudios....................... Northern Television, Camera operator.................................. DannyBatterham Synopsis: Will Abra Cadabra thwart the Auckland, New Zealand FOR LOVE ALONE Focus puller................................................ IanJones plans of rotten B. L. Z'Bubb and nasty Klaw, Lab o ra to ry......................................Colorfilm Clapper/loader........................................ BrianBreheny the Rat King, to control all of the known and Lab. liaison ............................ Dick Bagnall Prod, company ........ Margaret Fink Films Key g rip ...................................................MervMcLaughlin unknown universe? Of course he will, with Length ............................................. 95 rnins P ro du ce r............................... Margaret Fink Asst g rip..................................................... PatNash the help of beautiful Primrose Buttercup, Gauge................................................... 3 5 mm D ire c to r............................ Stephen Wallace G affer..................................................... Craig Bryant Mr. Pig and Zodiac the space dog, among Shooting s to c k ....................... Eastmancolor Scriptwriters .................. Stephen Wallace, Electrician...................... Norbert Szeafranek others. But not until the end.

Cast: Tatum O’Neal (Christie Wilkens), Fay Weldon Art director......................................... Virginia Beineman Colin Friels (Nick Skinner), Shirley Knight Assoc, producer ............. Richard Brennan Chief artist........................... Deryck de Niese (V irg in ia W ilkens), David Hem m ings PRISONERS Synopsis: Teresa Hawkins, high-minded, HOSTAGE Asst make-up..........................................BarryHansen (Superintendent Wilkens), Bruno Law­ independent, imaginative but emotionally Wardrobe designer................................ DavidRowe Prod, company ..................Endeavour Film rence (Peeky), Ralph Cotterill (Holmby), starved by her ramshackle family, pins her Prod, company.................................. Klejazz, Ward, assistant........................................ AnnBenjamin Management (No. 2) John Bach (Bodell). affections on the egotistical Jonathon Crow.

Frontier Films Standby prop s....................................GeorgeZammit, — Lemon Crest Synopsis: Romeo and Juliet: R-rated and It is, however, only through her ebullient Producer................................................ FrankShields Nick McCallum Dist. company .................20th Century-Fox updated to a New Zealand prison. and warm-hearted employer, James Quick, Director.................................................. FrankShields Storyboard............................................ PhillipColeville Film Corporation that Teresa comes to understand her power Scriptwriter.............................................Frank Shields Dubbing editors.....................................FrankLipson, P roducers......................

Antony I. Ginnane, as a woman and emerges from obsession to Photography....................................... VincentMonton Steve Lambert John Barnett a real consciousness of sexuality and love.

Co-producer.............................Basil Appleby Asst dubbing editor..............Ross Chambers D ire c to r................................................. PeterWerner THE YEAR OF Cast: Kerry Mack, Ralph Schicha.

Best boy..................................................PeterMoyes Scriptwriters ........................ Meredith Baer, LIVING DANGEROUSLY Stunts co-ordinator.................................. MaxAspin Hilary Henkin THE MOST WANTED MAN Mechanic................................................ DaveThomas Based on a story b y ..........Meredith Baer Prod, company .................Wayang Prods.

Prod, company ....................... Ukiyo Films PLATYPUS COVE P hotography....................................... JamesGlennon Dist. com pany/................................... MGM P roducers...........................Don McLennan, Sound recordist..................................... GaryWilkins P ro d u ce r..................................Jim McElroy Zbigniew Friedrich Prod, company.................Independent Prod.

Editor ........................................Adrian Carr THE SETTLEMENT D ire c to r.......................................Peter Weir Producer................................................. GeofGardiner D ire c to r.............................. Don McLennan Prod, d esig n er......................Bernard Hides S criptw rite rs...................David Williamson, Scriptwriters ............... Zbigniew Friedrich, Director................................................... PeterMaxwell Prod, company............ Robert Bruning Prod.

Exec, producers ............David Hemmings, Peter Weir, Lawrence Held, Scriptwriter......................................... CharlesStamp Producer............................... Robert Bruning Keith Barish, Christopher Koch, Don McLennan Photography......................... Phil Pike A.C.S. D irector............................................... HowardRubie Craig Baumgarten with additional material G auge.................................................. 35mm Sound recordist.........................................DonConnolly Scriptwriter................................................TedRoberts Assoc, producer ........................Brian Cook

by Alan Sharp Length ............................................100 mins Editor........................................... Bob Cogger Unit manager ........................Murray Newey Based on the original Based on the Exec, producer....................Brendon Lunney idea b y ................................................... TedRoberts Prod, secretary ........................ Jenny Barty novel by ................................. C. J. Koch Prod, co-ordinator........................ Dixie Betts Photography.......................................... DavidEggby Prod, accountant ..................Stanley Sopel Photography.......................... Russell Boyd Prod, secretary..............................Fiona King Editor......................................Tony Patterson Asst accountant.....................................TonyWhyman Sound recordist ....................Gary Wilkins PHAR LAP Prod, accountant....................... Peter Layard Prod, assistant......................... Anne Bruning Prod, assistant............... Barbara Williams E d ito r..................................... Bill Anderson 1st asst director................... Tony Wellington Prod, manager............................. Irene Korol Prod, tra ine e ..................... Tim Coddington Prod, com pany................John Sexton Prods Art d ire c to r.......................... Herbert Pinter 2nd asst director..................Paul Callaghan Prod, accountant.........................Rob Prince 1st asst director ...............Terry Needham Producer.....................................John Sexton MGM rep......................... John Hargreaves

FEATURES

PRODUCERS, DIRECTORS AND PRODUCTION COMPANIES

PRE-PRODUCTION

PRODUCTION

POST-PRODUCTION

CINEMA PAPERS October — 455

Prod, su p e rviso r.................. Mark Egerton Prod, managers ...................Ken Metcalfe Prod.

(Philippines), co-ordinator .. . Carolynne Cunningham Judith West (NZ'/Aust.)

Prod, manager ...................Tim Saunders Unit manager ........................ Tim Higgins Location m anager................ John Wiggins Prod, secretaries .................. Mitch Griffin, .

(Syd.) Victoria Christie (Aust.)

Unit manager .....................Murray Francis Prod, accountant ......................Ross Lane Company accountant ........... Neil Drabsch n , (syd.)

Prod, secretary ................... Lynda House Prod, assistant ........... Roy Harries-Jones (Syd.) Insurance/Completion Prod, secretary ................. Sally Blaxland guarantors .............Halliday & Nicholas (Philippines) 1st asst director ........... Bosie Vine-Miller Business manager -----, . . Michael Wilcox 2nd asst director ........... Andrew Williams Prod, accountant ............ Elaine Crowther 3rd asst director ................. Peter Kearney Prod, assistant.................. Ken Richardson Continuity .......................... Jenny Quigley 1st asst director .................Mark Egerton Director’s secretary . Jennifer Woodward (Syd.) Casting ............................Roger Ward (NZ) 1st asst director ...................Wayne Barry Casting consultants .................. Eric Cook (Manila) Camera operator ..................... David Burr 2nd asst d ire cto r..................... Chris Webb Focus puller .................Malcolm Burrows 3rd asst d ire c to r......... Michael Bourchier Clapper/loader ...................Conrad Slack Key grip ................................Lester Bishop „ , , (%«■) 3rd asst d ire c to r..................................... KenRichardson Asst grips . . . . Nicholas Reynolds (Aust.), (Philippines) Dennis Cullen (NZ) 2 nd unit Gaffer ....................................... Pav Govind 1st asst director .................Ian Goddard Electricians ......... Mark Friedman (Aust.), Continuity ................................ Moya Iceton lohnathan Hughes (Aust.), Production a s s t.......................................KenRichardson Neil Campbell (NZ) (Syd.) Boom operator .........Graham McKinney Producer’s a ssista n t........ Wilma Schinella Art director ..............................Paul Tolley The Dark Room C asting....................................Allison Barrett Asst art director .................Rachel Rovay Extras casting co n su lta n t....... Sue Parker Costume designer .................David Rowe Extras casting a s s t.......................Jo Hardie Make-up ...................... Robern Pickering Camera operator .................Nixon Binney Hairdressers ........... Willi Kennick (Aust.), A DANGEROUS SUMMER Focus p u lle r................. Peter Menzies jun.

Trish Cohen (NZ) Clapper/loader ....................Geoff Wharton Ward, assistant ...................... Rima Rowe Prod, company ......... McElroy & McElroy Key g r ip ........................................Ray Brown Standby props ....... David Findlay (Aust.), Producer .......................... James McElroy Asst grip ................................ Stuart Green, Chris Paulger (NZ) Director .......................... Quentin Masters Geordie Dryden Special effects .............. Reece Robinson Scriptwriters .....................David Ambrose, G a ffe r..................................................... BrianBansgrove Asst editor ................ Annabelle Sheehan Quentin Masters E lectricians...............................Colin Chase, Musical director .................. Bob Young Based on the novel by ........... Kit Denton Paul Moyse (Syd.), Mixer ..................................... Peter Fenton Photography ........................ Peter Hannan Peter O’Brian (Manila) Stunts co-ordinator ........... Frank Lennon Sound recordist .................. Don Connolly Boom operator .................. Mark Wasiutak Stunts ................................... Frank Lennon, Editor .....................................Richard Clark Design consu lta n t....................Wendy Weir Grant Page, Prod, designer ........................ Bob Hilditch Asst art director ___. . . . .Annie Browning Peter West, Composer ............................ Groove Myers Costume designer .................... Terry Ryan Zenda Graves, Prod, co-ordinator ........... Terry Fogharty Costume supervisor............Anthony Jones Jade Clayton, Prod, managers ............. Peter Appleton, Make-up .....................................Judy Lovell Kerry Blakeman, Greg Ricketson Make-up a s s t.......................... Joan Mostyn Marty Takarang, Unit manager ........................ David Findlay Kwan’s make-up design ...B o b McCarron Rangi Nikora, Prod, secretary ................Wilma Schinella H airdresser..........................................CherylWilliams Chris Hession Prod, accountant ........... Elaine Crowther Wardrobe m istress.................Jenni Bolton Still photography ................... David Miller 1st asst director ........... Michael McKeag Standby wardrobe .................Phil Eagles, Transport supervisor ....... Barry Branson 2nd asst director .....................John Rooke Roger Monk Opticals ............................... Acme Opticals 3rd asst director ........................ Ian Kenny Props b u y e rs ....................................StewartWay,Title designer ..........................Larry Wyner Continuity ........................ Roz Berrystone Paddy Reardon, Tech, adviser ............................ Hine Grey Casting ...................................Rae Davidson Mark Statescu, (Maori songs) Camera operator ..................Keith Woods Sally Campbell Best boy ........................... Graham Mulder Focus puller ...........................Steve Mason Standby p ro p s .......................... Clark Munro 1st unit runner .......................... Chris Cole Clapper/loader ...................... Stuart Quin Standby props asst .................Jenny Miles 2nd unit runner .................... Stuart Miller Key grip ................................. Don Andrews Art dept asst ........................Alan Dunstan Location nurse . . . . Glenise Brady (Aust.), Asst grip ............................... Phil Shapiera Scenic a rtis ts ...................... Billy Malcolm, Catering ......... David Williams (NZ, Aust.)

Electrician ............................... Derek Jones Michael Chorney Mixed at ............................... United Sound Boom operator ......... Graham McKinney Carpenters .......................... Paul Vosilianis, Laboratory .......................................... Atlab Asst art director .................... John Carroll Ron Sutherland, Gauge ................................................ 35mm Costume designer ........... Marta Statescu Derek Wyness, Screen ratio ........................................ 1:165 Make-up ....................................Jose Perez Geoffrey Spence Shooting stock ...................... Eastmancolor Hairdresser ................................Jose Perez Set construction .............. Peter Templeton Cast: Chard Hayward (Adam), Margaret Ward, assistant ................ Catriona Brown Asst editor ......................... Jeanine Chialvo Laurence (Lani), Ivar Kants (Kevin), Alison Props buyers ............................... Ian Alien, 2nd asst editor ............................Lee Smith Best (Jeanine), Jennifer Cluff (Alison), Les Sue Hoyle 3rd asst e d ito r...........................Karin Foster Foxcroft (Jim), Joan Bruce (Maureen), Standby props .......................... Paul Jones Edge n u m b e re r.................................... PeterErskine James Elliot (Rev.), Moira Walker (Connie), Sound editor ........................Andrew Stuart Ricky May (Bill).

Sound editing a s s t.................. Robin Judge Synopsis: Two b ro th ers escape the Still photography..................................... Jim Townley massacre of five fellow Australian news­ NSWFC prod. man. men in Asia, but their lives are still charged a tta ch m e nt.................................... SandraAlexander with emotion and futility in a small New Tech, a d v is e r.........................................PudjiWaseso Zealand town as they try to escape the holo­ Best boy ..................................Paul Gantner caust of their nightmares.

R unner...............Monica Petellizzari (Syd.) Unit publicist ........................ Babette Smith Catering ...................Joh and Sue Faithful THE CLINIC S tudios..............................................Artransa Post-production................ F.P.S.-Alan Lake Prod, company ...............The Film House/ Camera/lighting e q u ip ........... Samuelsons Generation Films Mixed at .................................United Sound Producers............................ Robert Le Tet, Laboratory ..................................... Colorfilm Bob Weis Lab. lia is o n ................................................BillGooley D ire c to r................................ David Stevens Length ......................................... 105 mins. Scriptwriter ..............................Greg Millen Gauge ..................................................35mm Based on the original idea Shooting s to ck ........................Eastmancolor b y .............................................Greg Millen Scheduled release ........................ Late '82 Photography ................................. Ian Baker C ast: Mel G ib son (G ary H a m ilto n ), Sound recordist.....................................JohnRowley Sigourney Weaver (Jill Bryant), Phipps Editor ................ Edward McQueen-Mason Hunt (Billy Kwan).

Prod, su pe rviso r.................. Michael Lake Prod, co -o rd in a to r................................TrishFoley Synopsis: Guy Hamilton, an Australian Broadcasting Service journalist, arrives in Prod, accountant ....................Groliss Fyfe 1st asst director ....................... David Clark Jakarta during a time of political upheaval.

There he is befriended by an enigmatic 2nd asst d irector........ Hamish McSporran Australian Asian, Billy Kwan, and they pro­ 3rd asst d ire cto rs............................ Annette Binger, Jonathon Balmford foundly influence each other's destiny. He becomes increasingly involved with the C ontinuity...........................Caroline Stanton politics of the country and with Jill Bryant, Producer's a ssistan t__ Margo McDonald an English Embassy secretary. Eventually, Casting.............................. The Film House as these interests diverge, he must choose Casting consultants__ M & L Consultants Focus puller ........................... Clive Duncan between them.

C lapper/loader.................Leigh McKenzie G rip s ..................................... Barry Hansen, Ian Benallack G a ffe r..................................................... BrianAdams AW AITING RELEASE Electrician............................ Michael Tanner Boom operator................. Steven Haggarty Art director ...............................Tracy Watt Make-up ................................ Kirsten Vessy, Di Biggs BROTHERS W a rd ro b e ...............................................RoseChong Prod, company ...................Areflex Prods Ward, assistant ..........................Gail Mayes Dist. company ........................ IMC-ISRAM Props buyer............................................. CliffKelsall Producer ................................ Terry Bourke Standby p ro p s ................. Andrew Mitchell Director .................................. Terry Bourke C arp e n te r......................... Danny Corcoran Scriptwriter ............................ Terry Bourke Construction m a na g e r..........Ray Pattison Based on the novel by ....... Roger Ward Still photography............Vladimir Osheron Photography ........................... Ray Henman Title designer ................................Alex Stitt Sound recordist .....................Bob Clayton Best boy ............................ Michael Adcock Editor ..................................... Ron Williams C atering........................Anne Dechaineaux Composer ................................Bob Young S tudios......................Melb. Prod. Facilities Exec, producers ...............Brock Halliday, Length ........................................... 90 mins Frank Wilkie Dead Easy Gauge.................................................. 35mm Assoc, producer ................... John Hipwell Shooting s to c k ......................Eastmancolor

456 — October CINEMA PAPERS

Special effects ............. Conrad Rothman, Chris Murray, Alan Maxwell, Peter Armstrong, Jonathon David Set construction .................... John Parker Asst editor ..............................Doug Frazer Sound editor ...........................John Foster Stunts co-ordinator ........... Frank Lennon Still photography ......... Geoff McGeachin Best boy ................................Matt Slattery Runner .................................Richard Hobbs Unit publicist .....................Babette Smith Catering .............................. Nene Morgan, Christina Norman Laboratory ..................................Colorfilm Cast: Tom Skerritt (Howard Anderson), Ian Gilmour (Steve Adams), James Mason (George Engels), Wendy Hughes (Sophie McCann), Kim Deacon (Maggie Anderson), Ray Barrett (Webster), Norman Kaye (Percy Farley), Guy Doleman (Julian Fane), Martin Harris (Curly Chester), Michael Petrovitch (Joe Laliniei).

THE DARK ROOM Prod, company .................. Nadira Pty Ltd Dist. company .................... Filmco Limited Producer .................................Tom Haydon Director .................................. Paul Harmon Scriptwriters .................. Michael Brindley, Paul Harmon Based on the original idea by ...................................... Paul Harmon Photography .......................... Paul Onorato Sound recordist ...............Ken Hammond

Editor ................................ Rod Adamson Prod, designer ................... Richard Kent Composer ...........................Cameron Allan Assoc, producer ........... Michael Brindley Prod, co-ordinator .................. liana Baron Prod, manager ...............Michael McKeag Unit manager ............................ Ian Kenny Prod, secretaries ...................... Lyn Morris, Terry Fogarty Prod, accountant.... Moneypenny Services, Androulla 1st asst director .............. David Bracknell 2nd asst director .....................John Rooke 3rd asst director .............. Ken Richardson Continuity .......................... Roz Berrystone Camera operator ......... David Williamson Focus puller ....................... Jeremy Robins Clapper/loader ............... Robyn Peterson Key grip ................................ Robin Morgan Asst grips ........................Graeme Shelton, Robert Verkeck Gaffer ................................ Warren Mearns Electrician ..............................Doug Woods Boom operator ................Andrew Duncan Art director ............................ Richard Kent Asst art director .................David Bowden Make-up ................................. Viv Mepham Wardrobe ..................................Liz Keogh Ward, assistant ................... Fiona Nicholls Props buyer .............................. Jeff Bruer Standby props ................... Nick McCallum Special effects ................Conrad Rothman Carpenters ................... James Thompson, Max Feutrill, Michael Patterson Set construction .......................Fred Kirk, Ian McGrath Additional editing .....................Alan Lake Asst editor ............................Julia Gelhard Neg. matching ....................................Atiab Musical director ...............Cameron Allan Sound editors .....................Paul Maxwell, Anne Breslin, Jeff Bruer, Peter Foster, Julia Gelhard, Elizabeth Haydon Mixer .......................... Julian Ellingsworth Stunts co-ordinator ........... Frank Lennon Still photography ...............Carolyn Johns Opticals ..............................Rick Springett, Optical & Graphic Pty Ltd Title designer ....................

Mike Berry Best boys ...........................Alleyn Mearns, Geoff Maine Runner ................................Richard Hobbs Publicity ......................... Elizabeth Johnson Catering ............................ Fillum Catering Mixed at .............................................. Atlab Laboratory .......................................... Atlab Lab. liaison ............................Greg Doherty Length ............................ 96 mins 46 secs Gauge ................................................ 35mm Shooting stock ...................... Eastmancolor Cast: Alan Cassell (Ray Sangster), Anna Jem ison (N icky), Svet Kovich (M ike S a n g s te r), D iana D avid so n (M a rth a Sangster), Rowena Wallace (Liz Llewellyn), Ric Hutton (Sam Bitel), Oriana Panozzo (Susan Bitel), Sean Myers (Peter), Sally Cooper (Sally), Jon Darling (Bob Henning).

Synopsis: A contemporary story of sexual rivalry and obsession: of lost youth and false manhood. A triangle which leads to disaster.

DEAD EASY P roducer................................... John Weiley Director .....................................Bert Deling P hotography..................................... MichaelMolloy, Tom Cowan Editor .......................................... John Scott C om poser...........................................William Motzing Length .............................................92 mins G auge................................................... 35mm(1.85:1) Cast: Scott Burgess, Rosemary Paul, Tim McKenzie. Tony Barry, Max Phipps, Jack O’Leary, Joe Martin, Barney Combes.

DESOLATION ANGELS Prod, company .. Winternight Productions P roducer................................... Chris Oliver Director ................................. Chris Fitchett Scriptwriters .............................Ellery Ryan, Christopher Fitchett Photography .............................. Ellery Ryan Sound recordist...............Laurie Robinson Editor .....................................Tony Stevens Prod, d esig n er.................. Josephine Ford C om poser...........................Mark McSherry Prod, m anager........................Miranda Bain Asst d ire c to r....................Tony MacDonald Camera operator .................. Toby Phillips Sound e d ito rs ......................... Greg Steele, Jacky Fine M ixe r.......................... Alasdair MacFarlane Stunts co -o rd in a to r........ New Generation Stunts Mixed at ............................... Palm Studios Lab o ra to ry.............................................Atlab Length .............................................. 95 mins G auge................................................... 35mm Shooting s to c k ........................Eastmancolor

DOT AND SANTA CLAUS (Further Adventures of Dot and the Kangaroo) Prod, company ...................... Yoram Gross Film Studio Dist. company . .. Satori Productions Inc., New York Producer ................................ Yoram Gross Director .................................. Yoram Gross

S criptw rite rs.............................John Palmer, daunting, sensuous young man and Peter’s Prod, d esig n er.................. Larry Eastwood Boom operator ......................Steve Miller 1st asst director ...............Steve Andrews Yoram Gross efficient, devoted secretary.

Composers............................... John Stuart, Art director .............................. Bob Hilditch 2nd asst director ............... Chris Maudson Based on the Kim Thraves Asst art director .................. Robert Jones 3rd asst director ...........................Phil Rich original idea b y ................... Yoram Gross Prod, m anager...........................Jill Nicolas Make-up .......................

RinaHofmanis Continuity .......................Caroline Stanton Photography..........Bob Evans (animation), Asst d ire c to r........................

James Parker Hairdresser ..........................Rina Hofmanis Casting consultant .............

Helen Roliand DUSTY Chris Ashbrook (live action) Costume d esig n ers.......Miranda Skinner, Wardrobe ............................... Bob Lloyd (HR consultant) Sound recordist for Prod, company ......................Dusty Prods.

Larry Eastwood Ward, assistant ................. Robina Chaffey Extras casting ...........................Dina. Mann character v o ic e s ....... Julian Ellingworth Dist. company ............Kestrel Film Prods.

Make-up .............................. Michelle Lowe Props .......................................... Tony Hunt Focus puller ............... Richard Merryman Character design ................. Ray Nowland P ro du ce r.....................................................GilBrealey Hairdresser ..............................Gail Bunter Props buyer ................................ Ian Allen Clapper/loader .........................Derry Field C o m p o s e r...............................Mervyn Drake D ire c to r.................................................. John Richardson W a rd rob e ............................... Kerri Barnett Standby p ro p s ..............................Tony Hunt Key grip ............................. Paul Thompson Assoc, p ro d u c e r....................Sandra Gross Scriptwriter ................................ Sonia Borg Sound e d ito r............................ Vikki Gates Special effects ...................... Brian Olesen, Asst grip ......................... Brendon Shanley Prod, manager .....................Virginia Kelly Based on the novel Stunts c o -o rd in a to r..................Bob Hicks Alan Maxwell, Gaffer ..................................... Reg Garside Prod, secretaries/ b y ............................ Frank Dalby Davison Title d e s ig n e r.......................Carol Russom Peter Evans Boom operator ..................Jack Friedman A dm in istra tio n ...................... Meg Rowed, Photography ...........................Alex McPhee L ab o ra to ry......................................Colorfilm Carpenters .......................... Russell Jones, Art director ............. Christopher Webster Margaret Lovell Sound recordist......................John Phillips Length .............................................95 mins Morris Evans, Make-up ..................................... Jill Porter Prod, accountant ................. William Hauer Editor ......................................... David Greig Gauge................................................... 35mm Wardrobe .................Robyn Schuurmans Adrian Storey Producer’s assistant............. Kelly Duncan Prod, d esig n er.................... Robbie Perkins Shooting s to c k ........................Eastmancolor Set construction ................... John Parker. Ward, assistant .......................Jenny Miles C asting.........................International Casting Exec, producer ................John Richardson Cast: Gary McDonald (Mr Meggs), Coral Michael Osborne Props buyer .................... Michael Tolerton Services Assoc, producer .................. David Morgan Kelly (Mrs Meggs), Paul Daniel (Ginger Standby props ....................... Colin Gibson Asst editor .................Catherine Sheehan Camera operator ....................... Bob Evans Prod, m anager............................ Mark Ruse Meggs), Ross Higgins (Fioggswell), Hugh Set construction .....................Hans Theile Neg. matching .......................Gordon Peck Camera assistant ..........Lynette Hennessy Unit manager ...............Michael McGennan Keays-Byrne (Capt. Hook), Gwen Plumb, Musical director .................... Mike Harvey Asst editor ...................... Cathy Sheehan Art d ire c to r............................ Ray Nowland Prod, secretary .................Elizabeth Syme Harold Hopkins, Terry C am illeri, John Neg. matching .................

Margaret Cardin Music performed Scenic a r tis t....................................... Amber EllisProd, assistant......................................... JanTourrier Wood, Marie Loud.

Stunts co-ordinator ............. Heath Harris by ................................Doug Parkinson, Neg. m a tc h in g ...................Margaret Cardin 1st asst director .................. Colin Fletcher Synopsis: All the famous characters from Action vehicle Naomi Warne, Chief a n im a to r.......................Ray Nowland 2nd asst d ire cto r.................. Jake Atkinson the comic strip come to life. Ginger tries to manager ......... ’..............Barry Bransen Malcolm McCallum, A n im a to rs ................................................PaulMcAdam, 3rd asst d ire c to r...................................GayeArnold prove his affections for Minnie Peters, but David Spall, Still photography ...................Jim Townley Andrew Szemenyel, C on tin u ity...........................................Andrea Jordan his plans don’t always work out. Eddie Steve Kiely Actors tutor .......................... Wilfred Flint Athol Henry, C asting...................................................... LeeLarner Coogan, his rival, has other ideas and, of Sound editor ........................... Klaus Jaritz Mechanic ............................... Dave Thomas Cynthia Leech, Lighting cam eram an............. Alex McPhee course, there’s Tiger Kelly to contend with.

Editing assistant ................. Terry Mooney Best boy ........................... Sam Bienstock Nicholas Harding Focus puller .........................Brendan Ward Runner .............................. Richard Ussher Mixer ........................................... Phil Judd Asst a nim ator........................................... KayWatts C lapper/loader............................ Chris Cain Stunts co-ordinators .. .Peter Armstrong, Publicity .................................. David White Background a rtis t..............................Amber EllisKey g rip ................................ Ian Thorburne (Brooks White Organization) GOING DOWN Herb Nelson P a in te rs ...................................................RuthEdelman, Sound e d ito rs .................. Louise Johnson, Stunts .........................................Glen Davis, Catering ................................ Nene Morgan, Kim Marden, Steve Lambeth Prod, company .............................. X-Prods Christina Norman Bev Teague, Steve Hunter, Still photography............................... BruceHaswell P ro d u c e r................................ Hadyn Keenan Matthew Hessian, Studios .....................John Morten Studios Nerissa Martin, Dog tra in e r............................Mary McCrabb Director .................................Hadyn Keenan Dee James, Mixed at ............................... United Sound Margaret Butler, W ra n gle r.................................................JohnBaird S criptw rite rs.............................. Julie Barry, Laboratory ..................................Colorfilm Chris Hessian, Kim Craste Best boy .................................Bruce Towers Moira Maclaine-Cross, Lab. liaison ................................ Bill Gooley Rocky McDonald In betweeners ................. Vicki Robinson, R unners.................................Mary Sdraulig, Melissa Woods Length .........................................

100 mins Still photography ...................Chic Stringer Astrid Brennan, Amanda Walker Photography...................Malcolm Richards Gauge ...............................................35mrr Opticals .............................. Andrew Mason Brenda McKie, C atering................................Wolfgang Graf Sound recordist ...................Lloyd Carrick Shooting stock ........... Eastmancolor 5247 Title d esig n er.........................................MikeBerry Paul Maron Mixed at ................................. United Sound Additional recordist ............... Peter Barker Cast: Lewis Fitz-Gerald (John), Paul Smith Best boy .................................. Peter Wood Animation assistant ....... Robert Malherbe Laboratory ............................................... VFL E d ito r.......................................................Paul Healey Runner ................................ Mardi Kennedy (Tom), Kris McQuade (Tom’s mum), Caro­ Checkers and cleaners .. .Animation Aids, Length .............................................. 90 mins Assoc, producer ...................... Julie Barry line Gillmer (Rosemary), Catherine Wilkin Publicity ...................Carlie Deans Pty Ltd Bruce Warner, G auge................................................... 35mm Prod, manager .......

Mitou Pajaczkowska (Mary), Ben Gabriel (Moreland), Wyn Unit publicist ...............Elizabeth Johnson Jan Carruthers Shooting s to c k .....................

5247 Location m anager................ Julian Russell Roberts (Payne).

Catering ................................Paul Sargent, Laboratory ..................................... Colorfilm Cast: Bill Kerr (Tom), Noel Trevarthen Prod, secretary ........................... Gai Steele Synopsis: A remarkable relationship be­ Eric Larsen, Length ............................................. 80 mins (Harry), Carol Burns (Clara), John Stanton Prod, accountant ........ Andrew Snedden tween a young teacher and a deeplyShelleys, Gauge .................................................. 35mm (Railey Jordan), Nick Holland (Jack), Dan 1st asst, d ire c to r...................... Peta Lawson disturbed 13 year-old boy. Tom is written Plum Crazy Shooting s to c k ........................Eastmancolor Lynch (Ron), Kati Edwards (Mrs Muspratt), 2nd asst, director . , .......... Chris Maudson off as a delinquent by most adults until Mixed at ..............................United Sound Will Kerr (Jim).

Cast: Drew Forsythe (Santa Claus).

John, the teacher, fights against all odds to Casting......................................................TimBurns, Laboratory ..........................Atlab Australia Synopsis: The story of a sheepdog in the _ IanGilmour Character voices: Barbara Frawley (Dot), straighten out his life.

Lab. liaison ........................ James Parsons Australian outback, based on the classic Ross Higgins.

Camera operator ................. "Race" Gailey Length ...........................................90 mins novel by Frank Dalby Davison.

Synopsis: The continuing adventures of Dot Focus p u lle r........................................... PaulGiasetti Gauge ...............................................35mm and her search for the missing joey. Dot Key g r ip ................................Nick Reynolds FLUTEMAN Shooting stock ......... Eastmancolour 5247 meets with a hobo in her outback home 2nd unit photography ......... "Race” Gailey Cast: Diana McLean (Val Meadows), Jon EARLY FROST town, the hobo becomes Santa Claus, G a ffe r..................................................... PeterGailey Prod, company .........

Independent Prods.

Blake (Peter Meadows), Jan Kingsbury P ro d u ce r.......................... Brendon Lunney Boom operator ...............Chris Goldsmith and takes Dot on a wonderful adventure Prod, company ....................David Hannay (Peg Prentice), David Franklin (David Director ................................Peter Maxwell Art d ire c to r........................Melody Cooper witnessing various Christmas ceremonies P re n tic e ), D aniel C u m e rfo rd (Joey Productions around the world.

S criptw rite r........................................CharlesStamp Asst, art d ire c to rs ............ Steven Teather, Producers .......................... David Hannay, Meadows), Guy Doleman (Mike Hayes), Photography...................... Phil Pike A.C.S. Christine Flin, Joanne Samuel (Chris), Kit Taylor (Paul Sound recordist ......... Rowland McManis Geoff Brown David McKay Sloane).

Scriptwriter .......................Terry O'Connor E d ito r.......................................Tim Wellburn DOUBLE DEAL Make-up ..............................

Karla O’Keefe Based on an original Synopsis: A suburban community Is bliss­ C om poser............................. John Sangster Asst, e d ito r............................................... GaiSteele fully unaware that a killer stalks the streets. idea by ........................

Terry O’Connor Prod, company ............... Rychemond Film Exec, producer ........................ Gene Scott Sound editors .........................

Paul Healey, Photography ........................... David Eggby A mother and her two sons survive in a dis­ Prod, manager .......................... Jan Tyrrell Productions Ashley Grenville integrating relationship. These two ele­ Prod, co-ordinator ................... Dixie Betts Sound recordist .....................Mark Lewis Dist. company ............................ (overseas) Mixer ......................................

Peter Fenton ments come together to form the basis of Location m anager............................ MichaelFuller Editor .......................................... Tim Street Hemdale Leisure Corp.

Stunts co-ordinator ............ Frank Lennon this mystery-thriller.

Prod, designer ........................ Bob Hilditch P ro d u c e rs ..............................................BrianKavanagh, Prod, secretary ........................ Fiona King Fights co-ordinator....................

David Brax Lynn Barker Composer ................................Mike Harvey Prod, accountant .................. Peter Layard S tu n ts................................................... ReeceRobinson, Exec, producer ...............John Fitzpatrick D ire c to r..................................................BrianKavanagh 1st asst, d ire c to r................................... TonyWellington Ian Lind (Filmco) S c rip tw rite r............................................ BrianKavanagh 2nd asst, d ire c to r..................................PaulCallaghan Still photography......... Robert McFarlane, FIGHTING BACK Prod, manager .................... Julia Overton Based on the 3rd asst, director . . . . Hamish McSporran "Race" Gailey Unit manager .......................... Di Nicholas original idea b y .................................BrianKavanagh Continuity .........................Caroline Stanton R unner....................................................GregStephens Prod, secretary ..................Belinda Mason Prod, company ................... Adams Packer Casting.......................... Mitch Consultancy P hotography........................ Ross Berryman C atering................................Merle Keenan.

Prod, accountant ....... Howard Wheatley Film Productions Clapper/loader .....................Sean McClory Sound recordist ..................... John Phillips Donna Sims — Samson Film Productions Camera assistant ....................Keith Bryant E d ito r........................................... Tim Lewis 1st asst director ............. Stuart Freeman Mixed at .................................United Sound 2nd asst director ......... Michael Bourchier Producers ...............................Sue Milliken, C o m p o se r...........................Bruce Smeaton Key g r ip ......................... Grahame Litchfield Laboratory ............................................Atlab 3rd asst director ...............Annie Peacock Tom Jeffrey Exec, producer .......................... John Daly 2nd unit photography ...............Phil Dority Length .............................................. 90 mins Continuity ........... Margaret Rose Stringer Director .......................... Michael Caulfield Assoc, p ro d u c e r................................. Carlie Deans G a ffer........................................Derek Jones Shooting s to c k ........................Eastmancolor Producer’s assistant ....... Vanessa Brown Scriptwriters ...................... Michael Cove, Prod, s u p e rv is o r................................... JohnChase Boom operator ........................Jan McHarg Scheduled release ..................... June 1982 Lighting cameraman ...........

David Eggby Tom Jeffrey Art d ire c to r..................................Ken James Prod.

Cast: Tracey Mann (Karli), David Argue Based on the novel by -----John Embling co-ordinator . . . Carolynne Cunningham Camera operator .................. David Eggby Costume designer ................Fiona Spence (Gregg, Trixie, the Hood, the Sprooker), Director of Prod, accountant .................... Lynn Barker Focus p u lle r ......................................... DavidConnell Make-up .................................Fiona Spence Verra Plevnik (Jane), Moira Maclaine-Cross Clapper/loader ........................Erika Addis photography .........................John Seale Prod, assistant......................................... LynDevine Ward, assistant ................ Kerry Thompson (Ellen).

Julie Barry (Jackie), Esben Storm Camera assistants ....... Salik Silverstein, Sound recordist ........... ..........Tim Lloyd 1st Asst d ire c to r.................Ross Hamilton P ro p s ................................... Brian Edmonds (Michael), Ian Gilmour (Shadow), Henk Sally Eccleston Editor ..................................... Ron Williams 2nd Asst director ........................Bill Baster Standby p ro p s .........................................IgorLazareff Johannes (Ian), Mercia Dean-Johns (Ned), Key grip ...........................Merv McLaughlin Exec, producer ....................Phillip Adams 2nd unit d ire c to r.................................. BrianKavanagh Ian Nimmo (John).

Carpenter ...................... Geoff Thomlinson Prod.

Continuity ............................. Shirley Ballard Asst grips ........................ Brett Robinson, Asst, e d ito r................................

Judy Rymer Synopsis: “The iron tongue of midnight Robert Verkerk co-ordinator .. .Carolynne Cunningham Producer’s assistant....... Helen Kavanagh Neg. m a tc h in g ..........................Chris Rowell hath toll’d twelve. Lovers, to bed; ’tis almost 2nd unit photography ........... Peter Levy, Prod, manager ...................Su Armstrong Focus p u lle r.............................................. IanJones fairy time, I fear we shall outsleep the Sound e d ito r...........................................

Bob Cogger Sam Bienstock Location m anager................ Tony Winley Clapper/loader ........................... Phil Cross coming morn As much as we have this night Editing assistant ..................Michelle Cattle Gaffer .......................................Roger Wood Producers’ secretary ......... Mary Williams Special fx .........................Conrad Rothman o’er watched.

This palpable gross play hath M ixe r..............................Julian Ellingsworth Electrician ................................ Peter Wood Prod, accountant .. Moneypenny Services G a ffe r...................................... Lindsay Foote well beguiled The heavy gate of night.

Still photography....................................AlanHoward (Craig Scott) Boom operator ......................... Ray Phillips Sweet friends, to bed."

O p tica ls................................Acme Opticals Art d ire c to r................................... Jill Eden Title d e s ig n e r........................................ JohnFrampton Asst art director ........................ Phil Eagles Best boy ............................... Richard Curtis Make-up ............................Deryck De Niese P ublicity............................................. MichaelHohensee GOODBYE PARADISE H airdfesser..............................Pietra Robins C atering............................................. AM/PM Catering Wardrobe ..................................Anna Jakab Mixed at ................................................ Atlab Prod, c o m p a n y ......... Petersham Pictures Props b u y e r........................Nick Hepworth Laboratory ........................................... C F L Pty Ltd Standby p ro p s .........................................KenHazelwood Lab. lia is o n .............................................JackGardiner P ro du ce r..................................... Jane Scott Special e ffe c ts ................ Conrad Rothman Length .............................................85 mins D ire c to r....................................Carl Schultz C onstruction...................Geoff Richardson, Gauge ..................................................16mm S criptw riters..................................Bob Ellis, Ian Doig Shooting s to c k ............. Eastmancolor 7247 Denny Lawrence Asst editor ................................Ken Sallows Cast: John Jarratt (Fluteman), Emil Minty Based on original idea Still photography................................... SuzyWood (Toby), Aiieen Britton (Beatrice Peachley), by ..................................Denny Lawrence Best boy ................................. Gary Scholes Michael Caton (Oswald Snaith), Patrick Sound recordist ............. Syd Butterworth R un n e r.................................................. StuartWood Dickson (David Hanson), John Ewart E d ito r..................... Richard Francis-Bruce P u b licity................................................ Carlie Deans (Clarence Quint), Ron Graham (Frank Prod, d esig n er....................... George Liddle Unit publicist ......................... Peter Murphy Timms), Peter Gwynne (Mayor Cooper), C om p o se r................................... Peter Best Laboratory ................................... Colorfilm Sheila Kennelly (Myra Hanson), Debra Prod, co-ordinator .................Fiona Gosse Lab. lia is o n .................................. Bill Gooley Lawrance (Sally Cooper).

Prod, manager ...................... Jill Nicholas B u d g e t............................................$1 million Synopsis. Fluteman is a modern day Aus­ Transport/ Shooting s to c k ........................Eastmancolor tralian version of the Pied Piper of Hamelin Unit m anager.................................. PeterLawless Cast: Angela Punch McGregor (Christina interspersed with incidents to delight family Prod, secretary ......................Lyn Galbraith Stirling), Louis Jourdan (Peter Stirling), and children.

Financial co ntro lle r........... Richard Harper Diane Cr'aig (June Stevens), Warwick Prod, accountant ................. Karen Volich Comber (young man), Bruce Spence (Doug Location m anager................. Janene Knight Mitchell), Peter Cummins (Detective Mills), GINGER MEGGS 1st asst director ................Neill Vine-Miller Patty Crocker (Christina’s mother), Kerry 2nd asst d ire c to r.................................. PeterWillesee Prod, company .......................

John Sexton Walker (Sibyl Anderson), Danee Lindsay 3rd asst d ire c to r...................................PeterKearney Productions (ju n io r s e c re ta ry ), June Jago (M rs Continuity ....................................Pam Willis P roducer................................................ John Sexton Coolidge) C asting....................................Michael Lynch Director ........................... Jonathan Dawson Synopsis: A psychological thriller, its plot is Casting consultants .. Forcast Consultants Scriptwriter ........................Michael Latimer a mystery of manipulation and double­ Camera operator .........

Danny Batterham Based on the cartoon b y .......Jim Bancks d ea ling abo u t the elegant, b ea u tifu l Focus p u lle r ..............................Steve Mason Photography .............................. John Seale Christina Stirling, her urbane, successful Dusty Clapper/loader .....................Russell Bacon Sound recordist............................ Tim Lloyd m a n -o f-th e -w o rld husband, Peter, a Key g r ip ................................................... PaulThompson Editor ......................................... Philip Howe

■ CINEMA PAPERS October — 457

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Asst g r i p .........................Brendan Shanley underworld of sly-grog shops, gambling Gaffer ........................ Graham Rutherford 2nd unit photography ............. Jan Kenny, houses, prostitution and hold-up merchants Electrician ................................Mark Verde Frank Hammond in the rip-roaring 1920s, playing, laughing Boom operator ...................Toivo Lember G a ffe r...........................Graham Rutherford and fighting with a gusto the city has never Art dept co-ordinator ....... Janene Knight known since.

Boom operator .........................Noel Quinn Asst art director ......... Richard Houghton Art d ire c to r.............................................John Carroll Make-up ................................ Carol Devine Art dept, c le r k ...............................Geraldine Royds Wardrobe .......................Ruth de la Lande Make-up ................. Lesley Lamont-Fisher Ward, assistant .....................Kathy James LADY, STAY DEAD H airdresser...........................................Jenny Brown Props buyers .....................David Bowden, Wardrobe .................................... Kate Duffy Geraldine Royds Prod, c o m p a n y ....... Ryntare Productions Ward, a s s is ta n t.......... Lesley McLennan Standby props ...................Nick McCallum P ro d u ce r................................. Terry Bourke Props assistant ............................. Igor Nay Special effects ...................Alan Maxwell, D ire c to r................................... Terry Bourke Props b u y e r .................................. Ian Allen Peter Evans S criptw rite r..............................Terry Bourke Choreography .................Elizabeth Burton Standby p ro p s .........................................IgorLazareff Based on the original idea Special e ffe c ts ...................................... Chris Murray Carpenter .............................

Robin Warner by .........................................Terry Bourke Special effects assistant . . . . David Hardie Photography.......................... Ray Henman Set construction .................. Denis Donelly Choreography .................... Ross Coleman Asst editor ..........................

Robert Grant Sound recordist .................... Bob Clayton Dubbing editor ..........................Greg Bell Scenic a r tis t............................................ NedMcCann E d ito r...................................... Ron Williams Carpenter . : .......................... Robin Warner C om poser................................................BobYoung Asst dubbing editor ..............Helen Brown Set construction manager . Denis Donelly Exec, producer ...........Alexander Hopkins Stunts co-ordinator ..................Vic Wilson Asst editor ................................ Mark Darcy Still photography ......... Geoff McGeachin Assoc, producers .................John Hipwell, Dialogue consultant ........... Jack Rozyckl Eric Cook Sound editor ....................Andrew Stewart Mechanic ............................ David Thomas Prod, su p e rviso r.....................John Hipwell Editing a s s is ta n t............. Ashley Grenville Best boy ..............................Alan Glossop Prod, secretary .........................Pam Brown Stunts co-ordinator ............... Dennis Hunt Runners ................................. Janet Mclver, Prod, accountant ....................... Ross Lane S tuntm en.................................... Vic Wilson, Paul Arnott Mike Read, Prod, assistant.......... Mary-Anne Halpin Publicity ......... Brooks White Organization Ian Lind. 1st asst director ................. Eddie Prylinski Catering ..................................Mark Neylon, 2nd asst d ire cto r.............David Trethewey Dog h a n d le r.............................Dennis Hunt Robyn Hartigan Continuity .............................. June Henman Stiil photography..................... Jim Townley Mixed at ...............................

United Sound C asting............................................ Eric Cook Best boys ........................... Jack Kendrick, Laboratory ....................................Colorfilm Alan Glossop Casting consultants .....................Eric Cook Lab. liaison ................................ Bill Gooley Management R un n e r................................................... MerylCronin Budget ........................................ $2,583,924 Lighting cameraman ............ Ray Henman P ub licity..........Brooks White Organization Length .........................................100 mins Camera operator .................. Ray Henman Unit publicist ...........................David White Gauge ................................................ 35mm Focus p u lle r............................

Peter Rogers C aterin g .................................................. John Faithfull Cast: James Laurie (Steve), Gia Carides S tudios.............................................. Artransa Clapper/loader .................. Robert Marriott (Ruth), Max Cullen (Tomas), Bruce Spence Mixed at ................................. United Sound Camera assistant ...................Peter Rogers (Wimpy), David Argue (Rabbit), Tony Barry Key g rip ...................................Peter Mardell, Laboratory ..................................... Colorfilm (Howard), John Clayton (Vincent), Graeme Film Unit Lab. lia is o n ................................................ BillGooley Blundell (Sidebottom), Jonathan Coleman Asst grip ........................... Michael Nelson B u d g e t..................................................... $1.8million (Wayne), John Godden (Chris the Rat).

G a ffe r............................... Chick McDonald Length ............................................110 mins Synopsis: The story of young people, their Electrician o n e ...................... Alleyn Mearns Gauge .................................................. 35mm Sunshine City car 'culture', the motor Electricians tw o ...................................... BudHowell, Shooting stock . . . Eastman Color Negative speedway and the criminal world of car-part Douglas Wood Cast: Ray Barrett (Stacey), Robyn Nevin stealing.

Boom operator .......................... Keir Welch (Kate), Janet Scrivener (Cathy McCredie), Art d ire c to r..................................... Bob Hill Kate Fitzpatrick (Mrs McCredie), Lex Make-up ................................. Sally Gordon Marinos (Con), John Clayton (Bill Todd), MOVING OUT H airdresser........................ Jan Zeigenbein Guy Dolem an (Q uiney), Paul Chubb Wardrobe .......................... Catriona Brown (Curly).

P ro du ce rs........................

Jane Ballantyne, Props b u y e r.................... Sandy Wingrove Synopsis: She was all any old fool could ask Michael Pattinson Standby p ro p s .................................... BevanChilds, for—a beautiful masochjst with an Electra Nick McCallum Director ..........................Michael Pattinson complex. She knew her life was a great pre­ S criptw rite r..................................... Jan Sardi Special e ffe c ts .................Reece Robinson destined adventure, and, if it ended like Based on the original 1st asst editor ........... Antoinette Wheatley Bonnie and Clyde, so be it. It was for girls 2nd asst editor ................... Moira McLaine idea by ..........................................Jan Sardi like this that old fools like Agamemnon died Neg. m a tch in g .......................Gordon Poole Photography...................... Vincent Monton — Agamemnon and Mike Stacey. Ex­ Musical director ........................Bob Young Sound recordist .................... Geoff White Deputy Police Com m issioner, Michael Music performed by ................ Bob Young E d ito r.................................................. RobertMartin Stacey OBE. Orchestra Prod, designer........................ Neil Angwin Sound editor ..........................Paul Maxwell C om posers..................................... Umberto Tozzi, Danny Beckerman Editing assistants ....................Peter Foster KITTY AND THE BAGMAN Mixer ........................................Peter Fenton Assoc, p ro d u c e r................................... Julie Monton Prod, consultant ................. Rosa Colosimo Stunts co-ordinator ............

Frank Lennon Prod, company . . . Forest Home Films for Midnite Spares S tu n ts......................................... Grant Page, Prod, secretary .................... Beverley Frost Adams Packer Film Prods.

Dee Jones, Prod, accountant ......... Natalie Hammond Producer.........................Anthony Buckley 1st asst, d ire c to r...............................

Robert Kewley Chris Hession D irector.......................... Donald Crombie Photography..................................Phil Pike Unit manager .....................Marcus Skipper Still photography...................... David Miller 2nd asst, d ire c to r.......... Alan Mackenzie Scriptwriters................... Phillip Cornford, Prod, accountant .................. Wendy Miller Title d esig n er............... Optical & Graphics 3rd asst, director ....................... Ian Fowler Sound recordist ......... Rowland McManis John Burnie Continuity .........................Catherine Sauter E d ito r.......................................

Bob Cogger 1st asst director ............Philip Hearnshaw Dog w ra n g le r........................ Evanne Harris Director of photography.......Dean Semler Focus p u lle r....................................... RobertMurray Exec, producer ........................ Gene Scott Asst d ire c to rs.........................Paul Healey, Camera g a ffe r .......................

Conrad Slack Sound recordist .....................John Phillips Clapper/loader ...............

Christopher Cain Assoc, p ro d u c e r...................Russell Hurley Tony McDonald R unner.................................................... AlexPoliak E ditor.............................. Timothy Wellburn Key g r ip ..................................................GregWallace Prod, co-ordinator ................. Peter Abbott C ontinuity..............................................

AnneMcCleod Publicity......................................................Liz Johnston Prod, designer.....................Owen Williams Asst, g r ip ........................

Michael Madigan Prod, manager ........Christopher Gardiner Casting...................................................

MitchConsultancy C atering..................................Kaos Katering Exec, producer ..................... Phillip Adams G a ffe r.................................................. TrevorToune Prod, secretary ...............Wendy Chapman Steadicam operator...............

Toby Phillips Mixed at ................................

United Sound Assoc, producer......... Jacqueline Ireland Boom operator ......................

Grant Stuart Prod, assistant....................

Sean McLoury Camera operator ..................

Gary Hansen Laboratory ............................................Atlab Prod, manaaer...........................Lynn Galley Costume designer ..............Frankie Hogan 1st asst director ___Christopher Gardiner Focus puller ...........................Phillip Cross Lab. lia is o n .......................Greg Dougherty Prod, secretary ............... Antonia Barnard 2nd asst d ire cto r....................................PaulCallaghan Clapper/loader.......................................JohnJasiukowicz B u d g e t.............................................$610,000 M a ke-u p /h a ir........... Amanda Rowbottom Prod, accountant ......... Howard Wheatley Stand-by wardrobe ........... Frankie Hogan Continuity .........................Catherine Sauter Key g rip ...................................................NoelMcDonald Length .............................................92 mins 1st asst director ................ Stuart Freeman Asst g r ip ............................. Wayne Marshall Gauge ................................................. 35mm Props buyer .............................Harry Zettel Casting.......................... Mitch Consultancy 2nd asst director...................................ColinFletcher Stand-by p ro p s ...................... Harry Zettel Camera assistant ....................Keith Bryant 2nd unit photography............Toby Phillips Shooting sto c k .............5247 Eastmancolor 3rd asst director...................... Chris Short Key g r ip .......................... Merv McLaughlin G a ffe r.......................................... Mick Morris Ektachrome Set fin is h e r.............................................NickHepworth Continuity ..................................Jo Weeks Carpenters .................................

Baz Props, 2nd unit photography ...............Phil Dority, Gen. op.................................... Gary Plunkett Scheduled re le a s e ......... December, 1981 Casting................................... MitchMatthews Dennis Lee Garry Maunder Boom operator...................................... MarkWasiutak (Japan) Camera operator ......... Danny Batterham Set construction G a ffe r...............................................Ray Ang Art directors ......................Richard Francis, Cast: Chard Hayward (Gordon Mason), Focus pu ller......................................... SteveDobson manager ......................... Ken Hazelwood Boom operator ...................... Jan McHarg Nick Hepworth Louise Howitt (Jenny Nolan), Deborah Clapper/loader .................Andrew McLean Asst, e d ito rs .........................................

Craig Carter, Art d ire c to r.............................

Jakob Horvat Make-up ............................Elizabeth Fardon Coulls (Marie Colbey), Les Foxcroft (Billy Key g rip .......................... Merv McLaughlin Mark Atkin Wardrobe ...............................Fiona Spence Special prosthetic Shepherd), Roger Ward (Officer Clyde ColAsst grlp/s ....................................Pat Nash, Sound editor ..........................

Martin Jeffs P ro p s ...................................

Brian Edmonds m a ke-up............................Bob McCarron lings), James E llio tt (P atrolm an Rex Brian Edmonds Mixer ..............................Julian Ellingworth Asst editor ......................Mickey O'Sullivan Hairdresser ....................... Suzie Clements Dunbar).

Gaffer......................................................JohnMorton Neg. m a tch in g ..........................Chris Rowell W a rd ro b e ................................. Jenny Arnott Synopsis: A young woman, looking after Still photography...................... Suzy Wood Electrician.............................................JasonRogers Still photography..................................FionaSpence, Ward, assistant ..........................Gail Mayes her sister's house while she is away on loca­ Title s................................Optical & Graphic Boom operator ......................... Ray Phillips Garry Maunder Props buyer........................................ HarveyMawson tion, is unaware that her sister and the care­ Dialogue c o a c h ....................................PeterSardi Art director............................................ JohnCarroll Best boy ............................

Werner Gerlach P ublicity..............................................

Wendy Chambers Standby p ro p s .......................................JohnPowditch taker have been murdered. The murderer Asst art director ...................Judith Russell Laboratory .............. Cine Film Laboratory Special e ffe c ts ....................... Chris Murray returns to kill the woman, and so begins a C atering.......................... Chavelle Exquisite Costume designer ........... Judith Dorsman S tudios....................................... SoundstageFitzroy Lab, lia is o n ............................................... CalGardiner Special effects battle of wits.

Make-up ................. Lesley Lamont-Fisher Mixed at ...............................................Atlab Length .............................................85 mins assistant.............................. David Hardie Hairdresser............................... Willi Kenrick Laboratory ........................................... Atlab Gauge ..................................................16mm Set d ecorators.................. Harvey Mawson, Ward, assistants ....................... Lyn Askew, MIDNITE SPARES Lab. lia is o n ............................................ GregDougherty Shooting s to c k ........................Eastmancolor Ken Hazelwood Kerri Barnett Length .............................................. 91 mins Cast: Aileen Britton (Miss Markham), Henri Construction m a na g e r............Ray Pattison Props buyers............. Stephen Amezdroz, Prod, company ...................... Wednesday Cast: Vince Colosimo (Gino), Kate Jason Szeps (M r W ilberforce), John Cobley Asst Billy Allen, Investments, (Mrs Condello), Peter Sardi (Lino Condello), (Morris), Ray Meagher (Stakovich), Simone construction manager . Danny Corcoran Sue Hoyle A Filmco Presentation Sylvie Fonti (Mrs Simonelli), Luciano Buchanan (Kate), Scott Nicholas (Ben), Construction services.......Domenic Villella Standby props........................................PaulJones Producer .................................Tom Burstall Catenacci (Mr Simonelli), Brian James (Mr Jeremy Shadlow (Spider), Robert Geammel Asst e d ito r............................................... KenSallows Special effects....... Almax Special Effects Director .......................... Quentin Masters Aitken), Ivar Kants (Mr Clarke), Sandy Gore (Rocco), Tony Lee (Ah Leong).

Neg m atching..................................Fiimsync Choreography ..................... Anne Semmler Scriptwriter .............................Terry Larsen (Miss Stanislaus), Sally Cooper (Sandy), Synopsis: When three children cross the Sound e dito rs.................. Louise Johnson, Scenic artists.......................................... NedMcCann, Photography ...........................Geoff Burton Maurice de Vincetis (Renato). harbor to explore Castle House — a Frank Lipson Joyce MacFarlane Sound recordist .................. Lloyd Carrick Synopsis: Two turbulent adolescent weeks strange, unoccupied mansion — they en­ Dubbing assistant..................................RossChambers Carpenters ............................. Len Metcalfe, Editor ................................. Andrew Prowse in the life of a teenage migrant Italian boy counter sinister baddies, a kidnapping and M ixe r................................Julian Ellingworth Hannes Finger Prod, designer ...................George Liddle living in Melbourne's inner suburbs. For this a hilarious, eccentric lady. Excitement, Fight co-ordinator.................Gus Mercurio Set construction .................Richard Weight Composer .......................... Cameron Allen fortnight two fam ilies live in the one mystery and non-stop action and roll-inS tu n ts .......................................................Paul Alexander, Asst editor ...................Annabelle Sheehan Exec, producer .............. John Fitzpatrick crowded terrace: the recently arrived family the-aisle comedy for children.

Archie Roberts, Neg. m atching...................Margaret Cardin Prod, co-ordinator ........... Cathy Flannery from Italy who will take over the house, the Matt Burns Still photography............................... PatrickRiviere Composer ...........................Cameron Allen current family who are preparing to leave.

Still photography....................... Suzy Wood Best boy ................................... Ian Plumber Prod, manager ........................ Jenny Day Gino must come to terms with giving up his Title designer .................................Alex Stitt NEXT OF KIN Runner.................................. Annie Peacock Unit manager ......................... John Warren hard-won inner city life, accept his Italian Best boy ............................... Alan Glossop Publicity.................................................... ReaFrancis Financial controller ......... Richard Harper Prod, com panies............. The Film House, background, and start a new kind of life, Catering..................................Helen Wright Laboratory ..................................... Colorfilm Prod, accountant ..................Karen Volich hopefully one more step towards maturity.

S.I.S. Productions S tudios........................Cambridge, York St. Lab. liaison................................................BillGooley 1st asst director ......... Derek Seabourne Dist. company ...................................Filmco Mixed at ....................................

Atlab Progress ...................................... Production 2nd Asst director .............Peter Willesee P roducer.................................Robert Le Tet Laboratory ...............................................VFL Cast: Liddy Clark (Kitty O'Rourke), Val 3rd Asst director .........................Ian Kenny D ire c to r.................................. Tony Williams Length .............................................. 95 mins Lehman (Lil Delaney), John Stanton (The Continuity .................................Ann Walton Scriptwriters ....................... Michael Heath, MYSTERY AT CASTLE HOUSE G auge................................................... 35mm1.66 Bagman), Gerard McGuire (Cyril Vikkers), Producer’s assistant . . . Margaret Roberts Tony Williams Shooting s to c k ....................... Eastmancolor Prod, company ...................... Independent Collette Marin (Doris de Salle), Reg Evans Director's assistant ......... Mardi Kennedy Based on the original idea Cast: Jackie Kerin (Linda Stevens), John Productions (Chicka Delaney), Kylie Foster (Sarah Casting consultants ......... Michael Lynch, b y ........... Timothy White, Michael Heath J a rra tt (B a rn e y ), C ha rles M cC allum Rae Davidson P ro d u ce r.......................... Brendon Lunney Jones), Ted Hepple (Sam), Danny Adcock P hotography.......................................... GaryHansen (Lance), Gerda Nicoison (Connie), Alex (Thomas), John Ewart (The Train Driver).

Focus puller ..................... David Foreman Director ................................Peter Maxwell Sound recordist......................Gary Wilkins Scott (Dr Barton), Bernadette Gibson (Mrs Clapper/loader ..................... Gillian Leahy S criptw riters........................ Stuart Glover, Editor ...................................... Max Lemon Synopsis: A period comedy drama set in Ryan), Robert Ratti (Kelvin), Vince Deltito Michael Hohensee Co-producer ......................... Timothy White Key grip ................................Lester Bishop Sydney about two crime queens, Kitty (Nico), Debra Lawrence (Carol), Tommy Based on the original idea Asst grip ............................Nick Reynolds Prod, s u pe rviso r.................. Michael Lake O’Rourke and Big Lil Delaney. Together, Dysart (Harry). b y ........................................... Geoff Beak 2nd unit photography . . . . Bill Grimmond Prod, co -o rd in a to r....................Trish'Foley these two remarkable women ruled the

is 1

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CINEMA PAPERS October — 459

Laboratory ................................... Colorfilm Dubbing editor ...................Denise Hunter Addn unit NOW AND FOREVER THE RETURN OF CAPTAIN Ca*t: Alan Arkin (Capt. Invincible), Chris­ Mixer .............................................Phil Judd cameraman ............. Matthew Flanagan INVINCIBLE Prod, company ............. Now and Forever Still photography............... Mike Burnhaut topher Lee (Mr Midnight), Kate Fitzpatrick, Gaffer .......................................Alan Walker Film Partnership Asst electrician ...................... Alan Walker Bill Hunter, Graham Kennedy, Michael (New York) P ro d u c e r...........................................Andrew Gaty Producers............................. Treisha Ghent, Principal animators ...............Athol Henry, Boom operator ................ Andrew Duncan D ire c to r................................. Philippe Mora Pate, Hayes Gordon, John Bluthal, Maggie Dence, Norman Erskine. “ Carnegie Fieldhouse Cynthia Leech, Make-up .......................... Rina Hoffmanis S criptw riters.....................................Andrew Gaty, Director .................................... Adrian Carr Andrew Szemenyei Wardrobe .................................... Liz Keogh Steven de Souza Synopsis: A madcap, musical comedyAdditional material directed Sarah's character d e s ig n ___Athol Henry Props buyer ......................... Jamie Mirams adventure where the flying super hero Based on the original Addit. animation ...........

Irena Slapczynski, b y ...................................Richard Cassidy Standby props ..........................Jon Fabian crushes Nazis, threatens bootleggers, helps idea by ................................Andrew Gaty Scriptwriter ......................Richard Cassidy Ty Bosco Transport manager ................. Tim Sayers boy scouts and battles Moscow.

Photography.......................................... MikeMolloy Based on the novel Asst anim ators...................

Astrid Brennan, Editing assistant ................Christine Spry Sound recordist ...............Ken Hammond b y ....................................... Danielle Steel Maria Brinkley, Stunts co-ordinator .................Grant Page Editor ........................................John Scott RUN REBECCA, RUN! Photography .........................Don McAlpine Marian Brooks, Tutor ............................... Victor McKeown Prod, designer...................... David Copping Supervising sound Diane Farrington, Animal handler .......Bernadette Hamilton M u s ic ............................................ Bestall & Prod, company .................... Independent re co rd ist............................Kevin Kearney Eva Helischer, Helicopter pilot ................... Alan Edwards Reynolds Management Productions Sound recordist.................. John Franks Brenda McKie, Best boy ..............................Alleyn Mearns Assoc, p ro d u c e r............ Brian D. Burgess Producer ..........................Brendon Lunney Supervising editor .................Adrian Carr Paul Marron, Runners ...................................... Ric Bower, Unit m anager..................................WarwickRoss Director ..............................Peter Maxwell Kaye Watts Art directors ....................Rene & Rochford Monica Pellizzari Prod, secretary ........... Rosslyn Abernethy Scriptwriter ........................ Charles Stamp Color design..........................

Susan Speer Unit publicist .........................Felippa Pate Composer ........................... Bruce Rowland NSWFC prod, a s s t.......... Joanne Rooney Based on the original Painters/tracers...............Margaret Butler, Catering ............. Take One Film Catering Assoc, producer ..................... Rea Francis Prod, accountant ......................Lea Collins idea by ..............................Gary Deacon Kim Craste, (Anne Harris) Prod, co -o rd in a to r..................................LynGalbraith Asst accountant......................Kate Highfield Photography ............................... Phil Pike Pari Dounis, Laboratory ...................................Colorfilm Prod, m anager..................................... CarolWilliams 1st asst director ..............Bosie Vine-Miller Sound recordist ......... Rowland McManis Ruth Edelman, Unit manager ......................... Tom Blackett Cast: Paul Winfield. Rod Taylor. Beau Cox, 2nd asst dire cto r................... Keith Heygate Editor ..................................... Bob Cogger Lynette Hennessy, Ray Meagher.

Prod, accountant ..........Spyros Sideratos 3rd asst d ire c to r................... Peter Kearney Composer ...........................Simon Walker Steve Hunter, Asst accountant..................-Connie Dellios Synopsis: Loosely based on Gilbert and Continuity ................................... Linda Ray Exec, producer ...................... Gene Scott Ellen Jackson, Sullivan’s "The Pirates of Penzance".

Film 1st asst director ............... Stuart Freeman Telephonist........................Marguerite Grey Features manager . . . . Wendy Chambers Kim Marden, includes five Gilbert and Sullivan songs, 2nd asst dire cto r.................................. Chris Short Producer's secretary . . . .Sandra Wheatley Prod, supervisor ................Chris Gardiner Narelle Miels, and six new ones. Story has a con­ 3rd asst d ire c to r.................................... BobDonaldson C asting........................................Liz Mullinar Prod, manager ..................... Peter Abbott Krystyna Mikita, temporary beginning and end; most is a Camera operator ...................... Lou Irving C on tin u ity........................................... ShirleyBallard Prod, secretary ............. Wendy Chapman Charmaine Shelton Price long fantasy sequence.

Producer’s assistants........ Maggie Scully, Focus p u lle r............................Peter Rogers Prod, accountant ................. Peter Layard Backgrounds ........... Zbigniew Dromirecki, Neil Green Clapper/loader .........................Stuart Quin Prod, assistants ..................Sean McClory, Amber Ellis, Casting consultants.........................Forcast Key g rip ..............................Graeme Mardell Fiona Marks THE PLAINS OF HEAVEN Kolorkraft Lab. Extras casting....................Miriam Freeman Grip .......................................... Gary Cardin 1st asst director ................... Kevin Powell Recording studios................................Atlab Camera operator ..........Danny Batterham Front projection operator . . . Paul Nicholla 2nd asst director ............... Paul Callaghan Prod, company ............. Seon Film Prods.

Recorded by ...............Julian Ellingsworth Focus puller ....................... Andrew Lesnie Front projection a s s t............... Ken Arlidge Continuity ....................... Catherine Sauter P ro d u ce r..............................John Cruthers Sound recording C lapper/loader.................... Robyn Petersen D ire c to r..................................... ian Pringle G a ffer.....................................................BrianBansgrove Casting ........................ Mitch Consultancy (New Y o rk )...................... Magno Sound Key g rip ............................ Merv McLaughlin Scriptw riters............................... Ian Pringle.

1st electrics ............................. Colin Chase Camera assistant .................. Keith Bryant Mixed at ............................... United Sound G r ip ................................................ Pat Nash Boom operator .................Andrew Duncan Key grip .......................... Merv McLaughlin Doug Ling, Laboratory .................................. Colorfilm; Asst g r ip ..................................................EricPressley Art d ire cto rs......................Owen Paterson, Elizabeth Parsons.

2nd unit photography ___Gary Maunder, Movielao (New York) G a ffe r.......................................................RobYoung Ron Highfield Photography................................. Ray Argali Phil Dority Cast: Mia Farrow (Sarah).

Best boy .............................. Colin Williams Asst art director ...............Robyn Coombs Location sound ...................... Bruce Emery Gaffer .............................................Ray Ang Voices: Joan Bruce, John Faassen, Ron Electrician.................................Guy Hancock Art dept asst ...................... Vivienne Elgie Boom operator ...................... Jan McHarg E d ito r.............................................Ray Argali Haddrick, Shane Porteous.

Boom operator.................................GrahamMcKinney Art asst ............................... Phillip Colville C om poser........................ Andrew Duffield Art director ........................... Jakob Horvat Synopsis: The poignant story of a young Costume designer .................... Kate Duffy Make-up ................................. Sally Gordon Assoc, p ro d u c e r.............. Brian McKenzie Make-up ...............................Fiona Spence child, orphaned by war, and her struggle to Hairdresser .........................Jan Zeigenbein Prod, su pe rviso r.....................Mark Thomas Make-up ..........................Robert McCarron Wardrobe .............................Fiona Spence survive. It is representative of the plight of Make-up a s s t......................... Robyn Austin Ward, assistant .............. Kerry Thompson W a rd ro b e ......................... Rene & Rochford Prod, assistants................. Cristina Pozzan. children in war-torn countries and acts as Hairdresser............................. Jenny Brown Props ................................. Brian Edmonds Standby w a rd ro b e .................................. LynAskew Daniel Scharf, the voice of all children against the suffer­ Asst hairdresser ...............Cheryl Williams Seamstress ..............................Amber Rose Asst editor .............................Gina Lennox Robbie Ashhurst. ing and hardships imposed by all wars.

Props buyers/dressers ..Sandy Wingrove, Ward, assistan t...................................JennyCarseldine Neg. matching ....................... Chris Rowell 1st asst, d ire c to r.....................Mark Thomas Ken McCann, Continuity ............................. Chris Johnson Standby wardrobe ........................Lea Haig Sound editor .......................... Bob Cogger Jock McLaughlan Camera assistant ................Renee Romeril Props b u y e r.....................Derrick Chetwyn Mixer ............................. Julian Ellingworth A SLICE OF LIFE Standby p ro p s .......................................AlanFord Standby p ro p s .........................Igor Lazareff Still photography ............... Garry Maunder G a ffe r................................. John Whitteron Prod, company .....................John Lamond Special effects supervisor . Monty Feiguth Animals arranged Scenic artist ........................... Ned McCann Boom operator ........... James Dunwoodie Motion Picture Enterprises Set construction ................... Digby Stewart Art d ire c to r.....................................ElizabethStirling Special effects asst ..............Steve Courtly by ...................... Animal Talent Pty Ltd Dist. company ............................ Roadshow Special asst ...................... Robert Hilditch Catering ................. Sally Greville-Smith Editing assistants...... Louise B. Johnson, Electronic design ................David Durance Distributors Australia Scenic a r tis t........... Elizabeth Leszczynski Andrew Plain Set construction .................David Durance, Mixed at ..............................................Atlab P ro d u c e r............................... John Lamond Supervising sound Asst set finisher ................ Brian Nickless Anthony Bignall, Laboratory ............. Cine Film Laboratory Director ..................................John Lamond e d ito r................................. BruceLamshed Construction m anager....... Danny Burrett Lab. liaison ........................Calvin Gardiner Peter Kulesa, S criptw rite r.............................................AlanHopgood Sound e dito rs........................ Peter Burgess, Asst construction manager .. Roger Clout Length ...........................................85 mins Mars McMillan.

Sound recordist ......................

Paul Clarke Glen Martin Asst, e d ito r............................. Daniel Scharf Carpenters ........................Paul Vosiliunos, Gauge ................................................ 16mm E d ito r...............................................Jill Rice Asst sound e dito rs.................Craig Carter, Soundtrack d e s ig n .................Bruce Emery Roger Briggs, Shooting stock ................................... 7247 C om poser....................................Brian May Tim Chau Sound editors ............................Ray Argali, Gordon McIntyre, Cast: Henri Szeps (M anuel), Sim one Exec, p ro d u c e r...........Cinema Enterprises Still photography............................... PatrickRiviere Philip Chambers Bruce Emery Buchanan (Rebecca), Adam Garnett (Rod), Assoc, p ro d u c e r..............................

Michael Hirsch Dialogue coach ....................... Alice Spivak Mixer ....................................... Bruce Emery Stage h an d s..................... Stephen Volich, Mary Ann Severne (Mrs Porter), John Prod, su p e rviso r................................... JohnChase Catering...................................Kaos Katering Still photography......... Tom Psomotragos Timothy Higgins Stanton (Mr Porter), Peter Sumner (Mr Prod, secretary ..........................Ann Mudie NSWFC continuity R unner..................................... Julian Darling Asst editor ..............................Linda Wilson Dimitros), Ron Haddrick (Speaker of Parlia­ Prod, accountant ...............Graeme Wright attachment ...............................Liz Barton Publicity................................... Jenny Darling 2nd asst e d ito r....................... HelenZivkovic ment), John Ewart (Minister for Immigra­ Prod, assistant..................Deborah Hanson Production runner .................Jenny Sharp C atering..............................Kristina Frohlich Music consultant.............. Lance Reynolds tion), Martin Vaughan (Cranky Member), 1st asst director .................. Ross Hamilton Stunts co-ordinator ...................Max Aspin Mixed at ...............................Tony Paterson Cornelia Francis (Member for Southdown).

Art department runner............Steve Volich 2nd asst d ire cto r................... Euan Keddie P rojectionist............................................ JimJones Post-Production Synopsis: A young girl taking photographs Unit runner......................................... MurrayFrancis 3rd asst d ire c to r................... Stuart Wood Laboratory ....................................Colorfilm Still photography........................Bliss Swift Unit p ub licist..............................Annie Page of her pet cockatoo is prevented from Continuity ................................... Julie Bates Lab. lia is o n ............................... Kerry Jenkin Stills processing ................... Color Control 2nd unit cameraman........ Ross Berryman leaving a lonely island by an illegal C asting..................................................

HelenWatts Black and white ....................... Dark Room immigrant, who fears deportation. After a Nurse ........................................... Chris Cole Length ........................................... 80 mins Lighting cameraman ....... Ross Berryman Gauge ................................................ 16mm Model m a k e rs ........................................ TadPride, widespread search, she manages to escape C arpenters............................................ SeanKillen, Focus p u lle r..............................................Ian Jones David Pride with the help of a boy scout. Sympathetic to Carsten Schimonovski Shooting sto ck.............................. Fuji 8527 Cast: Richard Moir (Barker). Reg Evans Asst model maker .................... John Cox Song ‘Now and Forever’ the immigrant's problems, she pleads his Clapper/loader .................... Brian Breheny Key g r ip ...................................................Noel Mudie (Cunningham), Gerard Kennedy (Lenko), Artists' tra n s p o rt........................ Cabcharge cause in Parliament. composed b y ...............................GrahamRussell Asst grip .................................. Barry Brown John Flaus(Landrover owner), Jenny Unit c a r s ...................... Thrifty Rent A Car Performed b y ........................................AirSupply G a ffer.................................................Lindsay Fopte C artw rig ht (Nurse). Adam Briscom be Best boy ............................... Paul Gantner Mixed at ............Goldwyn Sound Facilities THE SEVENTH MATCH Boom operator ...............Chris Goldsmith (Soldier on train): Fiunner................................... Meryl Cronin Lab o ra to ry.................................... Colorfilm Art d ire c to r............................................. PaulJones Unit publicist ....................... Sherry Stumm Prod, company .Yoram Gross Film Studio Lab. liaison .................................Bill Gooley Synopsis: Two men work in a satellite relay Make-up ....................................Jose Perez, station on the Bogong High Plains, one of C atering.....................................John Faithful in association with Neg. matching .................. Margaret Cardin Joan Petch Australia's most isolated and haunting land­ Asst catering ............................Sue Faithful Sarah Enterprises Length ...........................................102 mins Hairdresser.............................................Jose Perez scapes. Each is obsessed in his own way, S e c u rity ..................

Wormald International and the AFC Cast: Cheryl Ladd (Jessie Clarke), Robert Wardrobe .................................

Anna Jakab and the film follows the working out of these Equipment su p p lie s ................ Samuelsons P ro du ce r.................. , .......... Yoram Gross Coleby (Ian Clarke), Carmen Duncan Ward, assistant ..................Melanie Velinos In su re rs................................................ Adair obsessions in the men's responses to the D ire c to r...............................................YoramGross (Astrid Bonner), Christine Amor (Margaret P ro p s ............................................... MatthewCummings vast and elemental landscape of the plains Sound transfers.................Film Production S criptw rite r......................................... YoramGross Burton), Aileen Britton (Bethanie), Kris Standby p ro p s .................Helen Kavanagh Services of heaven.

Photography . . . Lloyd Freidus (New York); McQuade (Spencer), John Allen (Martin Set d ecorator................... Ashley Leighton Jenny Ochse, Harrington), Tim Burns (Kent), Henri Szeps Set construction -----Phlummup Film Sets Bob Evans (animation) (York).

Set designer .................. Geoff Richardson Sound recordist . . . Gary Rich (New York) Synopsis: The story of a stylish Sydney Construction manager ............... Ian Doig E d ito r...................... Christopher Plowright boutique owner and her husband, a Stunts .......................................... Phil Brock Director of anim ation...........................Athol Henry promising w riter who has not as yet Asst editor ..........................Peter Carrodus M u s ic .................Vivaldi’s “ Four Seasons” achieved financial success. On the surface, Still photography....................David Parker Assoc, p ro d u c e r................... Sandra Gross they appear to have a perfect relationship.

Best boy ................................Gary Scholes Prod, co-ordinator ...................Meg Rowed However, their marriage is shattered when R unners................................................. BrianGilmore, Prod, managers ......... David B. Appleton he is accused of rape after a casual indis­ Mike McIntyre (New York); cretion one afternoon with another woman.

C atering...................................Helen Wright Jeanette Toms, Their relationship disintegrates as they S tudios.................Port Melbourne Studios Kelly Duncan, struggle to prove, and for her to continue to Laboratory ..................................... Cinevex Yolanta Pillich (animation) believe in, his innocence.

Length ........................................... 100 mins Location m anager........ Mitchell Klebanoff Gauge ..........................................35mm (New York) ON THE RUN Cast Robin Nedwell (Toby), Juliet Jordan Prod, secretaries.............Margaret Lovell, (Wendy), John Ewart (Hughes), Jane Clifton Janelle Dawes Prod, company ................... Pigeiu Pty Ltd (Fay), Caz Lederman (Sally), Dina Mann Asst directors.................... Jan Carruthers; Producer ............................... Mende Brown (Barbara), Amanda Muggleton (Eva), Julie John Palmer (New York) Director .................................Mende Brown Nihill (Pam), Lulu Pinkus (Addy), Gwen Script e d ito r..........................................John Palmer Scriptwriters ....................... Mende Brown.

Soares (Mei Linn).

Story editor/dialogue........... Elizabeth Kata Michael Fisher Dialogue editor ........................ Moya Wood Photography .........................Paul Onorato C asting.......................... Mitch Consultancy SOUTHERN CROSS Sound recordist .................Ken Hammond Camera assistant .....................Neil Haynes Editor .................................Richard Hindley Prod, company .......................... Southern (New York) Art director ...........................Richard Kent Grip .......................................Bob Shulman International Film.

Composer ..............................Laurie Lewis (New York) — Shinnihon Eija Prod, co-ordinator ......................Catherine P roducer...............................Lee Robinson Electricians................................. Raffi Feruci, Phillips Knapman D ire c to r................................ Peter Maxwell Tom Drake, Prod, manager ......................... Irene Korol Scriptwriter .......................... Lee Robinson Harvey Rich (New York) Unit/location manager ..........Roger Wylie P hotography........................John McLean Make-up .................................. David Forest Prod, accountant ..........Graeme Dowsett Sound recordist...............Syd Butterworth (New York) 1st asst director .................. Martin Cohen Hairdresser............................... David Forest Editor ................................David Stiven 2nd asst director ....................John Rooke Prod, d esig n er....................Bernard Hides (New York) Continuity ..............................Sian Hughes Com poser.....................................Eric Jupp Wardrobe ..............................Marsha Patter Casting ...................................Felippa Pate Prod, m anager.....................Betty Barnard M o de ls................................................. Phillip Einfield, Camera operator ........ David Williamson Asst d ire c to rs.................. David Bracknell.

John Hull Focus puller ......................Jeremy Robins Asst editor ..............................Linday Trost Charles Rotherham Clapper/loader ...................Tracy Kubler Camera operator ..........David Williamson Neg. m a tch in g ............................... MargaretCardin Key grip .............................Graeme Mardell Make-up ..................................Viv Mepham Music performed by . , ................... I Musici The Plains of Heaven Asst grip ................................Garry Carden Hairdresser ........ Maureen Wroe-Johnson Clarinet music W a rd ro b e .......................... Graham Purcell played/performed ......... Giora Feidman

460 — October CINEMA PAPERS

Sound e d ito r...................... Penn Robinson Wranglers’ assistant...............Jan Mitchell Neg. matching ....................................Atlab Musical director................................ Nic Lyon Editor...................................Louise Johnson M ix e r........................................................ PhilJudd Best boy .............................. Richard Curtis Tech, adviser ............................ Irina Dunn Gauge.................................................. 16mm Composer............................................. RobertMiller Mixed at ................................United Sound Unit ru n n e rs ...................Antony Shepherd, Best boy .............................Sam Bienstock Shooting stock.......................................... Fuji Laboratory........................................

Colorfilm L a b o ra to ry...................................... Colorfilm Ian Billing Runner ................................Greg Fitzgerald Completed..................................... June 1982 Length.................................................24 mins Length .............................................137 mins Unit n u rs e ..................................Sally Walker Catering .............................Rosie Van Ewyk Synopsis: The film traces 60 years of Gauge................................................... 16mm G auge....................................................35mm Aboriginal adviser.................Vikki Christie Studios ......................................... Mort Bay aviation in Papua-New Guinea.

Progress..................................Pre-prod uct ion Shooting s to c k ......................................... Fuji D riv e r....................................... Peter Bourne Mixed at .............................................. Atlab Scheduled release......................... November1982 Cast: George Mallaby, Michael Aitkens, Laboratory ..................................... Colorfilm Laboratory .......................................... Atlab October 1982 Atsuo Nakamura.

CAMELS OUTBACK, EH? Lab. lia is o n ................................... Bill Gooley Lab. liaison ..............................Don Mosely Synopsis: William Hardy Wilson (1881­ Synopsis: Operation Rimau, the attack by Length .............................................90 mins Budget ........................................... $250,000 1955) was artist, architect, philosophical Prod, company...............................ExpeditionFilms 23 Australian and British soldiers on Singa­ Gauge ..................................................35mm Length .......................................... 7 2 mins writer and designer of furniture. The film pore Harbour during World War 2.

Shooting s to c k ........................Eastmancolor Gauge ................................................ 16mm Producer.................................................. GarySteer inter-relates these facets, including the Director.................................................... GarySteer Cast: Angela Punch McGregor (Jeannie Shooting stock .......................... 7247, 7293 Chinese influence in his work. From 1913 to Scriptwriter..............................................GarySteer ,Gunn), Arthur Dignam (Aeneas Gunn), Tony Cast: Max Cullen, Richard Moir, Paul 1930, Wilson designed houses and buildings TURKEY SHOOT Photography.................................Gary Steer, Barry (Mac), Martin Vaughan (Dan), Lewis Sonkila, Chris Haywood, David Slingsby, which were unique in their simplicity and Damon Smith, John Ley, Terry Serio, Scott Burgess, Tony Prod, company ..................... Second FGH Fitz-Gerald (Jack), John Jarratt (Dandy), combination of Eastern and Western archi­ Andrew Lesnie Cecil Parkes (Cheon), Danny Adcock Barry, David Downer.

Film Consortium tectural elements.

Sound recordist.....................................

Diane Prior Synopsis: A dramatized reconstruction of Dist. company (foreign) ............... Hemdale (Brown), Tommy Lewis (Jackaroo), Donald Editor........................................Damon Smith Blitner (Goggle Eye). the tria l, in February, 1979, of Tim Leisure Corporation NEW GUINEA TEENAGE TREK Synopsis: A story of the hardship faced by Anderson, Ross Dunn and Paul Alister, the Prod, designer........................................ ChrisBreckwoldt Producers .................... Antony I. Ginnane, Composer................................................ RoryO’Donoghue three Ananda Marga members charged Prod, company...............................ExpeditionFilms William Fayman newly-married Jeannie Gunn which recalls with conspiracy to murder Robert Cameron. Script assistant......................... Damon Smith Producer.................................................. GarySteer Director ............... Brian Trenchard Smith the courage, vitality and humor of early Costume designer.............................. RosalieHood Director.....................................................Gary Steer Scriptwriters ........................... Jon George, cattlemen and Aboriginal stockmen in a Props...................................................... ChrisBreckwoldt Neill Hicks harsh, but memorable Northern Territory Asst editor.............................................. DianePriorScriptwriter.........................................JenniferFea environment.

Photography............................................Gary Steer Based on story by .......George Schenck, Neg. matching..........................Chris Rowell Sound recordist...................................DamonSmith Robert Williams, Music performed by...........Rory O’Donoghue Editor.............................................. Annabelle Dixon David Lawrence Mixer......................................................JulianEllingsworth WILDE'S DOMAIN Script assistant....................................... GarySteer Photography ......................... John McLean Narrator...................................................JohnSheerin Narrator......................................

Marty Rhone Sound recordist ......................... Paul Clark Prod, c o m p a n y ......... Independent Prods.

Title designer......................... Myriam Kin Yee Graphics.............................. Myriam Kin Yee Editor ..........................................Alan Lake P ro d u ce r............................ Peter Benardos W rangler..............................................RolandBreckwoldt Mixed at.............................................Videolab Prod, designer .................... Bernard Hides Director .................Charles “ Bud" Tingwell Mixed a t.................................................. Atlab Length.................................................47 mins Composer ................................... Brian May S criptw rite r.............................. Ted Roberts Laboratory............................................... Atlab Gauge................................................. Super-8 Exec, producers ......................John Daly, Based on the original Lab. liaison................................................DonMosely Shooting stock.......................Kodachrome 40 David Hemmings idea by ............................ Marcia Hatfield Length.......................................................... 47mins Progress...........................................in release Assoc, producer ...................... Brian Cook Photography...................... Phil Pike A.C.S. Gauge.................................................,.16mm Synopsis: In the mountains of Papua New Unit manager .......................Michael Fuller Sound recordist ......... Rowland McManis Shooting stock........................................ 7247 Guinea there are many trade routes, some of Prod, secretary ....................... Jenny Barty E d ito r......................................... Bob Cogger BIRDMEN OF KILIMANJARO Progress........................................................ Inrelease them as ancient as Highland culture. A Facilities manager ...................Chris Short C om p o se r............................................SimonWalker Synopsis: The story of the camel in Aus­ group of teenagers from Australia trek from Prod, accountant ....................... Dean Hill Prod, company........................... Orana Films Exec, producer ...............Brendon Lunney tralia’s outback. Two experienced horsemen the mountains to the tropical lowlands. They Prod, assistant ................Barbara Williams Prod, co-ordinator ...................Dixie Betts Dist. company........................Australian Film from the fertile east coast travel to the arid make their way to a freshwater mountain 1st asst director ...............Terry Needham Prod, manager .......................... Jan Tyrrell Underwriters Red Centre. They come across one of Aus­ lake where they go hunting and fishing with 2nd asst director ..................... John Rooke Prod, secretary ........................ Fiona King Producer.....................................Ann Folland tralia’s few remaining cameleers, who takes the villagers. They witness a huge sing-sing, 3rd asst director ..................... Mark Jaffee Prod, accountant ................. Peter Layard Director............................................... RichardDennison them and some friends on a desert camel where many of the items carried along the Continuity ......................... Therese O’Leary Asst d ire c to r...............Charles Rotherham Scriptwriter.........................................RichardDennison trek. They race camels in the bizarre Alice trade route end up.

Producer's assistant .......Sylvia Van Wyk Based on the original 2nd asst, d ire c to r............. Paul Callaghan Springs Camel Cup and go on an expedition Casting .............................. Carmen Duncan 3rd asst, director ..............Hugh McLaren idea by.............................................RichardDennison, to capture wild animals.

OK TEDI SHIPPING Camera operator ....................David Burr Peter Anderson Continuity ................................... Pam Willis Focus puller ........................ David Brostoff Casting.......................... Mitch Consultancy Photography................................... Paul Tait, Prod, company...................................FloatingBridge CATS AMONG THE CORAL Clapper/loader ........................ Ben Seresin Clapper/loader .................... Sean McClory Michael Dillon, Prods.

Jerry Brookman Publicity ....................Carlie Deans (Aust.), Camera assistant ....................Keith Bryant Producers................................ Chris Ashton, Sound recordist........................ Max Hensser Prod, company.................... Expedition Films Dennis Davidson & Assoc. (L.A.) Key g r ip ..............................Robert Verkerk Producer........................................ Gary Steer Ian A. Stocks Unit publicist ........................... Ben Mitchell 2nd unit photography ...............Phil Dority Editor..................................... Michael Balson Director.......................................... Gary Steer Director......................... ............Ian A. Stocks Composer...................................... Nick Lyon Catering ................................David Williams Garry Maunder Scriptwriter............................................... BobConnolly Scriptwriter...............................Ian A. Stocks Prod, supervisor................................ RichardBaker Hans Heidrich Laboratory ................................... Colorfilm Photography..................................Gary Steer Photography.................................Peter Levy Unit manager...........................................

Alan Howard Lab. liaison ................................Bill Gooley G a ffe r........................................ Derek Jones Sound recordist.......................................MarkLewis Prod, accountant.................... Phillip Walker Sound recordist................. Derek Hamilton Sound editor ............................Bob Cogger Length ...........................................94 mins Editor......................................... Ann Howard Editor.......................................Denise Hunter Prod, assistant....................................Joanne Mooney Mixer ........................... Andrew McFarlane Gauge ...........................35mm Anamorphic Composers................................John Stuart, Length................................................ 25 mins Continuity........................................... JoanneMooney Panavision Still photography................................... AlanHoward Greg McLean Gauge....................................................16mm Neg. matching................................ Colorfilm Tech, a d v is e r.......................Stafford Bullen Shooting stock ........ Kodak Eastmancolor Shooting stock.......................... Eastmancolor No. of sh ots.............................................. 630 Assoc, producer.......................... Peter Close Cast: Steve Railsback (Paul Anders), Olivia Animal trainer .....................,. Jules Bullen Narrator.....................................................BobConnolly Progress.........................................Production Music performed b y ....................... Nick Lyon Best boy .................................. Matt Slattery Hussey (C hris W alters), Noel F errier Graphics..............................................

Bemdt Heinrich Synopsis: A film exploring the immense Mixer................................. Alistair McFarlane C atering.................................................JemsCatering (Mallory), Carmen Duncan (Jennifer), Mixed a t.............................................Videolab shipping task to supply the OK Tedi gold and Narrator.......................................... NickTate Boom operator ........................Jan McHarg L ynda S to n e r (R ita ), M ich a e l C raig Length..........................................................46minscopper mine in Papua New Guinea.

Still photography..................................... AlanHoward Art d ire c to r............................................... IanMcGrath (Thatcher), Roger Ward (Ritter), Michael Gauge.................................................

Super-8 Opticals.............................. Optical & Graphic Costume designer ................Fiona Spence Petrovich (Tito), Gus Mercurio (Red), John PHILATELIC CHINA Title designer..................... Optical & Graphic Shooting sto c k ......................Kodachrome-40 Ley (Dodge), Bill Young (Griff).

Ward, assistant ......... Kerry Thompson Tech, adviser.............. Sq. Leader Unicombe Progress............................. Awaiting release Synopsis: The year 1995 — the world is run Make-up ............................ Rosalina Dunes Prod, company..................... China Philatelic S ynopsis: A voyage by two young Publicity.........................................

Australian Film by a strict regime. If you step out of line you Hairdresser ....................... Rosalina Dunes Society of Sydney Underwriters adventurers in small, five-metre catamarans are labelled a "Turkey” . Further failure to P ro p s ..................................Brian Edmonds Producer................................................MartinSmith Post-production............. Cinetel Productions from Australia to Irian Jaya. Their course conform means you are a candidate for the Special e ffe c ts ...................................... Allan Maxwell Scriptwriter........................................... MartinSmith takes them through mangrove mazes of the Mixed a t...................................................PalmStudios “ Turkey Shoot” .

Choreography....................... Tania Pierson, Photography.......................................HowardPaton Laboratory........................................ Colorfilm area inhabited by the Asmat people in Irian Sydney Youth Ballet Editor............................... Veronika Haussler Jaya. After overcoming formidable odds, Lab. liaison............................................. KerryJenkin Asst, e d ito r...................................... Michelle Cattle Length.................................................15 mins the adventuie ends in mystery and WE OF THE NEVER NEVER Budget............................................ $410,000 Sound e d ito r....................Robert Davidson Gauge....................................................16mm disappointment.

Length.................................................72 mins M ixe r.......................... Alasdair Macfarlane Prod, companies ............... Adams Packer Scheduled release...................October 1982 Gauge................................................... 16mm Neg. m a tch in g ......................................Chris Rowell Productions, Synopsis: The visit of Howard Paton and CAVE OF DREAMS Screen ratio..............................................20:1 Laboratory ...........................................

C F L Martin Smith to China in April 1982 as guests Film Corp. of W.A. Shooting s to ck...............Eastmancolor 7247 Lab. lia is o n .......................... Jack Gardiner Prod, company.........................

Cinetel Prod. of the China National Stamp Corporation, P ro d u c e r........... , .................. Greg Tapper Progress..........................................In release Dist. company........................Australian Film Length .............................................72 mins.

Peking, and the Directorate General of Director .......................................Igor Auzins First released.......................... 23 June 1982, Gauge ..................................................16mm Posts, Taipei.

Underwriters S c rip tw rite r............................ Peter Schreck Flying Angel Cinema, Sydney Producer................................Frank Heimans Shooting s to c k ............. Eastmancolor 7247 Photograph............................. Gary Hansen Cast: Bill Moyes, Steve Moyes.

Progress .............................Post-production Director..................................

Frank Heimans Sound recordist ...............Laurie Robinson Synopsis: Former world hang gliding Photography............................................ PaulTait, PONAPE / ISLAND OF MYSTERY Cast: Kit Taylor (Dan Wilde), June Salter E d ito r............................

Cliff Hayes champion, Bill Moyes, and his, son, Steve, (Hannah Wilde), Lenore Smith (Alex Wilde), Malcolm Richards Prod, d esig n er....................Josephine Ford p re s e n t U .S . M a s te rs c h a m p io n , Sound recordists................... Hugo de Vries, Prod, company.............. Solaise Film Group Steven Grives (Yuri), Jeannie Drynan (Liz), Exec, producer .....................Phillip Adams successfully attempt to fly from the top of Mt Dist. company....................... Australian Film Henri Szeps (Shenko), Ivar Kants (Curtis), Max Hensser C o -p ro d u ce r......................John B. Murray Kilimanjaro.

The film starts with the initial Underwriters Alan Lee (David Wilde). Martin Vaughan Editor..................................... Frank Heimans Assoc, p ro d u c e r...................... Brian Rosen training runs through to the final successful Exec, producer......................Australian Film Producers.............................................. JamieCrooks, (Tom), Tim Eliot (Andrew Wilde).

Prod, co-ordinator ............... Janet Mclver attempt against the backdrop of Africa, with Nick Frazer, Synopsis: Drama about the entrepreneu­ Underwriters Unit m a na g e r............................. Paul Arnott its stunning scenery, teeming wildlife and Assoc, producer......................Paul Giassetti Geoff Cleminson rial Wilde circus family involved in every­ Prod, s e c re ta ry ...................

ToniBarnard thing from lion parks to live theatrical pro­ Masai villages.

D irector.................................................... NickFrazer Prod, accountant.....................W. J. Maxwell Prod, accountant .....................John Foster Scriptwriter...............................................NickFrazer motions. Alex Wilde’s love affaire with 2nd unit director...................... Paul Giassetti Prod, assistant.............. Michael Bourchier Photography.................................Peter Levy visiting Russian ballet dancer becomes a Camera assistant..................................... JeniKendal Transport manager ........... Gary Reberger Underwater photography........Kevin Deacon matter of concern to the family when it has a Asst editor.................................... Gay Steele Construction m anager............ Ray Pattison Sound recordist.......................................MarkLewis dramatic effect on several of the business Neg. m atching.................................

Negative Cutting Asst construction E ditor.................................................. LindsayFrazer enterprises.

Services m a n a g e r..........................................DannyCorloran Composer............................................... ColinTimms Opticals.............................................Colorfilm 1st asst director ...................... Tim Higgins Exec, producer....................................... DavidHannay Publicity................................. Australian Film 2nd assist d ire c to r ......... Brendan Lavelie Prod, supervisor..................Anni Macdougall WITH PREJUDICE Underwriters 3rd asst d ire c to r....................................JessTapper Prod, manager..................... Kevin Crawford Post-production............. Cinetel Productions Prod, company ...................Sirocco Visual C o n tin u ity ........... ..............Christine Lipari Camera assistant....................................JohnBrock Mixed a t ................................... United Sound Programming Camera operator ...................Gary Hansen Underwater camera Laboratory........................................

Colorfilm Dist. company .................... Sirocco Visual Focus p u lle r...................Peter Van Santen Lab. liaison............................................... RickShieldsasst...................................................... AndyFraser Programming Clapper/loader ........................... Phil Cross Asst editor................................................RuthCullen Budget..............................................$210,000 Producer ............................ Don Catchlove Key g r ip ...................................................NoelMcDonald Length.......................................................... 50minsMusic performed b y ............................ BeamoTymes Director .................................. Esben Storm Asst grips .........................Wayne Marshall,.

M ixer.............................. Alisdair McFarlaine Gauge....................................................16mm Scriptwriter ...................... Leon Saunders John Jasiukowicz Narrator.......................... Matthew O’Sullivan Screen ratio...........................................1.66:1 Photography .............................. Peter Levy G a ffe r...................................................... MickMorris Shooting stock......................... Eastmancolor7247Still photography.....................................AndyFraser Sound recordist ......................Mark Lewis Gene o p e ra to r....................................... Tom Robinson Mixed a t...................................................PalmStudios Progress................................Post-production Editor ................................ Michael Noonan Boom operators ......................Greg Steele, Scheduled release........................... February1983Laboratory............................................... Atlab Exec, producer ....................... Jim George Malcolm Cromie Lab. liaison.......................... Greg Dougherty Synopsis: A creative interpretation and Prod, manager .................Carol Williams Asst art director ......... Graeme Duesbury Budget..............................................$160,000 record of the spectacle of 30,000 Hindu Prod, accountant ............. Connie Dellios Costume designer ....... Camilla Rountree Length.................................................50 mins pilgrims making the 136 km trek to the Amar Prod, assistant ......................... Juliet Cobb Make-up ................................Sally Gordon Gauge....................................................16mm Due to space limitations, all non­ Nath Caves, located at 3000m in the 1st asst director ............... Mark Turnbull Make-up assistant ....... Robern Pickering Shooting stock......................... Eastmancolor, feature entries appear only once, Himalayan mountains in Kashmir, India. The 2nd asst director ..................Keith Heygate H airdresser...............................Willi Kenrick unless significant changes are Fujicolor film is seen through three perspectives; the Continuity ..................................Jo Weekes Seamstress 1 ............................. Ruth Tickle made in the course of production.

Progress........................................................ Inrelease chief Sadhu, an Australian trekking party Casting .............................................Forcast Seamstress 2 .......................... Ruth Munroe Scheduled release.................................June, 1982, and the pilgrims themselves.

Lighting cameraman ............... Peter Levy Wardrobe assistant ........... Fiona Nicholls on “ World Around Us” Clapper/loader ..................... Gillian Leahy Stand-by p ro p s .............................Ro Bruen Cast: Eric Oldfield, Rooney Philip, Dr Larry Camera assistant ....................John Brock Stand-by props assistant — Greg Nelson Goodwyn, Cassiano.

HARDY WILSON: A LIVING BALUS Key grip ............................ John Whitteron Special e ffe c ts .....................................ReeceRobinson S yn o psis: An investigation into the MEMORY Gaffer ..................................... Reg Garside Asst special effects ................. Peter Gloss Prod, company.................................. Modeba mysterious ruins of an ancient stone city on Boom operator ...................... Steve Miller Art department assistant . Steve Fullerton Producer................................... Ian A. Stocks Prod, company......................... Polak Prods. the tropical island of Ponape, with its 150 Art director ....................................Bob Hill D irector..................................... Chris Ashton Art department animats ........... Earl Gano Producer............................... Louise Johnson acres of temples, canals and seawalls, all Make-up ................................. Lloyd James Scriptwriter................................ Chris Ashton Horse m a s te r...........................................RayWinsiade Director..................................Louise Johnson built of massive basalt columns, and some Wardrobe .................................. Lyn Askew Photography.......................... Steve Newman Asst editor ..............................Karen Whiter Scriptwriter............................ Louise Johnson weighing more than 50 tons. Exciting Standby props .................Jock McLachlin Still photography.................Penny Tweedie Sound recordist........................ Bruce Emery Based on the original u n d e rw a te r se q u e n ce s in c lu d e the Set construction ...................Dick Weight Editors.......................................Kim Moodie, revelation of a sunken city —■ a Pacific W ra n g le rs........................ Jim Willoughby, idea by................................Louise Johnson Asst editor ..........................Duncan Taylor Barry Groves Atlantis.

Photography............................. Jeffrey Bruer Mike O’Donnell

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PORTRAIT OF BRUNEI Prod, company................................... Madeba Producer.................................... Ian A. Stocks Director...................................... Chris Ashton Scriptwriter.................................Chris Ashton Photography........................... Steve Newman Sound recordist............................ Mark Lewis Length................................................. 48 mins Gauge.................................................... 16mm Shooting stock.......................... Eastmancolor Progress......................................... Production Synopsis: One of two films showing the exotic lifestyle of the Sultans of the Malay States, and of the oil-rich Sultanate of Brunei. The films reveal unique insights to societies still remote from the modern world.

THE SHARKCALLERS OF KONTU Prod, company.........O’Rourke & Associates Filmmakers in association with: The Institute of Papua & New Guinea Studies and the Creative Development Branch of the Australian Film Commission Dist. company.........................Australian Film Underwriters — television worldwide Ronin Films — theatrical/non-theatrical — Australia Producer.............................Dennis O’Rourke Director............................... Dennis O’Rourke Anthropologist............. Dr Elizabeth Brouwer Photography..................... Dennis O’Rourke, Chris Owen Editor.......................................Stewart Young Asst Producer.............................. Chris Owen Contributing Filmmakers........... Gary Kildea, Peter Berry, Elton Brash, Steven Madana, Roseanne O’Rourke Prod, accountant....................Richard Baker Neg. matching.........................Ron & Marilyn Delaney Mixer.................................. Julian Ellingworth Mixed a t...................................................Atlab Laboratory.........................................Colorfilm Budget.............................................. $205,000 Length................................................. 54 mins Gauge.................................................... 16mm Shooting stock............... Eastmancolor 7247 First released...................................... 23/6/82 Flying Angel Cinema, Sydney (BBC — UK and PBS — USA later this year) Synopsis: For six months a film crew lived with the villagers of Kontu, New Ireland, where a handful of men still practise the ancient art of sharkcalling, a traditional activity whereby the islanders contact their ancestors, reaffirm their belief in the traditional God and demonstrate their magical powers. The film explores this dying art form and the effects of western progress on the islanders.

SULTANS AT PLAY Prod, company................................... Modeba Producer....................................Ian A. Stocks Director...................................... Chris Ashton Scriptwriter.................................Chris Ashton Photography...........................Steve Newman Sound recordist............................Mark Lewis Length................................................. 48 mins Gauge....................................................16mm Shooting stock.......................... Eastmancolor Progress.........................................Production Synopsis: One of two films showing the exotic lifestyle of the Sultans of the Malay States, and of the oil-rich Sultanate of Brunei. The films reveal unique insights to societies still remote from the modern world.

GOVERNMENT FILM PRODUCTION A U STR A LIA N FILM AND TELEV ISIO N SCH O O L DESIGN Producer..................................Eric Halliday Director.................................... Mark Sanders Scriptwriter................................ Ric Blakeney Photography............................. Keith Watson Sound recordist.................... John O’Connell Prod, assistant........................ Jenny Quigley Asst director.......................... David Coulthard Floor manager............................ Chris Webb Make-up .............................. Rina Hofmanis Hairdresser............................. Willi Kenrick Wardrobe..................................... Rima Rowe Presenter..................................Dennis Gentle Gauge.................................. 1-Inch videotape Progress................................Post-production Synopsis: One of a three-part investigation of design, in the studio and on location.

^

VIDEOCRIT: APPROACHES TO AUSTRALIAN FILMS: THE BUSH MYTH IN AUSTRALIAN FILMS Producer.................

Director...................

Scriptwriter.............

Studio photography Sound

...............Eric Halliday ........... Mark Sanders ............. Bruce Molloy ........... Keith Watson, George Petrykowski, Greg Penneket ................Deri Hadler

Prod, assistant...........................Andrea Grey Floor manager.......................Jeremy English Sound post-production.......Barry Fernandes Vision switcher..........................Greg Evans Videotape editing.................... Guy Campbell Presenter...................................Bruce Molloy Gauge...................................1-inch videotape Progress............................... Post-production Synopsis: Investigates the Bush Myth as expressed in Australian feature films.

AUSTR A LIA N FILM COM M ISSION Project Development Branch Projects approved at Australian Film Commission meeting on June 28,1982 Script Development Investments Leonski — Leonski Productions; cinema feature; 3rd draft funding — $8000 Stinkbombs — Stuart Glover, Michael Hohensee; cinema feature; 1st draft funding — $5000 Naked Under Capricorn — Bloodwood Films; television mini-series; script development/pre-production funding for 1st draft — $75,000 Ginger Whisky — Abraxas Films; cinema feature; 1st draft funding — $14,200 Turtle Beach — Polygon Pictures; cinema feature; 3rd draft funding — $10,000 Hoop — G & S Productions; television series; script development funding — $13,750 Violet — Great Scott Productions; cinema feature; extended treatment funding — $2500 Nightshifter — Dawn Ross, Gerard Elder; cinema feature; 3rd draft funding — $10,000 Intensive Care — Simpson Le Mesurier Investment Corporation; cinema feature; 1st draft funding — $11,000 The Brahman Seer — Peter Ramster; tele­ vision documentary; 1st draft funding — $8300 Getting Even — Astra Films; television drama-documentary; 1st draft funding — $3600 Pepplmenarti — Ron Iddon; television docu­ mentary; 1st draft funding — $3000 XPX — Venture Films; cinema feature; 3rd draft funding — $16,000 Emma’s War — Clytie Jessop, Peter Smalley; cinema feature; 3rd draft funding — $7500 Gungadinh — Great Scott Productions; cinema feature; 1st draft funding — $5000 The Umbrella Woman — Margaret Kelly Productions; project development invest­ ment — $25,000

Production Investment Careful, He Might Hear You — Syme Inter­ national; standby finance facility — $300,000

Grants American Dreams, Australian Movies — Hamilton/Mathews Associates; funding towards developing radio programs for NPR radio in the U.S. — $3000 Travel grant — Andrew Mason; to attend the BKSTS Seminar in Special Effects in Britain.

Projects approved at Australian Film Commission meeting on July 26, 1982 Script Development Investments Terminal Man — Storyteller Enterprises; cinema feature; 1st draft funding — $9100 The Tuesday Game — Ian Field; cinema feature; 3rd draft funding — $8500 Dreamspeak — Cynthia Connop; television series; extended treatments and 1st draft funding — $11,000 One Man War — Telemark Productions; cinema feature — extended treatment funding — $4000 Silver City — Limelight Productions; cinema feature; 4th draft and pre-production funding — $24,933 Below the Line — Mark Stiles; cinema feature; 2nd draft funding — $5800 Alien Hunter — Richard Bradley Produc­ tions; cinema feature; 3rd draft funding — $32,750 The Lesson — Allied Talent; cinema feature; 2nd draft funding — $9000

Creative Development Branch Projects approved at Australian Film Commission meeting in July 1982 Script Development Philip Collier (NSW); grant for scene breakdown of The Quest — $1100 Nicholas Langton (NSW); grant to bring Land of Milk and Honey to 1st draft — $1700 Douglas Panther (NSW); grant to bring Between Your Big Toes to first draft — $2400 David Poltorak, Paul Leadon (NSW); grant to

bring Not Meant To Be Easy to 1st draft — $3300 Jennifer Albertson (NSW); grant to bring The Anzac Boy to 2nd draft — $3800 Michel Moses (NSW); grant to bring The Rainbow Wirinum to 2nd draft — $3000 Jaki Taylor (NSW); grant for scene breakdown of A Routine Rape — $1100 Mark Stow Smith (NSW); grant to bring Homunculus to 1st draft — $2600 Janet Smith (NSW); grant for scene break­ down of Broucek’s Story — $1400 Gary Hillberg (NSW); grant for scene break­ , down of Illusions — $1100 Briann Kearney (NSW); grant to redraft Jindalee Lady — $2100 ' Suzanne Hawley (NSW); grant for scene breakdown of Of Cabbages and Kings —

$1100

"

Norma Blazer (NSW); grant to bring Rob and Ezio to 1st draft — $1360 Rivka Hartman, Janis Balodis (NSW); grant for scene breakdown of Neon Dream —

$2000

Peter Moon (Vic.); grant for scene break­ down of Sold Out — $1000 Magda de la Pesca (Vic.); grant for scene breakdown of Bestseller — $1000 Christopher Roache (Vic.); grant for revised draft of Party Lines — $1000 Solrun Hoaas (Vic.); grant for scene break­ down of The Okinawan Daughter — $1700 Kathy Mueller (Vic.); grant to bring The Appointment to 1st draft — $5050 Henry Salter, Peter Smith (SA); grant to bring Semaphore to 2nd draft — $1400 Geoffrey Dean (Tas.); grant for scene break­ down of The Town That Died — $1100 Grant for script editor to visit Western Australia — $5000

Production Elizabeth Alexander (NSW); investment in Memento — $2500 Jinks Dulhunty, Elizabeth O’Neil (NSW); investment in One Ambitious Year — $10,000 Pat Fiske (NSW); investment in Boots an’ all — $18,712 Alan Ingram, Mark Stow Smith (NSW); investment in Revenge — $12,100 Paul Leadon (NSW); investment in Sleeping Dogs Lie — $2863 Mitch Mathews, Ben Cardillo (NSW); investment in Life’s Little Luxuries — $38,151 Alec Morgan (NSW); investment in Lousy Little Sixpence — $19,151 Kim Rendall (NSW); grant for Redundasound — $1500 Paul Winkler (NSW); grant for Traces — $13,106 Steve French (Vic.); investment in Upside Down — $2550 Helen Gaynor (Vic.); investment in The Trombonist — $31,217 Anne Harding (Vic ); grant for Genius In Lying — $9258 John Hillcoat (Vic.); grant for Forty Four Miles From Nowhere — $5176 Roger Scholes (Vic.); grant for The Sealer — $10,351 Trevor Hawkins, Jacqueline McKimmie (Old); investment in Stations — $2525 John Walker, Macau Light Co. (Old); investment in The Lion in the Doorway — $23,300 Richard Chataway, Michael Cusak (SA); investment in The Disc of Magala — $15,000 Christopher Lynch, Heather Williams (WA); investment in To Dance — $3236

Project Development Branch Projects approved at Australian Film Commission meeting on August 30, 1982 Script Development Investments Curve of the Earth — Anthony J. Brooks; television series; funding for 1 treatment, 5 outlines — $8000 Brumby Innes — John Smythe; cinema feature; revised treatment funding — $3000 Daisy Bates — Ooldea Films; cinema feature; revised 1st draft funding — $10,500 Death in the South China Sea — L. Larstead, M. Robinson; cinema feature; extended treatment funding — $3500 Time-Rider — John Baxter, Brian Hannant; cinema feature; 1st draft funding — $8500 Son of a Gun — Seamark Pictures; cinema feature; 3rd draft funding — $6000 Same Difference — Mora Productions; cinema feature; final draft funding —• $7450 Portals of Paradise — Rob Mowbray; cinema feature; 1st draft funding — $9800 Tusitala — Tusitala Productions; television series; funding for five 1st drafts — $34,500

Production Investments Undercover — Voyager Films; interim funding for production development — $37,176 Undercover — Voyager Films; funding for further production — $62,824 Where East-Meets West — Horizon Films; funding for production development — $25,000 All the Rivers Run — Crawford Productions; standby finance facility — $300,000

Grants Research Package Economical Features — Cowarie Holdings; funding for 13-week study of Australian films on international market — $9350 Trainee Grant to Film Producers’ Guild, WA — Tony Stanley; funding for accommodation costs while in Sydney — $1500

AVRB FILM U N IT

Asst, producer.............................. Pam Ennor Progress..................................Pre-production Synopsis: To encourage veterans to use the counselling services.

FILM VICTO R IA Feature Film and Television

Ballet TV Series — Film Victoria is currently developing a major television series to be produced for the Australian Ballet. The TANDBERG series features 13 half-hour episodes of an action/adventure format highlighting the (working title) essentials of dance capability. Scripting and pre-production is underway.

Prod, company........ Audio-Visual Resources Breakfast Creek — Ben Lewin; cinema Branch feature; scripting.

Dist. company......... Audio-Visual Resources The Last Star Model — Forrest Redlich; Branch cinema feature; scripting.

Producer.......................................... Ivan Gaal Eldorado Park — see Survey.

Director............................................ Ivan Gaal Your Place Or Mine — Patrick Edgeworth; Subject consultant.........................Helen Kon cinema feature; scripting.

Exec, producer..................Ross R. Campbell Haxby’s Circus — John McRae; cinema Prod, manager.......................................... RobMcCubbin feature.

Length................................................. 25 mins Blockbuster — Adams Packer Film Produc­ Gauge....................................................16mm tions (Phillip Adams, John Clarke); cinema Shooting stock........................Eastman 7293 feature.

Progress.................................. Pre-production Family Matters — Roger Dunn, Maggie Synopsis: Produced for senior students of Millar; cinema feature; scripting. media, the film traces the major stages in Everybody’s Talking — Adrian Tame, Philip producing a metropolitan daily while Ackman; television special; scripting. exploring the work of cartoonist, Ron Naked Under Capricorn — David Wad­ Tandberg. dington, Bloodwood Films; television mini series; scripting.

Gordon — Hugh Stuckey, Sue Woolfe; television mini series; scripting.

Strikebound — see Survey.

Where Seagulls Go To Be Lonely — Glen Crawford; cinema feature; scripting.

The Phantom Treehouse — Paul Williams; animated feature; scripting.

Survival Camp — Sege De Nardo and Andrew Coleman; cinema feature; scripting.

AGEING SERIES Fit For Heroes — Cliff Green; television mini series; scripting. (working title) The Whale Savers — Laurie Levy and Neil Prod, company........................ Film Australia Bethune; television special; post-production.

Dist. company........................... Film Australia DOCUMENTARIES Producer............................................SuzanneBaker Thomastown — a documentary on ThomasDirectors...........................Stephen Ramsey, town School, its special structure and James Ricketson, relation to established educational Cynthia Connop procedures.

Scriptwriter............................John Patterson Photography........................................... KerryBrown, Andy Fraser THE MAZE Sound recordists.................. Ken Hammond, Howard Spry Prod, company......................................... FilmVictoria Editors................................... Martin Downes, Scriptwriter...................................Tony Evans Denise Haslem Exec, producer...................................VincentO’Donnell Asst producer....................Catherine Slattery Prod, co-ordinator............. Michael Vaughan Unit manager....................Corrie Soeterboek Length...........................................................10mins Length...........................................7 x 14 mins Gauge.................................................... 16mm Gauge....................................................16mm Progress.................................. Pre-production Shooting stock.........................................7247 Synopsis: A mimed drama aimed at Progress.................................. Pre-production promoting the two-way flow of information Scheduled release..........................May 1983 abo u t fa rm e rs ’ p ro b le m s and new Synopsis: A timely handbook on ageing and technology. Made for Department of getting the most out of it. The film covers Agriculture. retirement, independence, re-integrating the aged Into society, investing money, eking out MISLEADING CASES a pension, dementia and the aged in other Prod, com pany......................................... FilmVictoria cultures. in association with OCP Dist. company........................................... FilmVictoria THE LITTLE WORLD OF DIETMAR Director................................................MichaelO’Connell FILL Scriptwriter..............................Russell Porter Photography.............................................AlanCole Prod, com pany......................................... Rim Australia Sound recordist.......................................... IanJenkinson Dist. company........................................... FilmAustralia E ditor....................Edward McQueen-Mason Producer.......................................John Shaw Exec, producer................................... VincentO'Donnell Director.................................................... GregReading Prod, assistant Scriptwriter..............................................GregReading OCP...................................................MarionCrooke Photography........................ Peter Viscovitch Camera assistant.............................. BrendanLavelle Sound recordist................Rodney Simmons Gaffer.......................................Stewart Sorby Asst, producer...................Catherine Slattery Make-up...................................Carla O'Keefe Length.......................................... 8 x 30 mins Neg. matching................................... WarwickDriscoll Gauge....................................................16mm Shooting stock.........................................7247 Mixer............................................. Peter Frost Medical adviser....................... Dr Jan Fraillon Progress................................Post-production Scheduled release........................ November,1983Laboratory................................................ VFL Length...........................................................13mins Synopsis: The work of Dietmar Fill, one of Gauge....................................................16mm the world's top cine-microscopists.

Progress........................................In release Synopsis: A short film about the early PEPP1MENARTI detection of alcohol abuse. Produced for the (working title) Health Commission.

FILM A U STR A LIA

Prod, company............Leopardwood Prods., THE TROMBE WALL Film Australia Dist. company........................................... FilmAustralia Prod, company.......................... Film Victoria Producer................................................... RonIdden in association with R & R Films Director..................................................... RonIdden Producer...................................... Ron Brown Scriptwriter................................................RonIdden Director.........................................Ron Brown Photography............................................. RonHagen Scriptwriter................................. Don Dennett Sound recordist....................................... RickCreaser Exec, producer.................Vincent O’Donnell Exec, producer........................................JohnShaw Prod, co-ordinator............. Michael Vaughan Asst, producer...........................................RonHannam Length................................................. 10 mins Camera assistant....................... John Ogden Gauge................................................... 16mm Length................................................. 50 mins Progress................................. Pre-production Gauge.................................................... 16mm Synopsis: A film about a passive solar Shooting stock.........................................7247 heating device and the scientific tests to Progress.........................................Production determine its efficiency. Made for the Solar Scheduled release................................ March1983Energy Council.

Synopsis: Peppimenarti is a cattle station and town of several hundred people. It has become an inspiration to other Aboriginals in the outback.

Concluded on p. 481

VIETNAM VETERANS’ COUNSELLING SERVICE Prod, company......................................... RimAustralia Dist. company............................................FilmAustralia Producer...........................................ElisabethKnight

CINEMA PAPERS October — 463

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Norman Loves Rose Brian McFarlane What with Piso Piselli at the Mel­ bourne Film Festival and now Austra­ lia’s own Norman Loves Rose, we have on our hands perhaps the start of a new sub-genre: the 13-year-oldfather film. In the meantime, Henri Safran’s new film is a very endearing and accomplished example of a genre rare in Australian films: the urban domestic comedy.

In fact, it is hard to think of a single Australian film that has mined the family scene for laughs — or for any­ thing else, if it comes to that. The family has been curiously peripheral in most of the Australian films produced in the past decade. There have been single-parent dramas, worked for pathos as in Caddie or The Fourth Wish; and there are, diversely, sugges­ tions of a threadbare, unsustaining family life in The FJ Holden and The Night the Prowler; but it is hard to think of a film that centres its attention on the family as Norman Loves Rose does.

The film’s narrative is impelled by two stereotypes — the Jewish family desperate for a grandson and the pubescent schoolboy fascinated by sex — but Safran’s screenplay and direc­ tion imbue both with real sharpness, warmth and wit. Given that Safran’s last film was that decorative yawn, Storm Boy, these qualities are the more surprising; there is nothing languorous or self-indulgent about Norman Loves Rose. It has an un­ promising story to tell and gets on with it briskly and unaffectedly.

Norman’s brother Michael (David Downer) has, one learns later, been pushed by his parents into marrying a nice Jewish girl Rose (Carol Kane), whom he didn’t and doesn’t love. Now she keeps on being not pregnant, and Michael’s parents, especially his mother (Myra de Groot), provide a continuing harassment in this matter.

Rose, somewhat desultorily, records her temperature on graph paper; Michael engages in fearsome exercises with bowls of ice cubes. Nothing avails

until Norman (Tony Owen), nursing an adolescent passion for Rose, achieves quite quickly, and with Rose’s delighted compliance, what has eluded Michael. Rose is pregnant, everyone is happy, and Rose and Norman share a secret.

If this sounds thin and, perhaps, unappetizing, I have to say that this narrative line develops an unusually satisfying texture. This is largely because of a script which has a sharp eye and ear for people’s lives, and it is this which stops the film from falling into mere caricatures. The Jewish mother’s obsession with progeny is of course a recognizable stereotype, but in the writing and in the warmth and humorous understanding of Myra de Groot’s performance it takes on a subtler delineation. Against the pre­ dictable — and funny — concern with Michael’s infertility (“Maybe it comes from your side” , she accuses Morris, her husband) and with Morris’s health (“Don’t stand on your feet too long.

You know what it does to your prostate”), the film also offers a moment of real pain as she sits with two gossiping friends talking about their children and a quite touching warmth of feeling between mother and finally-pregnant daughter-in-law. In other words, the mother is a recogniz­ able type given some welcome indivi­ dualizing touches which do not distort the type but use it as the basis for presenting a fuller, more human, character.

This approach to characterization works more or less consistently throughout the film. Warren Mitchell, eschewing entirely his Alf Garnett persona, creates the Jewish dad with prostate trouble and a hyper-anxious wife as a whole character. Morris’ devotion to his family and his profes­ sional interest in the rag-trade are fleshed out in surprising detail. Mis­ taking the cause of Norman’s lethargy, he tries to talk to his son about “self­ discipline” , not that he’s oldfashioned enough to believe that stuff about going blind, and he leaves Norman with, “ I’m glad we had this little man-to-man talk.” It is funny and engaging because Mitchell reaches

beneath the stereotype to the truth of the character of the harassed but loving husband and father.

Better still are his scenes at the factory with his very nice secretary Shirley (Louise Pajo) in whom he finds a quietly-receptive audience as he talks about his Warsaw childhood and his father, also a tailor: “ a little man bending over a garment” , he recalls, “ I could never see his eyes.” The un­ obtrusive pathos of this scene not merely increases one’s regard for Morris but also, in narrative terms, provides a richer context for the father-son relationships of the film.

Michael’s failure to impregnate his wife is the starting point for the film, in that it gives a focus for Norman’s love for his sister-in-law and a basis for his mother’s lamentings. However, Michael’s procreative inadequacy isn’t all there is to him. David Downer, tight-lipped and grim, doggedly coup­ ling with Rose, works intelligently on the other suggestions about the role offered by the script. For instance, Michael is envious of the apparent sexual triumphs of his randy partner Charlie (wittily and painfully under­ stood by Barry Otto); he recalls bitterly the girl — Felicity — he loved and let himself be talked out of marry­ ing; and in his humiliation in not making Rose pregnant he is cut through to veins of real frustration.

There is no one in his world to turn to for comfort; as he curls up foetally on the surgery chair, his nurse can only suggest, “ Something happen at the Rotary Club?” At a family dinner where talk runs tactlessly on how he could have been a “ real doctor” , all he can offer as an idea is electric tooth­ picks for pensioners.

The film is tactful in its use of 15-year-old Tony Owen who plays Norman. He is not asked to be more than a watchful, likeable presence and he has no trouble meeting those demands. As Rose, American actress Carol Kane (and no explanation is Recently separated from his wife, Charles (Barry Otto) tries to impress his young girl­ friend (Virginia Hey) with his suave, man about town manner. Henri Safran’s

Norman Loves Rose.

CINEMA PAPERS October — 465

Norman Loves Rose

g iv e n f o r h e r n a tio n a lity ) h a s a b e g u il­ in g d a ff in e s s t h a t p la u s ib ly ju g g le s n a iv e ty a n d k n o w in g n e s s .

T h e fa m ily is se e n as a p o te n tia lly s m o th e rin g fo r c e in N o r m a n L o v e s R o s e . I t c a n p r o v id e w a r m th a n d u n ­ q u e s tio n in g a f f e c tio n b u t its m e m b e rs c a n a ll b e to o c lo s e to b e a b le to see e a c h o th e r c le a rly a n d u n d e r s ta n d o n e a n o t h e r ’s n e e d s . M o s tly th is id e a is p la y e d f o r c o m e d y b u t it a ls o g ro w s o u t o f s h re w d o b s e r v a tio n o f th e p re s s u re t h a t fa m ilie s c a n se t u p a m o n g th e ir m e m b e rs . T h e a d ja c e n c y o f M ic h a e l a n d R o s e ’s h o u s e to h is p a r e n t s ’ h o u s e is a jo k e ; so is th e w a y th e m o th e r , a f te r tw o d a y s a w a y , c a n ’t e v e n g o t h r o u g h h e r o w n f r o n t g a te b e f o r e sh e m u s t r u s h in to see th e c h ild re n n e x t d o o r . S m o th e rin g p o s s e s ­ siv e n e ss, th e film k n o w s , m a y b e fu n n y to o b s e rv e b u t n o t to e x p e rie n c e .

N o r m a n ’s b a r- m itz v a h c e le b ra tio n s p re s e n t th e fa m ily in fu ll sa il. A f te r th e re lig io u s c e re m o n y , w ith th e sexes c a re fu lly s e p a r a te d , th e r e is a g ro s s , n o is y , c h e e rf u l p a r t y , c o m p le te w ith d rip p in g ice s w a n s , fin g e rs g ra b b in g f o o d , a n d s h a r p u n c o n s c io u s double e n te n d r e s f r o m M i c h a e l w h o p o m p o u s ly p ro p o s e s N o r m a n ’s h e a lth : “ Y o u w ill a s s u m e d u tie s w h ic h u p to n o w h a v e b e e n m y f a t h e r ’s a n d m i n e .”

T h e w h o le s e q u e n c e , w h ile p la y e d fo r c o m e d y , a ls o p ro v id e s a n a tu r a l a n d ir o n ic n a r r a tiv e se t-p ie c e in th e s to ry o f N o r m a n ’s p re c o c io u s p a te r n ity .

A n o th e r view o f fa m ily life is o f f e r e d b y M a u r e e n (S a n d y G o re ), R o s e ’s c o n f id a n te a n d th e e s tra n g e d w ife o f M ic h a e l’s p a r t n e r , C h a rlie . “ C o m e in , s h i th o u s e ” , sh e g re e ts C h a rlie w ith n o -n o n s e n s e r a n c o r as h e tu r n s u p to ta k e th e c h ild re n o u t, a n d a t th e e n d sh e w e lc o m e s h im b a c k — as a b o a r d e r — w ith th e sa m e o ld w o rld c h a rm . In a v e ry w e ll-w ritte n sc e n e b e tw e e n M a u r e e n a n d R o s e , w ith M a u r e e n ’s c h i l d r e n p la y i n g and s q u a b b lin g b y th e p o o l, S a n d y G o re d e lin e a te s s h re w d ly th e f r u s tr a tio n a n d b itte rn e s s o f th e p u t- u p o n sin g le p a r e n t. T h e c h ild re n a re g e ttin g h e r d o w n , sh e h a te s h e r e x - h u s b a n d fo r b e in g th in a n d sh e c a n ’t b eliev e R o s e ’s se x u a l ig n o r a n c e . G o r e ’s u n ­ c o m p r o m is in g re a d in g o f th is ro le m a k e s th e m o s t o f th e s u r fa c e w it a n d m a k e s it re s o n a te w ith a se n se o f ill­ u se .

S o m u c h o f N o r m a n L o v e s R o s e is so p le a s in g t h a t o n e w ish e s H e n ri S a fra n h a d b een ju s t th a t m u ch to u g h e r . T h is m ig h t h a v e le d h im to re lin q u is h s o m e e a sy la u g h s (n o t th a t

The Animals Film

th e y a re to b e d e s p is e d ) in f a v o r o f m o re o rg a n ic , m o r e w h o lly a d u lt c o m e d y . N e v e rth e le s s , it is th e firs t A u s tr a lia n c o m e d y fo r w h ic h o n e w o u ld p re d ic t in t e r n a t io n a l su c c e ss.

A n d if it a c h ie v e s th is , it w o n ’t b e a t th e c o st o f t h a t fla v o rle s s m id ­ P a c ific is m t h a t h a s b e e n d e a th to m a n y o th e r lo c a l film s a im e d a t o v e rs e a s m a r k e ts . It w ill b e b e c a u s e it h a s b o th e r e d to fill o u t its sk e tc h y c o n to u r s w ith a g ra tify in g se n se o f w h a t — n o t to in v o k e a s le d g e -h a m m e r — H e n ry J a m e s c a lle d “ fe lt lif e ” .

N o r m a n L o v e s R o se : D irected by: Henri

Safran. Producers: H enri Safran, Basil A p p le b y . E x e c u tiv e p ro d u c e r: M ax W e s to n . S c re e n p la y : H e n ri S a fra n .

D irector o f photography: Vince M onton.

E d ito r : D o n S a u n d e rs . P r o d u c tio n designer: D arrell Lass. M usic: M ike P erjanik. Sound recordist: Ross L inton.

Cast: C arol Kane (Rose), W arren Mitchell (M orris), M yra de G root (M other), Tony Owen (N orm an), D avid D ow ner (Michael), B a rry O tto (C h a rle s ), S a n d y G o re (M aureen), Virginia Hey (G irlfriend). P ro ­ duction com pany: N orm an Films. D istri­ butor: G U O . 35mm. 98 m ins. A ustralia.

1982.

Chickens strike in protest at being controlled by mass production techniques. The Animals Film.

466 — October CINEMA PAPERS

The Animals Film Paulo Weinberger A lth o u g h The Animals Film is n o t a h o r r o r o r s c ie n c e -fic tio n film , lik e S te v e n S p ie lb e rg ’s Poltergeist, fo r e x a m p le , it is c e rta in ly v e ry e ffe c tiv e in its p o r t r a y a l o f h o r r o r , fe a r a n d b r u ta lity . A n d th is is d e s p ite th e fa c t t h a t The Animals Film s trik e s a s tro n g b lo w a t th e n o tio n o f ‘c in e m a as e n te r ­ ta i n m e n t’. It is a p o w e rfu l d o c u m e n ­ ta r y w h ic h im p a ssiv e ly p re s e n ts a n in d ic tm e n t o f m a n ’s b r u ta lity to w a rd s th e o th e r c re a tu re s w h o s h a r e th e p la n e t.

N a r r a te d w ith p re c is io n b y J u lie C h ris tie , a n d b a c k e d w ith R o b e rt W y a t t ’s h a u n t i n g , o r ig in a l m u s ic sc o re , th e im p a c t o f its s u b je c t m a tte r re n d e rs a n y p o s s ib le c ritic is m o f its c in e m a tic a r tis tr y q u ite irre le v a n t.

A lte r n a tin g f r o m a rc h iv e se q u e n c e s to n e w ly -s h o t m a te ria l (o f te n ta k e n u n d e rc o v e r ), a n d fr o m m ilita r y a n d sc ie n tific p r o p a g a n d a f o o ta g e to in t e r ­ view s w ith sc ie n tis ts , a c tiv is ts a n d p a s s e rs -b y , The Animals Film a c h ie v e s p re c ise ly c o -d ire c to r V ic to r S c h o n f e ld ’s a im : “ I w a n te d to m a k e a film t h a t w o u ld b e a la s tin g to o l fo r c h a n g in g p e o p le ’s liv es. I w a n t it to b e the d e fin itiv e a n im a l film , a b o d y o f k n o w le d g e f o r y e a rs to c o m e .”

In its o p e n in g se q u e n c e , a n e le p h a n t is e le c tro c u te d , h u n d r e d s o f r a b b its a re b lu d g e o n e d to d e a th (a n d p ile d u p , as th e N a z is d id to th e b o d ie s o f th e ir v ic tim s) a n d h o rs e s b r e a k th e ir legs o v e r ju m p s . U n w a n te d p e ts a re c a u g h t a n d g iv e n m a s siv e d o se s o f d ru g s f o r a q u ic k a n d p a in le s s d e a th (6 0 0 ,0 0 0 p e r y e a r in N e w Y o rk ) so t h a t th e y c a n b e u s e d f o r th e s o a p a n d g lu e in d u s trie s .

T h e b a tte r y sy s te m o f egg p r o d u c t io n is p re s e n te d in its o u tr a g e o u s g lo ry .

T h o u s a n d s o f h e n s a r e c ro w d e d in to c ag es w ith o u t s p a c e to m o v e o r to s tre tc h th e ir w in g s. G iv e n a n tib io tic s to p re v e n t d is e a se , o f te n d e b e a k e d to p re v e n t th e m fr o m p e c k in g e a c h o th e r , a n d b a re ly re s e m b lin g w h a t o n e c o m ­ m o n ly k n o w s a s a c h ic k e n , th e y s p e n d a y e a r la y in g eggs lik e m a c h in e s a n d a re th e n s e n t to s la u g h te r f o r s o u p s an d p et fo o d .

A monkey is kept in a brace fo r scientific experimentation. Victor Schonfeld and Myriam Alaux’s The Animals Film. “ T h e re is n o p h ilo s o p h ic a l re a s o n w h y rig h ts s h o u ld s to p w h e n y o u re a c h a n im a ls ” , sa y s p h il o s o p h e r P e te r S in g e r, a u th o r o f th e b o o k Anim al Liberation. N e v e rth e le s s , so w s a re im m o b iliz e d in “ r a p e r a c k s ” f o r c o n ­ tin u o u s im p r e g n a tio n a n d th e n th r o w n o n th e ir b a c k s to s u c k le th e ir p ig le ts so t h a t th e y c a n ’t tu r n a r o u n d to lic k th e m o r ev en m o v e sid e w a y s . N a t u r ­ a lly , h e a v e n c o m e s w h e n th e y a re e le c ­ tr ic a lly s tu n n e d and fin a lly s la u g h te re d .

In B rita in , 500 a n im a l h u n ts ta k e p la c e e v e ry w e e k , a n d c e rta in c u s to m s w h ic h h a v e a c c o m p a n ie d th e s e h u n ts th r o u g h o u t th e ir h is to r y a re still m a i n ­ ta in e d : “ T h e c a m e ra s fo llo w th e b lo o d r itu a l a f te r th e k ill. T h e re , in th e d a r k w o o d , th e s ta g is slit o p e n a n d th e h u n ts m a n re a c h e s in a n d p u lls o u t th e s te a m in g h e a r t . ” T h is is B rita in to d a y , t h o u g h A u s ­ tr a lia n s d o n ’t la g b e h in d . A lth o u g h th e film d o e s n o t s h o w it, th e k illin g o f k a n g a ro o s is a ls o d ig n ifie d b y so m e h o n o r a b le fe a tu r e s , su c h a s th e p r e f e r ­ e n c e f o r s h o o tin g fe m a le s w ith y o u n g , th e u se o f th e w ire s n a r e a n d im p a lin g o n a s ta k e . “ T h e re is n o w a y to s tu d y th e n e rv o u s sy s te m w ith o u t h a v in g a n e rv o u s sy s te m to s t u d y ” , sa y s a sc ie n ­ tis t, as S c h o n fe ld c u ts to a n o th e r p a r t o f th e film : th e u se o f a n im a ls fo r sc ie n tific p u rp o s e s .

G u in e a p ig s a r e in je c te d w ith m a s siv e q u a n titie s o f a lc o h o l in o r d e r to p r o d u c e s to m a c h u lc e rs w h ic h a re th e n a n a ly z e d t h r o u g h v iv is e c tio n .

M o n k e y s a re in je c te d w ith h e ro in to h a v e th e i r w i th d r a w a l s y m p to m s s tu d ie d , a n d , to g e th e r w ith g u in e a p ig s , a r e u s e d f o r b e h a v io u r is t , p s y c h o lo g ic a l s tu d ie s w h e re e x p e ri­ m e n ts le a d to d if f e r e n t n e u r o tic a n d p s y c h o tic r e a c tio n s .

T e sts fo r to x ic s u b s ta n c e s in c o s ­ m e tic s , d e o d o r a n t s , s h a m p o o s a n d p e stic id e s a re a ls o c o n d u c te d o n a n im a ls .

O n th e o th e r h a n d , a s c ie n tis t in t e r ­ v ie w e d a d m its t h a t m o s t r e s e a rc h is re p e titiv e , b e c a u s e o f se c re c y a n d c o m -

The Animals Film

petition, and in any case ultimately worthless.

Activists are shown organizing raids on laboratories and farms, as well as trying to sabotage British hunts. Some of them manage to free hundreds of hens, and many animals are rescued from laboratories. One is a cat with its head deformed by electrodes implanted in its brain. “ I don’t love animals. I respect them” , says a hooded activist member of the Animal Liberation Front.

The ALF’s extreme response, in the face of the appalling world shown in the film, seems sane and proper, especially when yet more evidence is shown of man’s madness: American government scientists submit animals to unbearable levels of radiation to prove what Hiroshima and Nagasaki have clearly and widely proven to all of us.

Strongly influenced by Jean-Luc Godard’s techniques of subverting conventional ideas and activating people politically, Schonfeld started making this film as “ an attempt to show a form of exploitation that most people weren’t even aware of or didn’t recognize” . But after working on the film, Schonfeld realised that his description was too mild. “What the film is really about is torture” , he says.

The production of The Animals Film took more than two years, mainly in the U.S. and in Britain, but most of what it depicts applies to Australia as well. It directly affects us in many ways.

Mike (Terry Serio) and his idealized girlfriend, Julie (Deborah Conway). John Clark’s Running on Empty.

Running on Empty

But The Animals Film can cause reactions which are very far from reasonable. For example, the New South Wales Department of Education sent members of its Film Exhibition Review Committee to see a special screening of the film at the Paddington Twin Cinema, in Sydney, prior to its commercial release. The natural response to be expected was some sort of recommendation to have the film screened to school students over a certain age, or at least to mention to these students that the film was worth viewing.

The committee’s answer came as a letter to the manager of the cinema, signed by Mr H. K. Carey, for Mr D. Swan, Director-General of Education.

It says: “ I regret to advise that the film does not merit variation of the normal school routine for screening at matinee sessions during school hours. Schools will be advised of this recommenda­ tion.’’ Maybe the Department of Education does not merit to be what it is.

Generally, people are not aware of the scale of the atrocities committed against animals, let alone their com­ pliance and participation in them, even when they are not the perpetrators. As Julie Christie puts it, “ People who love animals wear furs, wear make-up, use products and eat food that is the direct result of the extremest forms of cruelty to animals.”

The main achievement of The Animals Film is to show clearly that all this degradation, exploitation and torture inflicted on animals is not just random or personal, but part of organ­ ized society, involving different sectors of private enterprise (especially the multi-national drug companies),

government departments, scientists, military authorities, factory farmers and university research laboratories. It is an outstanding example of the power of cinema to transform the sensibility and conscience of an audience.

The Animals Film:

D ir e c te d by: V ic to r S c h o n fe ld , M y r ia m A la u x . P r o d u c e r s: V ic to r S c h o n fe ld , M y r ia m A la u x . E x e c u ­ tiv e p r o d u c e r : P e g e e n F itz g e r a ld . S c r e e n ­ p la y : V ic to r S c h o n fe ld . D ir e c to r o f p h o t o ­ g ra p h y : K ev in K e a tin g . E d ito r : V ic to r S c h o n fe ld . M u sic : R o b e r t W y a tt. S o u n d r e c o r d is ts : V ic to r S c h o n f e ld , M y r ia m A la u x . N a rra to r: J u lie C h r istie . P r o d u c tio n c o m p a n y : S lic k P ic s In te r n a tio n a l. D is tr i­ b u to r: S h a r m ill F ilm s . 1 6 m m . 136 m in s .

U .S .- B r it a in . 1981.

Running on Empty Mark Spratt Running on Empty begins and ends with a suicide. This is not, on the face of it, an entertaining or commercial premise, but as both are staged spec­ tacularly as explosive car crashes, the audience is expected to feel so delighted by the noise, flames and mangled metal that the flesh and blood just cremated aren’t worth a second thought.

Mike (Terry Serio), an average young factory worker with an interest in high-performance cars, hovers on the fringe of a street-racing gang presided over by Fox (Richard Moir).

Mike’s idealized woman is the photo­ graphic model Julie (Deborah Conway) who, coincidentally, is Fox’s girlfriend. Fox is top of the heap in the local racing scene; he seems to be in it

for the glory and power. He has just achieved even more pre-eminence as his last challenger did not take losing in his stride and wiped himself out by crashing off the road.

Mike meets Julie after a beach photography session. They go for a drive but are quickly overtaken by Fox and his friends who insist, violently, that Mike must put up stake money and race if he expects to take Fox’s girl away from him. They cut off Mike’s trouser zip as a trophy and to show they mean business.

Julie, perhaps unwittingly, later betrays Mike by telling Fox Mike’s best time for the standing quarter-mile race. Mike loses. He needs money to improve his car with turbo-charging and nitrous oxide injection, and Mike and his mechanic friend Tony (Vagelis Mourikis) head into the country to raise money by racing. Julie joins their team.

After racing some yokels, the group encounters Rebel, a blind ex-racer from the 1950s, somewhat over-played as a guru by Max Cullen. Rebel, despite his handicap, manages to build cars and even drive them in the open country. Mike, who retains his naivety throughout the story, is ambushed by the yokels wanting their money back.

They set fire to Mike’s car and he escapes by driving up on to their truck, crashing off it into a lake. But Mike and Tony build a new vehicle with Rebel’s help and return to take on Fox. By some narrative unclarity, Rammer, one of Fox’s crew, diverts a police surveillance team then reports the track clear of traffic. It proves not clear for Mike who shears the top of his car off underneath an articulated truck and lands in hospital. Realizing

CINEMA PAPERS October — 467

Running on Empty

Taps

Julie and Tony (Vagelis Mourikis) give Mike some encouragement before a race. Running on Empty.

h e h a s a g a in b e e n se t u p , h e d e c id e s h e m u s t h a v e h is re v e n g e .

M ik e h a s a v io le n t a r g u m e n t w ith J u lie , w h o w a n ts n o th in g f u r th e r to d o w ith h is s u ic id a l b e h a v io u r . H e re tu rn s to p e rs u a d e R e b e l to le n d h im h is o w n c a r to s ta k e in a fin a l ra c e w ith F o x .

A f te r so m e a g o n iz in g , R e b e l a g re e s .

T h e re is r e c o n c ilia tio n b e tw e e n M ik e a n d J u lie b e f o r e th e ra c e , w h ic h is a lo n g o n e o v e r a b u s y r o a d . M a n y sp ills a n d c o llis io n s a re c a u s e d a m o n g s t th e u n f o r tu n a te m o to r is ts a lo n g th e w a y , b u t M ik e u ltim a te ly tr iu m p h s . F o x d ig e sts h is lo ss f o r te n s e c o n d s th e n d riv e s his c a r in to a c o n c re te w a ll.

It m u s t firs t b e sa id t h a t th e s tu n t d riv in g a n d n u m e r o u s c ra s h se q u e n c e s a re s u p e r b ly s ta g e d a n d p h o to g r a p h e d .

T h e y a re th e f ilm ’s c h ie f se llin g p o in t a n d its su ccess d e p e n d s o n th e ir p ro v id in g e n o u g h a m u s e m e n t fo r a n a u d ie n c e a tt r a c t e d b y th e ir p ro m is e .

D e fic ie n c ie s a b o u n d , h o w e v e r, in th e s c rip t a n d c h a r a c te r iz a tio n s , m a k in g it a d is a p p o in tm e n t fo r anyone d e m a n d in g a m o r e r o u n d e d e x p e r­ ie n c e . T h e film is u n lik e ly to a t t r a c t m u c h r e p e a t b u sin e ss as it te lls its re p e ­ titiv e a n d p r e d ic ta b le s to r y w ith o u t th e in te n s ity o f , sa y , th e M a d M a x film s, o r th e m o r e a n a rc h ic a n d in v e n tiv e h u m o r o f G o o d b y e P o r k P ie , a r o a d m o v ie c o m i n g fro m a c r o s s th e T asm an.

M o s t a s p e c ts o f th e s c rip t a re u n fo c u s e d . O n e h a s little se n se o f a n e x istin g s u b - c u ltu r e o f c a r-o b s e s s e d ra c in g fre a k s . T h e re is n o m o re th a n th e b a re s t o f b a c k g r o u n d sk e tc h e s fo r a n y o f th e c h a ra c te rs e x c e p t R e b e l.

M ik e is b rie fly se e n a t h is f a c to ry jo b .

O n e a s s u m e s h e is d is s a tis fie d w ith a life o f c lo s e d -in h o riz o n s a n d d e sire s to b re a k fr o m a w o rk in g -c la s s m o u ld in to e x p re s sin g h im s e lf th r o u g h s p e e d a n d e x p lo rin g o p e n sp a c e s . B u t M ik e is su c h a b la n d “ b o y n e x t d o o r ” , it is d if fic u lt to im a g in e h im in te re s te d in d riv in g a n y th in g m o r e p o w e rfu l th a n a V e sp a . P e r h a p s h e w a s c o n c e iv e d as a sh y a n d n a iv e c h a r a c te r so as n o t to d is tu rb th e m o th e rs a tte n d in g s c h o o l h o lid a y m a tin e e s .

C e rta in ly , w h e n M ik e , T o n y a n d J u lie a re s ittin g a r o u n d w ith R e b e l a n d h is w ife lis te n in g to r o c k ’n ’ ro ll, o r p la y in g “ S p o t t o ” w h ile th e y d riv e th r o u g h th e b u s h , th e y se e m lik e ju s t n ic e k id s w h o s h o u l d n ’t h a v e th e re m o te s t c o n n e c tio n w ith F o x , R am m er an d co m p an y w ho m odel

468 — October CINEMA PAPERS

th e m se lv e s o n s o m e d im m e m o ry o f A Clockwork Orange. R ic h a rd M o i r ’s m a k e - u p a n d c o s tu m e s u g g e s t a n o t v e ry g o o d M a lc o lm M c D o w e ll lo o k a lik e . M ik e k n o w s little o f th e s u b - c u l­ tu r e h e b e lo n g s to ; w itn e s s h is in c r e d ­ u lity w h e n R e b e l d e sc rib e s “ c h ic k e n r u n ” ra c e s . M ik e h a s n e v e r se e n Rebel Without A Cause o r p e rh a p s a n y A m e r ic a n - I n te r n a tio n a l o r N e w W o rld c a r m o v ie .

J u lie is a n e n ig m a . A p p a r e n tly p a r t o f th e w e ll-to -d o m o d e llin g se t, it is o b s c u re w h y sh e s u b m its to b e in g o n e o f F o x ’s p o s s e s s io n s . H e r b e h a v io u r is e rra tic . W h e n firs t d is c o v e re d in M ik e ’s c o m p a n y , sh e ru n s a w a y d ire c tly to w a rd s h e r c a p to r s w h o ro u g h h e r u p . M ik e ’s co y n e ss o n firs t g o in g to b e d w ith h e r m a k e s ev en m o re in c re d ib le h e r fe m in is t o u tb u r s t a t th e e n d . J u lie s u d d e n ly w a n ts to d o h e r o w n th in g , to n o t feel g u ilty o r re s p o n ­ sib le fo r M ik e ’s b e h a v io u r , to n o t be ju s t h a n g in g a r o u n d to g e t la id . T h is is all v e ry w ell, b u t h a n g in g a r o u n d to g e t la id is v irtu a lly all J u lie h a s b e e n d o in g fo r th e p re v io u s 85 m in u te s o f sc re e n tim e . T h e re h a s b e e n n o tu r n in g p o in t fo r h e r c h a ra c te r.

T h is re a lly is th e p r o b le m w ith th e film . T h e v is u a l a s p e c ts o f th e c a r ra c in g a n d e ffe c tiv e p h o to g r a p h y o f d e s e rt la n d s c a p e s a re v e ry g o o d . B u t v is u a l in t e r p r e ta ti o n o f th e c h a ra c te rs a n d th e ir g ro w th is la c k in g . M ik e ’s ‘o b s e s s io n ’ a n d m o tiv a tio n is a lm o s t in v isib le . H e a lr e a d y h a s th e g irl — th e o rig in a l b o n e o f c o n te n tio n — as sh e sim p ly d e c id e s to g o w ith h im a f te r th e firs t ra c e . F o x d o e s n ’t se e m to n o tic e .

M ik e m a k e s a s p e e c h to th e e ffe c t th a t h e h a s b e e n c a lle d o u t b y F o x . H e h a s to fo llo w h is c h a lle n g e th r o u g h to a c h ie v e so m e se lf-re s p e c t. T h is is b a c k e d u p w ith so little fire a n d e n th u s ia s m t h a t it is d if fic u lt to re m a in c o n v in c e d fo r lo n g . U ltim a te ly th e m o s t g e n u in e c h a r a c te r w ith so m e in te llig e n t in s ig h t in to his e n v ir o n m e n t is T o n y . H e sees th e fu tility o f ris k in g d e a th to p ro v e o n e s e lf a n d p la n s to q u it th e w h o le sc e n e .

A c o u p le o f s u b - p lo ts a re in tr o d u c e d to g ra tu ito u s e ffe c t. T h e tw o c o m ic re lie f p o lic e o ffic e rs — o n e m a le ( G ra h a m e B o n d ), o n e fe m a le (P e n n e H a c k f o r t h - J o n e s ) — w h o a re le d o n a d iv e r s io n a r y c h a s e b y R a m m e r, r e tu r n to F o x ’s h a n g o u t, th e A c e s ’ C lu b , to te r ro riz e F o x in to g iv in g th e m h is s h a re o f th e ra c in g ta k e .

N e x t- d o o r n e ig h b o u r V ic to r (G e rry S o n t) is re - in tr o d u c e d n e a r th e e n d to p re e n a t th e c a m e ra a n d d e liv e r so m e a p p a r e n tly i m p o r t a n t p lo t d e v e lo p ­ m e n t, w h ic h is q u ic k ly d r o p p e d .

T h e n o ti o n o f th r o w in g in th e to w e l a n d c o m m ittin g s u ic id e as s o o n as y o u lo se is a d is p iritin g o n e . T h e film v a g u e ly su g g e s ts t h a t o n ly sp in e le ss , re p re h e n s ib le c h a ra c te rs w o u ld d o so , b u t th e su ic id e s y n d r o m e d o e s se e m to b e c o n ta g io u s a n d is lik e s o m e n ew b lo o d s p o r t in w h ic h th e lo s e r m u s t p ro v id e a k a m ik a z e fin a le . M ik e sh o w s a g lim m e r o f c o m p r e h e n d in g th is in his fin a l s h o t lo o k in g to w a r d s F o x ’s f u n e r a l p y re .

C a re fu lly w o rk e d o u t m o tiv a tio n s a re n o t e s s e n tia l in film s s u c h as th is .

F o r in s ta n c e , in th e film s o f M o n te H e ilm a n o r W a lte r H ill th e c h a ra c te rs live in a n e x is te n tia l v a c u u m o f th e h e re a n d n o w . T h e ir a c tio n s m a y b e o b se s siv e , e m o tio n le s s o r d o w n rig h t c o n tr a d ic to r y b u t o n e c a n w a tc h th e ir s in g le -m in d e d p u r s u it o f t o d a y ’s g o a l w ith th e to t a l c o n v ic tio n t h a t th e vicelik e g rip o f f a te h a s le d th e m to th is m o m e n t. T h is is n o t so in Running on Empty, w h e re m a n y o f th e c h o ic e s m a d e ju s t se e m s c a tte r - b r a in e d .

C ritic a l k u d o s m a y se e m im m a te ria l in th è s h o r t te r m to a n e asily m a r k e t­ a b le film b u t it is n o t ir re le v a n t to c o m ­ p a re Running on Empty to m o re a c c o m p lis h e d A m e ric a n film s lik e Two Lane Blacktop a n d The Driver. A u s ­ tr a lia n film s , h a v in g a tt r a c t e d w o rld a tte n tio n , m u s t, i f th e y c o n tin u e to ta k e o n in t e r n a t io n a l g e n re s , rise to th e s ta n d a r d s a lr e a d y se t o r else th e y w ill q u ic k ly b e r e g a r d e d as th e in f e rio r v a ria tio n s f r o m D o w n U n d e r. o n E m p ty : D irected by: John Clark. Producer: P om Oliver. Executive producer: David Roe. A ssociate producer: M ark E gerton. Screenplay: B arry Tom blin.

Based on an original idea by Jo h n C lark.

D irector o f photography: D avid G ribble.

E ditor: S tuart A rm strong. A rt director: Greg Brown. Sound recordist: Syd B utter­ w orth. Cast: Terry Serio (Mike), D eborah Conway (Julie), Vangelis M ourikis (Tony), Richard M oir (Fox), M ax Cullen (Rebel), G raham e Bond (Jagger), G eoff Rhoe (Ram), Kris Greaves (Starter), Jerry Sont (Victor), Penne H ackforth-Jones (Dave).

P roduction com pany: Film C orp o ratio n of W estern A ustralia. D istributor: Roadshow .

35mm. 104 m ins. A ustralia. 1982.

R u n n in g

Taps Jim Schembri A lth o u g h th e th e m a tic c o n c e rn s in

Taps a re p la y e d o u t in th e a r e n a o f a m ilita r y tr a in in g s c h o o l, th e film d o e s n o t c la im to b e a n in d ic tm e n t a g a in s t a n y s p e c ific i n s t i t u t i o n .1 R a th e r , th e f ilm ’s w id e ly a c c e ss ib le m o tif s e x p lo re th e d a n g e rs a n d c o n flic ts in h e r e n t w h e n a n id e o lo g y is p e r m itte d to d e v e lo p u n r e g u la te d a n d in d e p e n ­ d e n tly w ith in a g iv e n s o c ie ty . I t d e p ic ts th e s ig n ific a n t, th o u g h p e r h a p s u n in ­ te n tio n a l, d is to r t io n t h a t c a n o c c u r b y th o s e w h o f o r m s u c h a n id e o lo g y , th e s trik in g ir o n y a n d s h o c k e d re a liz a tio n b y so c ie ty w h e n th e id e o lo g y m a n ife s ts as a c tio n a g a in s t th e c o m m u n ity in w h ic h it to o k r o o t , a n d th e u ltim a te v ic tim s o f s u c h a d e v e lo p m e n t: th e s o c ie ty ’s in n o c e n t, tr a p p e d y o u th .

T h e film is se t in th e B u n k e r H ill M ilita ry A c a d e m y , a n i n s ti tu t io n w h e re p re - p u b e s c e n t b o y s a r e e d u c a te d a n d c o n d itio n e d a b o u t th e n o b ility o f su c h p a tr io tic id e a ls a s d is c ip lin e , re s p e c t a n d h o n o r . G o v e rn in g th e a c a d e m y ’s t r o o p o f y o u th s is G e n e ra l H a r la n B a c h e (G e o rg e C . S c o tt), a n ageing v eteran o f m an y fa m o u s b a ttle s , a lo n e ly m a n f o r w h o m th e p a s s a g e o f tim e h a s e ro d e d th e h o r r o r , d e a th , a n d s u ffe rin g f r o m h is w a rtim e m e m o rie s , le a v in g o n ly th e th i n f r o th o f c o m b a t e x p e rie n c e , th e a b s t r a c t , r o m a n tic iz e d id e a ls o f h o n o r , a n d th e n o b ility o f d e a th .

B a c h e is id o liz e d b y th e n e w ly a p p o in te d c a d e t-m a jo r o f th e a c a d e m y , B ria n M o r e la n d (T im o th y H u tto n ) , w h o , b e c a u s e o f a n e m o ­ tio n a l s e v e rin g fr o m h is re a l f a th e r (W a y n e T ip p e tt) , fix a te s o n B a c h e as a fa th e r fig u re a n d so u rc e o f in flu e n c e a n d in s p ir a tio n . T h is re la tio n s h ip b e tw e e n B a c h e a n d M o r e la n d is th e fe rtile b a sis fo r th e p r o p a g a t io n o f B a c h e ’s id e a lis m .

T h is im a g e o f th e p illa r o f q u ix o tic id e a ls a m id s t s u s c e p tib le c h ild re n is s tro n g ly e s ta b lis h e d in th e e a rly , w ellc o m p o s e d scen es o f T a p s .

1. A t the very end o f the film ’s closing credits is an acknow ledgem ent by the Valley Forge M ilitary A cadem y, where m ost o f the film ing took place, th a t the events in the film are fictitious and do not intend to reflect the teaching phil­ osophies o f the school.

Taps

A s B a c h e p re s id e s o v e r a s e rv ic e in th e a c a d e m y ’s c a th e d r a l, th e t r a d i ­ ti o n a l b u g le c a ll o f T h e L a s t P o s t (th e a b b r e v i a ti o n o f w h ic h g iv e s th e film its title ) is a c c o m p a n ie d b y a lo w -a n g le s h o t o f B a c h e a t th e p u lp i t, s ta rin g p r o u d l y in t o th e m id d le d is ta n c e w ith a s t a tu e o f th e b a ld e a g le o c c u p y in g th e fo re g ro u n d .

A s h e p ro u d ly re a d s o f f n am es fro m th e a c a d e m y ’s r o ll o f h o n o r , a n o u ts id e s h o t slo w ly c ra n e s d o w n u n til th e a c a d e m y ’s im p re s s iv e g a te s c o m e in t o f r a m e . T h is c o m p o s itio n im p lie s th e s y m b o lic in te r tw in in g o f B a c h e ’s id e a ls a n d th e in s ti tu t io n o f th e s c h o o l, a n d th e e s o te ric n a t u r e o f th e s e id e a ls , b e in g c o n f in e d a n d m a in ta in e d w ith in th e a c a d e m y ’s f o r tif ie d b o u n d a r ie s .

T h e e p ito m e o f B a c h e ’s c h a r a c te r a n d s t a tu s w ith in th e s c h o o l is c a p tu r e d in tw o tig h tly -e d ite d a n d -f r a m e d sc e n e s . F ir s t, a t d in n e r , B a c h e sits a t th e h e a d o f th e ta b le fla n k e d b y th e re tir in g c a d e t - m a j o r a n d M o r e la n d , h is s u c c e s s o r, w h o h a n g s o n to e v e ry w o r d h e u tte r s a s h e jo k e s a b o u t fe a r a n d re fle c ts a b o u t c o u ra g e , h o n o r , th e th r ill o f b a tt le , h o w “ m a n w a s m e a n t to b e a w a r r i o r ’’ a n d t h a t “ w e ’re a ll th e s o n s o f o u r V ik in g f a t h e r s .’’

S e c o n d , in th e p a r a d e sc e n e , y o u th ­ fu l c o n tin g e n ts m a r c h b y B a c h e ’s s a lu tin g fig u re b e f o r e h e in f o r m s th e m t h a t th e s c h o o l h a s b u t a y e a r b e f o r e it is to b e s o ld f o r its re a l e s ta te v a lu e .

T h e h a r s h p r a c tic a lity b e h in d th is b u r e a u c r a ti c d e c is io n is a n a s p e c t B a c h e n e v e r c o n s id e rs . L a te r , B a c h e te lls M o r e la n d t h a t th e y d i d n ’t c o n s u lt h im : “ T h e y ju s t p e n c ille d it a n d p a p e r e d it a n d th e n th e y w e n t a h e a d a n d d id it, b e c a u s e t h a t ’s w h a t th e n u m b e r s s a i d . ” T h is re v e a ls B a c h e ’s u n b a la n c e d p r e o c c u p a t io n w ith th e in ju r y to th e s c h o o l a n d to h im s e lf, r a t h e r th a n to m o r e p r a c tic a l c o n ­ s id e r a tio n s . “ T h is a c a d e m y h a s b e e n p a id f o r b y th e b lo o d o f its g r a d ­ u a te s ” , h e re m in d s th e p a r a d e a s s e m b ly , as h e p le d g e s h im s e lf to th e b a ttle to sa v e th e s c h o o l.

M o r e l a n d ’s e q u a lly in te n s e p le d g e is s ig n ifie d b y h is w o r d - f o r - w o r d r e p lic a ­ ti o n o f B a c h e ’s a tt it u d e . W h e n B a c h e g o e s in to s h o c k a f t e r a c c id e n ta lly k illin g a lo c a l y o u th , p r o m p tin g a d e c i­ s io n to c lo s e th e s c h o o l im m e d ia te ly , M o r e la n d a s s u m e s B a c h e ’s q u e s t to d e fe n d th e s c h o o l f r o m c lo s u re w ith a te rs e n e s s t h a t a c c e n tu a te s th e in e v i­ ta b ility o f h is a c tio n , a n d th e id e o ­ lo g ic a l b o n d in g b e tw e e n h im a n d B a c h e . “ T h e p r o p r ie to r s w a n t th is p la c e c lo s e d d o w n ” , h e te lls a r o o m f u l o f a n x io u s c a d e ts . “ W e ll, as I see it, we a re th e p r o p r i e t o r s . ” I n a d d it io n to th e m o tiv a tio n fr o m B a c h e ’s v a lu e s , th e d is to r te d j u s ti f ic a ­ tio n o f M o re la n d ’s a c tio n s elicits c re d ­ ib ility fr o m s e v e ra l o th e r i m p o r t a n t f a c to r s . M a n y c h ie f fig u re s fr o m th e s c h o o l’s r a n k a n d file a re a b s e n t o n s u m m e r re c e ss h o lid a y s w h e n th e in c id e n t o c c u rs , th u s re d u c in g th e p o s ­ sib le c o n te n t io n a n d o p p o s itio n M o r e ­ l a n d ’s c o m m a n d w o u ld o th e r w is e h a v e re c e iv e d .

A p a r a lle l th e m a tic d e v e lo p m e n t in th e film , ju x t a p o s i n g sin c e re lo y a lty v e rs u s fa ls e lo y a lty , a ls o c o n tr ib u te s to th e s u s te n a n c e o f M o r e la n d ’s com m and.

A to u c h in g b o n d o f fr ie n d s h ip k e e p s A le x D w y e r (S e a n P e n n ) f r o m le a v in g th e sid e o f M o r e la n d , h is b e s t f r ie n d .

T h is c o m m itm e n t g o e s b e y o n d m e re o b lig a to r y g e s tu re b e c a u s e o f its e n ­ d u r a n c e , d e s p ite A le x ’s c le a r, o f te n p ie rc in g p e r c e p tio n o f th e s i tu a t io n . A t o n e p o in t , a f t e r A le x te lls M o r e la n d

I l f III H i lia f I I I 1VI IN 'I I I

t h a t p e o p le o u ts id e w ill see th is as b ra in -w a s h in g , h e a sk s w h y h e d o e s n ’t le a v e . “ M y c o n c e p t o f h o n o r m a y b e a little ja g g e d a r o u n d th e e d g e s ,” h e re p lie s, “ b u t I w ill n e v e r w a lk o u t o n a f r i e n d .” L a te r , w h e n A le x sa v a g e ly a tta c k s M o r e la n d ’s m o tiv a tio n w ith a p a r o d y o f th e m e d ia c o v e ra g e o f th e e v e n t, a fie rc e fig h t b e tw e e n th e m e n su e s , a f te r w h ic h M o r e la n d a d v ise s A le x n o t to “ le t f r ie n d s h ip k e e p y o u h e r e ” . A le x r e m a in s a n y w a y .

In s ta r k c o n tr a s t is th e fig u re o f D a v id S h a w n (T o m C ru is e ), th e trig g e r- h a p p y le a d e r o f th e a c a d e m y ’s c o rp s o f R e d B e re ts . H e p e rs o n ifie s th e p sy c h e o f th e c o m p u ls iv e w a r r io r , a s y m b o l o f m a n d riv e n b y a z e st fo r k illin g r a t h e r t h a n b y id e a ls. In d e e d , S h a w n ’s c a m a ra d e rie w ith M o r e la n d is little m o r e th a n a s p r in g b o a r d f o r ‘p la y in g s o ld ie r ’, as a t th e f ilm ’s e n d h e ig n o r e s M o r e l a n d ’s o r d e r to s u r re n d e r a n d o p e n s u p o n th e N a tio n a l G u a r d .

B u t th e m a j o r f a c t o r c o n tr ib u tin g to M o r e la n d ’s le g itim a c y o f c o m m a n d is sim p ly th e y o u th o f h is t r o o p s . W h e n M o r e la n d d e p lo y s h is y o u th f u l fo rc e s to d e fe n d th e a c a d e m y , a s trik in g tr a n s f o r m a t io n ta k e s p la c e . H e lm e ts a n d u n if o rm s a re d o n n e d , w ith b a tt le ­ d re ss ta ilo r e d to s u it th e y o u n g e s t a n d s m a lle s t o f th e c a d e ts w h o , r a t h e r th a n h a rm le s s p o p -g u n s a n d c a p p is to ls , a re n o w b e a rin g a u to m a ti c M -1 6 a rm a lite rifle s a n d h e a v y m a c h in e -g u n s a g a in s t th e p o lic e a n d n a ti o n a l g u a rd s m e n .

T h is ir o n ic d e v e lo p m e n t h a s a s t a r t ­ lin g e ff e c t o n th e v ie w e r, v is u a lly a n d d r a m a tic a lly , as th e a u th o r itie s re a liz e , w ith d is b e lie f a n d s h o c k , th e fu ll im p lic a tio n s o f w h a t h a s h a p p e n e d , a n d h o w th e y o u n g e s t c a d e ts , c o n fu s e d a n d tr a p p e d th o u g h n e v e r to ta lly ig n o r a n t, b e c o m e th e v u ln e r a b le , i n n o ­ c e n t v ic tim s o f th e crisis.

A n a p t s u m m a tio n o f th e d is p a rity b e tw e e n th e e x p e c ta tio n s o f so c ie ty a n d th e a c tu a l d e v e lo p m e n t w ith in th e a c a d e m y re v e r b e ra te s f r o m th e firs t c o n ta c t b e tw e e n M o r e la n d and C o lo n e l K e rb y (R o n n ie C o x ), th e le a d e r o f th e N a tio n a l G u a r d c o n ti n ­

g e n t se n t to c o n ta in th e s i tu a tio n , to th e e a rly , s trik in g im a g e s in th e film . “ I ’d b e tte r le t y o u k n o w ” , w a rn s K e rb y , “ th a t th e p e o p le o u t th e r e d o n ’t see y o u b o y s as re b e ls w ith a g o o d c a u se . T h e y th in k y o u ’re h o m e ­ g ro w n te r r o r is ts . I t ’s j u s t n o t w h a t g o o d little A m e ric a n b o y s a re s u p p o s e d to d o . ” A s a te a m o f c a d e ts r e tu r n fr o m a s u p p ly d e p o t w ith f o o d a n d e q u ip m e n t in tw o tr u c k s , th e le a d in g tr u c k sta lls a t a n in te rs e c tio n in th e m id d le o f to w n . W h ile A le x c h e c k s th e e n g in e , a g a n g o f lo c a l te e n a g e rs b e g in ta u n tin g th e m fo r ‘k illin g ’ o n e o f th e ir frie n d s .

A s c u ffle b re a k s o u t u n til S h a w n c o c k s h is w e a p o n a n d fire s se v e ra l r o u n d s o v e r th e b o y s ’ h e a d s . T h e c iv ilia n s s c a tte r lik e r a b b its a n d , as th e c a d e ts m o u n t th e s e c o n d tr u c k , th e s h e r if f ’s c a r a p p e a rs , sc re e c h in g to a h a lt a c ro s s th e r o a d to b lo c k th e ir p a th . T h e tr u c k d e fia n tly n e g o tia te s th e o b s ta c le by ra m m in g th r o u g h th e b a c k o f th e p o lic e c a r a n d d riv in g o f f .

T h is v is u a lly p o w e rfu l sc e n e e n c a p ­ su la te s th e e sse n c e o f ir o n y w h e n tw o p r e v i o u s ly c o - e x is tin g i n s t i t u t i o n s w ith in th e sa m e so c ie ty a re sh o w n in v io le n t c o n flic t w ith e a c h o th e r . T h is im a g e is s u b s e q u e n tly e n fo r c e d w h e n th e c a d e ts , h a v in g ta k e n u p a rm s a g a in s t th e p o lic e , jo i n th e m in r e v e r­ e n tly s a lu tin g th e A m e ric a n fla g as it is ra is e d in s id e th e c o m p o u n d .

W h e n th e s h e r if f a n d th e p r o p r ie to r s e n te r th e a c a d e m y ’s a r m o r y iO c o n fis ­ c a te th e c o n s id e ra b le a rs e n a l th e r e , th e y fin d t h a t e v e ry th in g h a s b e e n re m o v e d . M o r e la n d th e n a p p e a r s a n d e n su re s t h a t th e w e a p o n s h a v e b e e n ‘s e c u r e d ’, a n d t h a t it is th e ir c o n s t it u ­ tio n a l rig h t to b e a r a rm s . T h e d is ­ b e lie v in g s h e r if f ig n o re s M o r e la n d ’s s ta te d d e m a n d s , te llin g h im c o n d e s ­ c e n d in g ly t h a t h e is in b ig tr o u b le , a n d c o n fid e n tly m o v e s to p la c e h a n d c u f f s o n h im . T h e p ie rc in g s y n c h r o n o u s s o u n d o f rifle s b e in g ra is e d a n d a im e d s u d d e n ly fre e z e s th e s h e r iff , a s a p la t f o r m a b o v e th e m is s u d d e n ly lin e d w ith a s q u a d o f S h a w n ’s R e d B e re ts , re a d y to o p e n fire . S e v e ra l flo w in g

Moreland salutes at the taps ceremony fo r General Bache. Taps. c lo s e -sh o ts o f th e s e a im in g c a d e ts a m p ­ lify th e im p a c t th is in c id e n t h a s as a n in s ta n t o f re a liz a tio n b y th e o u ts id e a u th o r itie s t h a t th e s itu a tio n th e y n o w c o n f r o n t is f a r re m o v e d fr o m a n y th in g th e y h a d e x p e c te d . W ith th e R e d B e re ts file d a c ro s s th e to p o f fr a m e , M o r e la n d th e n m o v e s in to th e f o r e ­ g r o u n d a n d p o lite ly c o m p le te s h is list o f d e m a n d s .2 In a s im ila r v e in , C o lo n e l K e r b y ’s e x c h a n g e s w ith M o r e la n d e s ta b lis h a c o n tr a s t b e tw e e n th e p h ilo s o p h ie s o f th e p ra c tic a l s o ld ie r a n d th e id e a lis tic w a rrio r. M o r e la n d ’s r e f u s a l to re c o g ­ n ize th e b o y s u n d e r h is c o m m a n d as a n y th in g b u t m e n a n d s o ld ie rs , re a d y to fig h t a n d d ie f o r a p u r p o s e th e y c h o se th e m s e lv e s , s h o c k s K e rb y in to a s s e rtin g h is m o r e f u n d a m e n ta l d e f in i­ tio n s . “ Y o u ’re n o s o ld ie r ” , h e in s is ts . “ I ’m a s o ld ie r b e c a u s e m y j o b is to tr y a n d s ta y a liv e w h e n it a i n ’t a ll t h a t easy . Y o u ’re th e fa c e o f d e a th — a d e a th lo v e r. S o m e fo o l h a s p u t y o u in lo v e w ith th e id e a t h a t d y in g fo r a c a u s e is g o o d . W e ll d y in g is o n ly o n e th in g — b a d . ” T h e n o b ility o f M o r e l a n d ’s c h e r ­ is h e d id e a ls , h o w e v e r, is n o t d e m y s ti­ fie d u n til th e crisis c la im s its in e v ita b le c a s u a lty : in n o c e n t y o u th . T h e im p e n d ­ ing n a tu r e o f th is in c id e n t is f o r e s h a d ­ o w e d b y se v e ra l w e ll-d ire c te d m o m e n ts in th e film w h e re th e y o u n g e s t c a d e ts a re s h o w n as b e in g lo c k e d in p o s itio n s o f e x tre m e v u ln e r a b ility . W h e n th e c a d e ts f irs t set u p p o s itio n s a g a in s t th e p o lic e , th e s h e r if f a llo w s o n e m in u te fo r th e ir s u r r e n d e r . A s th e m in u te c lo ses a n d te n s io n b u ild s , a d im in u tiv e c a d e t d r o p s h is w e a p o n a n d c la m b e rs 2 . It is n o te w o r th y th a t th is im p o r ta n t sc e n e fe a tu r e d p r o m in e n tly in th e te le ­ v isio n an d p o ste r a d v e r tise m e n ts fo r th e film . In a m a rk et rid d le d w ith u n in sp ir ­ in g , d e c e itfu l a n d o f te n u g ly p u b lic ity c a m p a ig n s , th is r e fr e s h in g s e n s itiv ity to w a r d s a f ilm ’s p r e s e n ta tio n d ese r v e s to b e im ita te d .

CINEMA PAPERS October — 469

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Taps

over the gate yelling, “ Don’t shoot me!”

Peer pressure first prevents anyone from voluntarily leaving the academy, despite Moreland’s assurance that they won’t be shot down. Indeed, the next morning 11 desertions are discovered and, when Moreland demands that those who aren’t committed to his actions leave immediately, it is not until one of the troop leaders, West (Evan Handler), has the courage to step forward that mass dismissals ensue, cutting Moreland’s strength in half.

Upon the nocturnal arrival of the National Guard’s armored units, a single tank positions itself at the acad­ emy’s gates and probes various posi­ tions around the academy building with the beam of its spotlight. The viewer is lulled into a sense that this display of power is to be marked by the firing of a live shell to a target desig­ nated by the spotlight. When the beam shines into the room of two of the youngest cadets, Derek (John P. Navin jun.) and Charlie (Brendan Ward), there is a genuine fear that they are about to die. The spotlight, however, is turned off.

The following night, as Charlie and Derek man a machine-gun post, Derek fearing for his life, decides to give himself up. Leaping over the sandbags yelling “ I don’t want to die” , he throws down his weapon as Charlie follows him. Derek’s rifle fires a round on impact with the ground. The tank’s light blinks on and illuminates Charlie who, in a crescendo of machine-gun fire, is struck down with a fatal bullet to the chest, and collapses in the tank’s pool of light.

It is here, when Moreland is con­ fronted with the results of his actions, that he sees the vacuous nature of the ideals forged in him by Bache. “ Honor doesn’t count for shit” , he tells Alex in an emotional realization, “ when you’re looking at a little boy’s corpse.” Fittingly, More­ land and Alex declare this a victory — though a belated one.

The considerable physical authenti­ city of the central characters in Taps derives from the film’s unusually perceptive casting. George C. Scott’s portrayal of Bache is a splendid evoca­ tion of an overweight, ageing man who remains alive by regenerating the long gone glories of his prime through the academy’s cadets. Ronnie Cox’s Kerby projects the presence of a hard-faced, determined soldier, whose open cap­ acity to reason is compromised only by the constraints of practicality imposed by his superiors.

Sean Penn’s Alex has the typical boy-next-door mannerisms, complete with faltering diction and timbre, while Tom Cruise as Shawn is the definitive macho-warrior image, smiling every time the chances of an armed exchange escalate.

Timothy Hutton’s central perfor­ mance as Moreland exudes both the military proficiency and devotion demanded by his ideals, and the emo­ tional vulnerability and ignorance characteristic of his youth, a dicho­ tomy which is highlighted by the incongruous sight of his lean, boyish frame in his dress uniform, embel­ lished with medals and decorations typically associated with extensive combat and command experience.

For yet another film that uses the all-but-benumbed American military as a thematic springboard, Taps is something of a rarity, maintaining a strong topicality in its subject matter

Chulus fronteras

without slipping into the sweeping indictments and polemic overdrive which would otherwise have polarized it as but another ‘anti-war’ film.

Taps:

D ir e c te d b y: H a r o ld B e c k e r . P r o ­ d u cers: S ta n le y R . J a f fe , H o w a r d B . J a ffe .

S cre e n p la y : D a rry l P o n ic s a n , R o b e r t M ark K a m e n . F r o m th e n o v e l Father Sky b y D e v e r y F r e e m a n . D ir e c to r o f p h o to g r a p h y : O w e n R o iz m a n . E d ito r : M a u r y W in e tr o b e .

A r t d irecto rs: S ta n J o lle y , A lf r e d S w e e n e y .

M u sic : M a u r ic e J a rre. S o u n d r eco r d ist: B ertil H a llb e r g . C a st: G e o r g e C . S c o tt (G en era l B a c h e ), T im o th y H u tto n (M o r e ­ la n d ), R o n n y C o x (K erb y ), S e a n P e n n (D w y e r ), T o m C r u ise (S h a w n ), B r e n d a n W a rd (A u d e n ), E v a n H a n d le r (W e st), J o h n P . N a v in j u n . (M e llo tt), W a y n e T ip p e tt (M a st.-S e r g . M o r e la n d ), J a m e s H a r d y (S h e r iff). P r o d u c tio n c o m p a n y : T w e n tie th C e n tu r y -F o x . D istr ib u to r : F o x -C o lu m b ia .

3 5 m m . 126 m in s . U .S . 1981.

Chulas fronteras Marcus Breen As soon as the camera rolls, the music breathes its fire of knowledge, pain and truth. The opening scenes show Mexican men pulling a barge across what is probably the Rio Grande, and the voices ring out across its murky flow: “intense nostalgia invades my soul” . The voices and guitars are immediately attractive, while the sight of the men struggling to pull themselves to the opposite bank becomes a simple metaphor for the struggle of many Mexican people who have moved from Mexico to the U.S. Metaphors and images aside, this documentary is a clear and precise record of the struggle of the Tejanos or Texan-Mexicans, that oppressed minority in the U.S. which finds itself at the bottom rung of the socio-econ­ omic ladder for ethnic and cultural reasons. Ironically, these aspects of Tejanos life makes them a viable and much studied sub-culture. They are clearly identified as non-mainstream Americans by their music and their labor. In the valley of the Rio Grande, the cheapest labor and the best music seem to add up to Tejanos.

In making this film, Les Blank is lagging only marginally behind acad­ emic sociologists/anthropologists.

Indeed, his treatment of the Tejanos is a sensitive documentary of their lives.

Because of this, Blank has improved on much often-bland sociological analysis by using music as the mechan­ ism by which the social and political values of the Tejanos are communi­ cated. If this film says only one thing, it is that music — especially folk music — is the opiate of the oppressed. And who could doubt that the most entran­ cing and beautiful music comes from the voices and instruments of the oppressed: reggae, blues and most folk music.

In Chulas fronteras, music becomes the force that documents every occa­ sion, struggle and event, both in an intensely personal and in a communal sense. This is partly due to the fact that the songs are written by almost anybody with any rhythm in their soul.

Take the record store owner who casually admits to taking 15 to 20 minutes to write a song and that he has a repertoire of more than 600 songs — shades of the great black blues song­ writer and performer, Huddy Leadbetter (a.k.a. Leadbelly), whose reper­ toire contained about 2000 songs. No sheet music here, but acute memories that store information about the past and the present in the form of songs.

Music, in this context, is the cultural modus operandi.

When the guitars and basses start up, it is just a matter of singing; the rest flows from the soul with all the passion that the truth demands. Certainly there is myth and emotion, but these aspects of folk music are essential to people who live simply and hope for brighter futures. Myth and emotion are rare attributes in western, bourgeois society, unless they are contrived for consumption for a public which is too often gullible and malleable. For Blank, though, these attributes are the central feature of his concern with the music, which in turn makes a clear, socio-political statement.

All these issues become essential to Chulas fronteras. In fact, the film­ makers have been exemplary in their

treatment of their subjects. And let’s not kid ourselves: where white liberals are filming an oppressed minority, it is difficult to see the subjects of our con­ sumption as anything but “ subjects” .

But this is not the major issue in this film, where the sensibility of the film­ makers has led them to document a sub-culture in such a way that they themselves rarely intervene in the story. Instead of an ideological inten­ tion imposing itself on the material, the Texan-Mexican music stands proud on its own merits.

It is here that the film enters the domain of the ideological, because the people tell their story, which is one of hope and fear in a land that promises so much, but which tends to consume and destroy its hopeful. The fact that the Tejanos have moved across to the U.S. is itself a statement of their belief in the myth of wealth and security. But for any minority group in the U.S. upward mobility is scarce and restric­ ted to such things as sport and show business, and then when success appears most minority group per­ formers lose interest in the struggles of their brothers and sisters. (An excep­ tion here is Arthur Ashe, the Wimble­ don tennis champion who has made a concerted effort to introduce black Americans to the white-dominated, exclusive tennis scene. In terms of class and race relations this is hardly a solu­ tion to the dominant racist attitudes of many European Americans.)

So it is back to music as a statement of collective, sub-cultural interests.

Chulas fronteras shows a 50th wedding anniversary. The relations and friends crowd the hall as the ageing couple embrace their friends and family. It is difficult not to use the word comrades because the music pervades the scene to such an extent that it creates an atmosphere of intimacy and solidarity in the face of massive obstacles. A victory has been won and the old couple celebrate with restraint and an air of wisdom and uncertainty.

Lydia Mendoza: “ When I ’m singing that song, I feel like I ’m living that song. ” Les Blank’s Chulas fronteras.

CINEMA PAPERS October — 471

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Chulas fronteras

I A m No God

as a documentary it provides the neces­ sary musical and ideological context into which a feature film like The Border can be placed. The music of Ry Cooder also becomes more relevant after viewing C hulas fron teras.

Cooder used Flaco Jimanez on his 1976 albums “ Chicken Skin Music” and the live “ Chicken Skin Review” : albums that captured the urgency and style of Texan-Mexican music, even though Cooder is primarily a Euro­ pean revisionist.

Chulas fronteras is a warm and enticing film. It gently works its way through a confused sub-culture, allowing the participants to tell their story in the best possible way.

Marshall McLuhan would have rested easy with his statement, “the medium is the message” , because this docu­ mentary facilitates the communication of the message through music, the most persuasive and challenging art form man has created. As for the Tejanos, one of their number best summarized their predicament as he sang shyly for the camera: “ Some people call me third world, but I know that’s the real world ’cause I’m Chicano.”

C h u la s fro n te r a s: D ir e c te d by: L e s B la n k .

P ro d u c e r : C h ris S tr a c h w itz . C o n c e p tio n : C h ris S tr a c h w itz . D ir e c to r o f p h o to g r a p h y : L es B la n k . E d ito r: L e s B la n k . C o n su lta n t: G u ille r m o H e r n a n d e z . In terp reter: P a c h o L a n e . S o u n d reco r d ist: C h ris S tr a c h w itz .

P r o d u c tio n c o m p a n y : B r a z o s F ilm s. D istr i­ b u to r: R o n in F ilm s. 1 6 m m . 58 m in s . U .S .

1976.

I Am No God Paulo Weinberger

A ‘p sychic healing’ operation in The Philip­ pines. Barrie Pattison’s I A m N o God.

In this situation, the music again describes the relationship of people to each other and their lowly place on the capitalistic tree. Yet this latter point seems irrelevant, as the anniversary party represents the philosophy of strength in cultural and ethnic soli­ darity, rather than strength in individualistic consumerism.

The traditional family is therefore essential to Texan life and the Tejanos have certainly not left their extended family values on the other side of the Rio Grande. Rather, they have become more conscious of the need for a deter­ mination to save their traditional life­ styles and values, and Blank uses the brilliant Flaco Jimanez to show how music is used to keep the family alive.

One meets Jimanez playing his accor­ dion in a club, and then Santiago Flaco sen., who was taught to play the accor­ dion by his father. Jimanez is then

shown teaching his six- or seven-yearold son the basics of Texan-Mexican accordion technique, and the die is cast.

Traditional values keep the com­ munity together and those same values create confusion in the face of main­ stream American culture. The Mexican laborers or wetbacks, who have pro­ vided labor for farmers in many places across the U.S., are especially not worthy here. Largely itinerant, they travel up and down the U.S., picking fruit and vegetables during different seasons of the year. They are the shit­ kickers and they know it. With some luck and determination they will break out of the system that stifles them and create something better for themselves, something permanent, less dehumaniz­ ing and soul-destroying. In the mean­ time, music fills the gaping hole in their aching bodies at the end of each working day.

But the music and the songs are not some parody or simple motif. The Tejanos are living a song and singing a misery. As Lydia Mendoza says in the

film: “When I’m singing that song, I feel like I’m living that song.”

Chulas fronteras is helped along by a fine technical style that maintains a compassionate observer’s stance.

Precise use of microphone and tape recorder by producer-sound technician Chris Strachwitz has allowed excellent reproduction of all the music in the film, from the wedding anniversary sequence to outdoor, stand-up perfor­ mances at a party.

Indeed, in one of the best-staged shots in the film, a trio sings in a paddock while youths on horses gallop around in the background. The apparent beauty of this shot is soon lost when the boys move into the fore­ ground, wanting to get into the action.

One rider in particular edges his horse sideways into the trio. The band jumps two steps to the left and doesn’t miss a beat. This is a larrikinism of a rare sort. The sound and camera record it all as the boys ride off.

If one film were ever to elucidate the issues confronting the Tejanos people, then certainly this one does. Moreover,

I Am N o God is a documentary which follows a group of Australians to The Philippines to be treated by the famous psychic healer, Alex Orbito.

Many of them had lost their faith in conventional medicine; some had already experienced earlier visits; and to others it was a matter of life.

The Philippines, uniquely a Catholic country in Asia, has for centuries had its village healers. However, at the end of World War 2, there was a new development with the ‘bloody surgery’ of the Spiritist Brothers, and the result was that its practitioners became world celebrities, such as Agpao Blanche and now Alex Orbito.

Orbito is known to perform barehand operations in which he intro­ duces his fingers into affected areas of the body and removes diseased tissue, without anaesthetic or sterile pro­ cedures, causing no pain, and leaving no sign of the parting of the flesh. The result is apparently instantaneous recovery from the operation, as well as healing of the condition treated.

I Am N o God basically documents the views and expectations of the members of the group before they leave Australia and what happens in The Philippines, including the opera­ tions they undergo (with some excel­ lent photography and camerawork), and their impressions afterwards.

There are also some interviews with Orbito; with Professor John Frodsham, President of the WA Society of Psychical Research; with Jon Sainken, an expert in psychiatric matters; and with Ron Camp and Les Garret, ministers of the New Life Community Church and Christian Family Centre, respectively. The two ministers try to

Concluded on p. 483 CINEMA PAPERS October — 473

W H AT HAS 2001SUPERMANAND FOCAL PRESS IN COMMON? . . . Zoran Perisic, inventor o f the Zoptic System, w hich g a v e the sp ecial effects for “2001” a n d “S u p erm an ” !

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The Craft of the Screenwriter John Brady Simon and Schuster, $24.95

Margaret Smith W rite r s as h a c k s , w rite rs a s d o o r ­ m a ts , w rite rs as a n o n y m o u s c re tin s : th e s e e p ith e ts w e re n e v e r, o f c o u rs e , a p p lie d to s e rio u s n o v e lis ts o r p la y ­ w rig h ts , b u t s c re e n w ritin g s o m e h o w is a n o th e r m a t te r . E v e n t o d a y th e lim ite d n u m b e r o f w rite rs w h o h a v e m a d e it in to th e w o rld o f c e llu lo id h e ro e s c a n ’t c o u n t o n a n y re d c a r p e t tr e a tm e n t.

In A u s tr a lia , o n e m a y a t le a s t h e a r the. n a m e s o f D a v id W illia m s o n a n d E le a n o r W itc o m b e , a f t e r a p r e g n a n t p a u s e . I n th e U .S ., th e s i tu a tio n is n ’t so m u c h b e tte r: d u rin g th e r e c e n t te le ­ c a s t o f th e A c a d e m y A w a r d s , th e T m ly fa c e s th e c a m e ra c o u ld n ’t p ic k o u t a m id s t a c a s t o f p le n ty w e re th o s e o f th e s c re e n p la y n o m in e e s .

J o h n B ra d y , e d ito r o f th e A m e ric a n m a g a z in e Writers Digest, is th e r e f o r e firm ly in t e n t in h is b o o k , The Craft of the Screenwriter, o n b rin g in g o n e fu lly in to th e p ic tu r e so t h a t n o t o n ly th e film c o m e s in to fo c u s , b u t a ls o th e g e n e sis b e h in d th e fr a m e . D id y o u k n o w , f o r in s ta n c e , t h a t R o m a n P o la n s k i c h a n g e d R o b e r t T o w n e ’s e n d in g o f Chinatown so t h a t it w o u ld e x te n d h is im a g e o f h im s e lf? A ls o , w e re y o u a w a re t h a t P a d d y C h a y e fs k y w o rk e d o n Network f o r f o u r y e a rs , a n d a lm o s t g a v e u p o n e v e r g e ttin g it rig h t?

T h r o u g h J o h n B r a d y ’s m a s te rly in te rv ie w s w ith six o f A m e r ic a ’s to p s c re e n w rite rs o n e g e ts a g lim p s e o f H o lly w o o d as n o t m e re ly tin s e l to w n , b u t b lo o d - s w e a t- a n d - te a r s to w n .

P a d d y C h a y e fs k y , W illia m G o ld m a n , E r n e s t L e h m a n , P a u l S c h ra d e r , N e il S im o n a n d R o b e r t T o w n e u n b u r d e n th e m s e lv e s n a tu r a ll y . B ra d y , w h o is a m a s te r in te r v ie w e r , a n d w hose p re v io u s b o o k s in c lu d e The Craft of Interviewing, o n ly in tr u d e s to p o s e th e q u e s tio n s a n d t o g iv e th e b a c k g r o u n d b rie fin g .

In a n in t r o d u c t o r y c h a p te r , B ra d y w rite s: “ I n th e b e g in n in g w a s n o t th e w o r d .” T h e A m e r ic a n film in d u s tr y b e g a n a s s ile n t flic k e rin g im a g e s o n a screen p ro d u c e d b y te c h n ic ia n s .

W rite r s w ro te n o v e ls o r p la y s fo r B r o a d w a y . I t w a s n ’t u n til th e a d v e n t o f ta lk ie s t h a t H o lly w o o d e m p lo y e d s o m e o f th e m o s t im p o r t a n t w rite rs in th e c o u n tr y : F . S c o tt F itz g e ra ld , W illia m F a u lk n e r , D o r o th y P a r k e r , C h r is to p h e r Is h e r w o o d , B e rto lt B re c h t, T h o m a s M a n n a n d c o u n tle s s o th e r s c a m e to p a y h o m a g e , a n d to p a y o f f c rip p lin g d e b ts . F itz g e ra ld w o rk e d th e r e f o r 18 m o n th s a n d s e ttle d a

$ 4 0 ,0 0 0 d e b t h e h a d a c q u ir e d f r o m a d e c a d e o f n o v e l w ritin g .

T h e s tu d io s e m p lo y e d th e w rite rs o n a w e e k ly s a la ry to th r o w u p id e a s a n d w rite s y n o p s e s , w h ic h m ig h t a t so m e la te r d a te b e w o rk e d u p in to fu lly fle d g e d film s. F o r w rite rs lik e B re c h t, it w a s a n e x c ru c ia tin g b u s in e s s , w ith h is w o rk b e in g c o m p r o m is e d b y u n „ im a g in a tiv e d ir e c to r s , w h o , in s o m e c a se s, r e m o v e d th e w r it e r ’s sc re e n c re d it a n d in s e rte d th e ir o w n . B u t th e D e p re s s io n w a s a t its h e ig h t, a n d m o s t w rite rs h a d n o o th e r a lte rn a tiv e s b u t to stic k w ith it.

T h e re w e re n o rig h ts , b u t th e r e w as m o n e y , th o u g h e v e n t h a t d rie d u p f o r th e m o r e s e rio u s w rite rs d u rin g th e M c C a r th y e ra . T h e y w e re b la c k lis te d f o r th e m e re s t tin g e o f p in k a n d lo c k e d o u t fr o m 1947 to 1960. T h e s a fe f o r m u la film c a m e in to b e in g a n d H o lly w o o d re s o u n d e d to th e g u n s h o ts o f J o h n W a y n e a n d R o n a ld R e a g a n in a b o n a n z a o f B -g ra d e m o v ie s . T h e s c re e n w rite r w a s n o w tr u ly th e “ h a c k ­ w r it e r ” , a la b e l t h a t h a s b e e n u n f a ir ly a p p lie d to s c re e n w rite rs sin c e b y d ir e c ­ to r s a n d p r o d u c e r s g re e d y fo r th e lim e ­ lig h t, a n d w h ic h to d a y h a s a n o m in o u s re s o n a n c e in A u s tr a lia ’s fle d g lin g film in d u s try .

W h e n H o lly w o o d d id a t la s t re o p e n its d o o r s , th e s tu d io s w e re g ra d u a lly in v a d e d b y a n e w g r o u p o f w rite rs w h o h a d le a r n t th e ir c r a f t fr o m u n iv e rs ity c a m p u s c o u rs e s , a n d w h o lo o k e d s e rio u s ly a t E u r o p e a n d ir e c to r s a n d th e “ a u te u r” th e o r y . S im u lta n e o u s ly , h o w e v e r, A m e ric a n d ir e c to r s w e re a ls o lo o k in g p a s t th e ir s ta rs , a n d w e re q u ic k to c la im th e n e w a r t is t s ta tu s fo r th e m se lv e s.

T h e re s u lt w a s e x p lo s iv e , w ith w rite rs o n o n e sid e o f th e b a tt le lin es a n d d ir e c to r s o n th e o th e r . G o re V id a l w as r e p o r te d in th e p re s s as c o n f r o n t ­ in g h is d ir e c to r a t C a n n e s a n d p u b lic ly ta k in g h im to ta s k f o r d e s c rib in g The Best Man, w h ic h V id a l h a d c o n c e iv e d a n d s c rip te d , a s “ a film o f F r a n k lin S c h a f f n e r ” . B a c k h o m e , R in g L a r d n e r to o k R o b e r t A ltm a n to ta s k fo r c la im in g a ll th e c re d it f o r M*A*S*H. T h e A m e ric a n W rite r s G u ild th e n g o t in to th e a c t a n d g ra d u a lly n e g o ti­ a te d d e a ls f o r w rite rs t h a t c a rr ie d m o r e a rtis tic a n d fin a n c ia l c lo u t. I t to o k u p o n its e lf th e re s p o n s ib ility o f d e a lin g w ith th e in d u s tr y in a n o rg a n iz e d f r o n t, a b a tt le u p o n w h ic h th e A u s ­ tr a li a n W rite r s G u ild is c u rr e n tly engaged.

T h e e x p e rie n c e o f th e p e o p le in J o h n B r a d y ’s b o o k is th e r e f o r e n o d if f e r e n t fr o m t h a t b e in g u n d e rg o n e h e re . T h e o n ly re a l d if fe re n c e is t h a t th e s ta k e s a re h ig h e r, th e r e w a rd s a n d p u n is h ­ m e n ts m o re d e v a s ta tin g a n d th e d o c u ­ m e n ta tio n c le a re r. T h e issu e s a re o f w rite r vs d ir e c to r , w rite r vs h i s / h e r o w n se n se o f a r t as a g a in s t f o r m u la , a n d th e w rite r vs th e se n s e o f lo n e lin e s s t h a t D a v id H a r e d e s c rib e s in h is p la y A Map of the World: “ b e c a u s e y o u d o a jo b w h ic h is lo n e ly a n d h a r d , b e c a u s e y o u s p e n d all d a y lo c k e d in a r o o m , so y o u p r o je c t y o u r lo n e lin e s s o n to th e w o r ld .”

T h e w rite rs J o h n B ra d y in te rv ie w s f o r th e ir c r a f t w e re u n f a ir ly d u b b e d “ th e film b r a t s ” b y a H o lly w o o d w h o sa w th e ir c la im to a r t as a u d a c io u s .

W h y , th e s tu d io s a s k e d , w o u ld n ’t th e y w rite B -g ra d e m o v ie s lik e e v e ry o n e else? A n d w h y d id th e y h a v e to in s is t o n b e in g p r e s e n t d u r in g p r e - p r o d u c ­ tio n , lo c a tio n a n d e v e n p o s t - p r o d u c ­ tio n w o rk ? W a s n ’t t h a t ta k in g th e c o n ­ c e p t o f film as a c o lla b o r a tiv e a r t to a n u n n e c e s s a ry e x tre m e ?

N e il S im o n sa y s in h is in te rv ie w t h a t

W o o d y A lle n is o n e o f th e fe w w rite rd ir e c to r s w h o “ g e ts c a r te b la n c h e f r o m U n ite d A rtis ts b e c a u s e h e d o e s n ’t ta k e e n o r ­ m o u s a m o u n t s o f m o n e y u p f r o n t.

H e sa y s , i f a p ic tu r e is g o in g to m a k e it, i t ’ll m a k e it la te r o n . B u t in o r d e r to k e e p h is o w n f r e e d o m , h is o w n in d e p e n d e n c e , h e a s k s f o r n o s tu d io i n t e r f e r e n c e .”

E v e n f o r W o o d y A lle n it is n o b e d o f ro s e s , i f o n e c a n ju d g e f r o m h is s a v a g e c a s tig a tio n o f th e A m e r ic a n s tu d io sy ste m in h is film Stardust Memories.

T h e A m e ric a n e x p e rie n c e h as th r o w n u p a h o s t o f s im ila r n ig h tm a r e s in A u s tr a lia . P e te r W e ir ’s r e c e n t e p is o d e in d e a lin g w ith th e A m e ric a n in d u s tr y o v e r h is c u r r e n t film , The Year of Living Dangerously, w a s a ls o p u r e H o lly w o o d k its c h . T h e s tu d io c o ­ fin a n c in g th e film a p p o in te d o n e o f its A m e ric a n s tu d io w rite rs to re w rite C h r is to p h e r K o c h ’s firs t d r a f t o f th e s c rip t, a n d th e s to ry c h a n g e d so m u c h as to b e b a re ly re c o g n iz a b le . W e ir w as fo rc e d to d o b a tt le w ith th e H o lly w o o d g ia n ts , a n d e v e n tu a lly re n e g o tia te d a n o th e r d e a l w h ic h re m o v e d th e H o lly ­ w o o d w rite r a n d e m p lo y e d D a v id W illia m s o n .

W ith th is c o m m o n h e rita g e , it is little w o n d e r t h a t o n ly tw o o f th e six w rite rs J o h n B ra d y in te rv ie w e d in The Craft o f the Screenwriter w a n te d to b e re m e m b e r e d as s c re e n w rite rs . W illia m G o ld m a n w o u ld still r a t h e r b e k n o w n as a n o v e lis t, E r n e s t L e h m a n still e x p e c ts to b e file d a t The New York Times as E r n e s t W h o , N e il S im o n p re f e rs to b e r e m e m b e r e d a s a p la y ­ w rig h t, a n d R o b e r t T o w n e f o r h im s e lf a n d “ n ic e ly ” . W illia m G o ld m a n a n d P a d d y C h a y e fs k y a ls o fe lt th e n e e d to clin g to th e ir a b o d e in N e w Y o rk a n d re s is te d a ll o ff e r s to m o v e to L o s A n g e le s , w h ile N e il S im o n m o v e d b e tw e e n th e e a s t a n d w e st c o a s ts , so as to k e e p a f o o t in b o th w o rld s .

P a d d y C h a y e fs k y h a s d ie d sin c e h is in te rv ie w w ith J o h n B ra d y a n d le ft e v e ry o n e p o o r e r , e x c e p t f o r th e le g a c y o f h is A c a d e m y A w a r d - w i n n i n g s c rip ts , Marty, Hospital a n d Network.

L ik e a ll th e w rite rs in th is b o o k , C h a y e fs k y a rtic u la te s th e p e re n n ia l p ro b le m o f s c re e n w rite rs t o p r o t e c t th e m se lv e s f r o m p r o d u c e r s a n d d ir e c ­ to r s w h o c h a n g e s c rip ts a t w h im , w ith n o se n se o f th e f i lm ’s to t a l in te g rity .

C h a y e fs k y ’s w a y o u t w a s to b e c o m e c o - p r o d u c e r , w h ile fe llo w w rite rs E rn e s t L e h m a n , P a u l S c h r a d e r a n d R o b e rt T o w n e tr ie d th e ir h a n d a t d ire c tin g .

W h a t a ll th e s e w rite rs w a n te d to d o w as to d e m y s tify th e film in g b u s in e s s .

C h a y e f s k y ’s a d v ic e to y o u n g w rite rs w as to a b o v e all b e p r a c tic a l. H e say s: “ S to p th in k in g o f w ritin g as a r t .

T h in k o f it as w o r k . I f y o u ’re a n a r tis t, w h a te v e r y o u d o is g o in g to b e a r t . . . T h e p la in t r u t h is t h a t a g o o d w rite r c a p n o t w rite b a d ly .

S h a k e s p e a r e to o k a c o n v e n tio n a l s to ry o f h is tim e a b o u t a n in th o r te n th - c e n tu r y D a n is h p rin c e — a c ru d e , o n e -g e n e r a tio n C h ris tia n iz e d , s till-p r a y in g -to -tre e s ty p e o f p rin c e — a n d h e w ro te h is id e a o f H a m l e t .”

T h r o u g h o u t B r a d y ’s b o o k , a ll th e p e o p le e m p h a s iz e t h a t th e c r a f t o f sc re e n w ritin g s h o u ld n o t b e c o n s id e re d d if fe re n tly f r o m a n y o th e r fo r m o f w ritin g . C h a y e fs k y sa y s: “ N o w I w rite p la y s a n d I c a ll th e m m o v ie s . T h e y ’re still p la y s . I still w rite th e m in th r e e -a c t s t r u c t u r e .”

T h o u g h s o m e o f th e w rite rs in t e r ­ v ie w e d c o n tin u e to w rite f o r th e s ta g e , a n d t o w rite n o v e ls , n o n e o f

CINEMA PAPERS October — 475

Book Reviews

th e m w rite s f o r te le v is io n , w h ic h th e y all see as a d e b a s e m e n t o f s c r ip t­ w ritin g . U n lik e B ritis h te le v is io n , w h ic h fu lly re c o g n iz e s th e im p o rta n c e o f o n e - o f f p la y s as a n a r t f o r m as a m e a n s to a n a ly z e E n g lis h so c ie ty , a n d w h ic h c a n th e r e f o r e a c c o m m o d a te th e ta le n ts o f D a v id H a r e a n d F a y W e ld o n , A m e ric a n a n d A u s tr a lia n c o m m e rc ia l te le v is io n is, in H u m p h r e y M c Q u e e n ’s la n g u a g e , m e re ly a d s w ith p ro g r a m s s lo tte d in -b e tw e e n .

P a d d y C h a y e fs k y c o u ld , th e r e f o r e , w rite a b o u t te le v is io n , b u t n o t f o r te le ­ v is io n , w h ic h h e sa w as “ triv ia liz a t i o n ” . W h e n J o h n B ra d y a sk s h im if th e p ro d u c e r s h a d a n y tr o u b le sellin g Network to te le v is io n , C h a y e fs k y re p lie s w ith a c e rta in a m o u n t o f iro n y : “ T h e p o in t o f Network is t h a t th e n e t­ w o rk s w ill d o a n y th in g fo r a r a t i n g . ” T h e p o in t o f P a d d y C h a y e fs k y is, o f c o u rs e , th a t he d i d n ’t c o m p r o m is e h im s e lf. U n lik e so m e o f th e o th e r s in th is c o lle c tio n , h e n e v e r e v en ta lk s o f f o r m u la w ritin g , w h ic h e n te rs th e la n g u a g e o f th e a n g ry y o u n g m a n , P a u l S c h ra d e r — a n d o f W illia m G o ld ­ m a n , w h e n h e ta lk s o f Butch Cassidy and the Sundance Kid. H e a c k n o w ­ le d g e s t h a t A m e ric a n s c a n ’t s to m a c h film s w h e re th e y d o n ’t w in .

G o ld m a n a ls o a d m its to h a v in g tr o u b le w ith his s c rip ts fo r All the President’s Men a n d A Bridge Too Far, b e c a u s e b o th p o r t r a y A m e ric a n s in d e e p tr o u b le . B u t h e s ta y e d w ith th e fa c ts a n d d i d n ’t re le n t.

Butch Cassidy and the Sundance Kid ra is e d so m e o f th e sa m e p ro b le m s W a rr e n B e a tty fa c e d m o r e re c e n tly in Reds. H o w m u c h , fo r in s ta n c e , d o y o u k e e p to th e h is to ric a l fa c ts , a n d yet a ls o re ta in b o x -o f fic e a p p e a l? In Butch Cassidy, G o ld m a n h a d tw o m e n , w h o w e re n ’t v io le n t, as s u p p o s e d v io le n t o u tla w s , d ra w n to g e th e r b y a clo se, ev en fe m in in e f r ie n d s h ip , a n d a h o s t o f o th e r im p r o b a b le s to d e a l w ith .

H is to ry re c o rd s t h a t th e y d id tr y to go s tra ig h t in S o u th A m e ric a , b u t G o ld ­ m a n c h o se to ig n o re th is a n d w e n t fo r c o n tin u in g th e s p irit o f th e f ilm ’s b e g in n in g . L o o k in g a t th e film n o w , o n e w o n d e rs if he m a d e th e rig h t c h o ic e ; p e rh a p s th e re a l h is to ry m a y h a v e p ro d u c e d a n ev en m o re p o w e rfu l film , w ith th e ir o n y o f th e ir e v e n tu a l s h o o t- o u t still g re a te r.

L ik e all th e o th e r w rite rs in te r ­ v ie w e d , G o ld m a n w rite s firs t a n d fin d s a d ir e c to r la te r. S o m e tim e s , as in th e case o f Marathon Man, it m e a n s w ritin g th e n o v e l firs t. T o d a y h e fin d s h im s e lf g o in g b a c k to w ritin g n o v e ls b e c a u s e , “ S c re e n w rite rs a re th e m o s t d e s p a ir-r id d e n p e o p le I k n o w .” It c a n all b e h a p p e n in g f o r th e m o n e d a y , a n d b e in c o m p le te ta tte r s th e n e x t.

H o w e v e r, G o ld m a n , lik e L e h m a n , h o ld s o n to s c re e n w ritin g , b e c a u s e he k n o w s t h a t , “ m o s t, b u t n o t all b a d m o v ie s, c a n b e tr a c e d to a b a d s c r i p t .”

L e h m a n a ls o h o ld s c ritic s p a rtia lly to b la m e , b e c a u se th e y h a v e te n d e d to lio n iz e d ir e c to r s a t th e e x p e n se o f w rite rs . L e h m a n , w h o s c rip te d North

by Northwest, West Side Story a n d W ho’s Afraid of Virginia W oolf?, w as th e o n e w h o c a s t E liz a b e th T a y lo r a n d R ic h a rd B u rto n f o r Virginia W oolf, a n d th e n c a s t th e d ir e c to r , M ik e N ic h o ls , w ith w h o m th e y a g re e d . It is a p ra c tic e t h a t all th e s e sc re e n w rite rs h a v e b e e n th r o u g h .

T h e a n g ry y o u n g m a n o f th e c o lle c ­ tio n , P a u l S c h ra d e r , ra ise s m o r e q u e s ­ tio n s in h is in te rv ie w th a n h e a n s w e rs .

W h y is it t h a t h e h a s w ritte n so few g o o d p a r ts fo r w o m e n ? W h y a re his film s so fu ll o f v io le n c e ? W h y d o e s he g o fo r tr e n d s in h is film s w h ic h h e says

476 — October CINEMA PAPERS

a w rite r s h o u ld b e a b o v e ? In th e fin a l a n a ly s is , th e w rite r t h a t I e x p e c te d to feel m o s t a f f in ity f o r , b e c a u s e o f his sc rip ts f o r Blue Collar a n d Taxi Driver, le ft m e m o r e p e rp le x e d th a n d id a n y o f th e o th e rs .

S c h ra d e r a n d T o w n e w e re b o th a ttr a c te d to d ire c tin g th e ir o w n sc rip ts so th e y c o u ld fu lly e x p e rie n c e th e c o l­ la b o r a tiv e a r t o f film m a k in g . S c h ra d e r say s o f w ritin g th a t , “ T h e o n ly lim its a re th e lim its o f y o u r im a g in a t io n ” , w h ile “ as a d ir e c to r th e lim its a re re a l a n d im m e d ia te .” T o w n e sa y s, “ A s a d ir e c to r , I ’ve fo u n d I c a n d is c o v e r w h o I a m m in u te to m in u te , a n d th a t im m e d ia c y is e x c itin g a n d s c a ry a n d h u m b l in g .“ F o r P a u l S c h ra d e r , h o w e v e r, th e d ire c tin g o f Blue Collar w as n o t a h a p p y e x p e rie n c e . H e c a st th r e e sta rs w h o all “ a c te d lik e b u lls in a c h in a s h o p ” , a n d h e s p e n t m u c h o f his e n e rg y k e e p in g th e m a p a r t . H e says it re m a in s a w r ite r ’s film w ith o n ly e x c e p tio n a l im a g e s, u n lik e h is la te r American Gigolo. N e v e rth e le s s , Blue Collar is th e film t h a t h a s s ta y e d w ith m o s t film b u f f s , a lth o u g h th is c o u ld be b e c a u se it d e a lt w ith a r a r e A m e ric a n film s u b je c t: th e u n io n m o v e m e n t.

W h e n P a u l S c h ra d e r w as y o u n g , his p a re n ts w a n te d h im to b e c o m e a m in is te r. S in c e his c o n v e rs io n to th e c in e m a , he a d m its to a c e rta in f o r m o f “ p ro s e ly tiz in g ” th r o u g h his w ritin g w h ic h h e sees as “ d o g m a tic , d id a c tic a n d in te lle c tu a l . . . a n d th e sc rip ts o f a y o u n g m a n w ith a m is s io n ” . O n ly w ith Taxi Driver, Blue Collar a n d American Gigolo b e h in d h im h a s he b e e n a b le to sa y th a t , “ I t ’s a llo w a b le to let fe w e r th in g s h a p p e n , to give a fu lle r sen se o f c h a ra c te r a n d sm a ll tr u th s ra th e r th a n th e B ig T r u t h . ” A lth o u g h S c h ra d e r h a s c o m e d o w n o n th e side o f tr u th by n u a n c e , r a th e r th a n tr u t h by a c tio n a n d a b s o lu te c e r­ ta in ty , th e r e is still th r o u g h o u t his in te rv ie w a h a rs h d ire c tn e s s a n d an a b s o lu te n e s s m issin g in all th e o th e r c o lla b o ra to rs o f th is b o o k . It is a lm o s t as th o u g h h e sees th e w o rld in b la c k a n d w h ite . S c h ra d e r say s o f Taxi Driver t h a t it is “ th e sc rip t I a m m o s t p r o u d o f. It is w a ist-d e e p in C a lv in is t n o tio n s o f w o rth le s s n e s s , p u rg in g , b lo o d , re d e m p tio n . I t ’s all tie d u p in th e s c r i p t .”

P e rh a p s r e d e m p tio n is n o t su c h a n u n u s u a l e le m e n t in th e A m e ric a n b e lie f sy ste m a n d in A m e ric a n film s g e n e r­ a lly , ju d g in g fr o m th e re c e n t S y d n e y P o llo c k -K u rt L u e d tk e film Absence of Malice, a n d th e S id n e y L u m e t-J a y A lle n Prince of the City, b u t its e x p re s ­ sio n by S c h ra d e r se e m s to sim p lify life a n d re d u c e o n e to b a sic , p r e - d e te r ­ m in e d e le m e n ts .

S i m i l a r l y , h is s t a t e m e n t t h a t “ m o n e y a n d p o w e r a re in te rc h a n g e ­ a b le c o m m o d itie s in th is b u s in e s s ” w eig h s h e a v ily , a n d p u ts h im o u t o f sy n c w ith th e re s t o f th o s e in te rv ie w e d , w h o ig n o re th e sp o ils a n d g o in s te a d f o r th e ir o w n sen se o f c r a f t.

E v e n m o r e p e rp le x in g is h is d e n ia l o f w ritin g fo r tr e n d s , w h ile a ls o a d m ittin g t h a t h is film s a re v io le n t b e c a u s e , “ w h e n I w ro te th o s e s c rip ts v io le n c e w as m o r e c o m m e rc ia lly v ia b le . . . sex a n d v io le n c e a re all e n c o m p a s s in g f a n ­ ta sie s t h a t p e rm e a te e v e ry p o s s ib le m a r k e t .” O n e is c o n s c io u s t h a t th e “ f o r m u la ” is n e v e r v e ry f a r fr o m P a u l S c h r a d e r ’s c e n tre o f g ra v ity , even th o u g h p a ra d o x ic a lly so m e o f his sc rip ts h a v e b e e n th e m o s t in n o v a tiv e to c o m e o u t o f H o lly w o o d .

T h e o th e r m a jo r fa c to r th a t s e p a ra te s h im f r o m h is b e d fe llo w s in J o h n B r a d y ’s b o o k is h is in a b ility to

w rite g o o d p a r ts f o r w o m e n . W h e n B ra d y p o se s th is q u e s tio n , S c h ra d e r sid e -ste p s th e issu e.

O n th e issu e o f w o m e n , N e il S im o n a n d R o b e r t T o w n e re v e a l th e m se lv e s in s ta rk c o n tr a s t to S c h ra d e r . In a ll th e ir film s, w o m e n c h a ra c te rs h a v e b e e n e q u a lly f o r c e fu l. N e il S im o n sa y s , “ I th in k I h a v e a v e ry s tro n g p u ll to w a rd w o m e n in m y life . I ’ve c o n s ta n tly b e e n s u r r o u n d e d b y th e m , a n d m y m o th e r w as re a lly m y c h a m p io n all m y li f e .”

R o b e rt T o w n e a d d s: “ I th in k to o , t h a t w rite rs g e n e ra lly te n d to id e n tify w ith w o m e n , o r ev en to id e n tif y th e m se lv e s as w o m e n — p a r tic u la r ly m o v ie w rite rs . I d o . Y o u a re a lw a y s th e o n e a t h o m e s w e a tin g o v e r th e h o t ty p e w rite r w h ile th e a u th o r ity fig u re is o u t o n th e set te llin g p e o p le w h a t to d o . ” N eil S im o n is a lso n o t c o n c e rn e d th a t he d ra w s o n h is o w n li f e ’s e x p e ri­ ences fo r h is w o rk . H e says o f th e film Chapter Two, w h ic h d e a lt w ith th e m a n ’s g rie f fo r th e d e a th o f his firs t w ife a n d h is p a s s in g in to a n ew r e la ­ tio n s h ip , t h a t ev en T o ls to y w ro te a b o u t e v e ry o n e h e k n e w .

S im o n d e n ie s t h a t h is f o r m u la is tw o c h a ra c te rs a t o d d s w ith e a c h o th e r , a n d in s e a rc h o f a n a u th o r . H e ta lk s in s te a d o f his c o m m itm e n t to p la y s a n d sc re e n p la y s as a n a r t f o r m w h e re h e c a n g a in c o n tr o l o v e r h im s e lf b e c a u s e , “ h a p p in e s s is h a v in g c o n tr o l o v e r y o u rs e lf, n o t b e in g a t th e w h im o f th e o u ts id e e n v ir o n m e n t” , a lth o u g h he a d d s d e fin itiv e ly th a t , “ Y o u s h o u ld h a v e g re a t s e lf-d o u b t, b e c a u s e if y o u d o n ’t y o u b e c o m e p o m p o u s , rig id , a n d y o u d o n ’t im p ro v e o n y o u r w o r k .”

So I a sk m y s e lf, w h a t a m I le ft w ith a fte r seein g th e film s o f th e s e m e n a n d re a d in g th e ir in te rv ie w s? I a m n o t le ft w ith a n y in f o rm e d k n o w le d g e o f A m e ric a n w o m e n sc re e n w rite rs , E la in e M a y , J o a n T e w k e s b u ry o r J o a n D id io n , b e c a u s e th e y a re sa d ly m issin g fro m its p a g e s. It seem s t h a t I a m le ft feelin g h o p e fu l a b o u t R o b e rt T o w n e , b e c a u s e , sin ce P a d d y C h a y e fs k y ’s d e a th , he m a y b e th e m a n m o s t a b le to su rp ris e o n e .

M a n y film e n th u s ia s ts w ill n o m in a te O rs o n W e lle s ’ Citizen Kane, a n d R o m a n P o la n s k i a n d R o b e r t T o w n e ’s Chinatown as p e rh a p s th e b e s t A m e ri­

c a n film s. T o w n e sa w h is w o rk th r o u g h to th e v e ry e n d , a n d r e m e m ­ b e rs h e a rin g p r o d u c e r B o b E v a n s sa y in g to h im a f te r th e ir th r e e s tr a ig h t d a y s a n d n ig h ts o f e d itin g : “ I d o n ’t c a re i f i t ’s a h it o r n o t. I ju s t w a n t it to b e g o o d .”

T o w n e , w h o s t a r te d as a s c rip t d o c to r , d o in g u n c re d ite d re w rite s fo r F ra n c is F o r d C o p p o la ’s The God­ father a n d A r th u r P e n n ’s Bonnie and Clyde, w as s o m e h o w a b le to w o rk w ith th e le g e n d a ry “ film b r a t ” o f th e m a ll, R o m a n P o la n s k i. T o w n e sa y s o f P o la n s k i: “ R o m a n ta u g h t m e m o r e a b o u t sc re e n w ritin g th a n a n y b o d y I ’ve ev er w o rk e d w ith , b o th in s p ite o f a n d b e c a u se o f o u r c o n f l ic t s .”

T h e film in g o f Chinatown seem s to h a v e e c h o e s o f P o la n s k i’s Tess. In b o th film s th e e m p h a s is o f th e film c h a n g e d b e c a u s e , in T o w n e ’s w o rd s , “ it w as R o m a n ’s id e n tif ic a tio n w ith th e h e ro t h a t w as m a k in g th e film w o r k .” R e a d in g T o w n e ’s a s s e s s m e n t o f Chinatown h a s m a d e m e re a liz e t h a t m y feelin g s w a tc h in g Tess w e r e n ’t w ro n g : th e se d u c e r in P o l a n s k i ’s Tess w as m o re s y m p a th e tic th a n in T h o m a s H a r d y ’s o rig in a l n o v e l, b e c a u s e th e r e w as a d if f e r e n t e m p h a s is a n d a d if f e r ­ e n t id e n tif ic a tio n w o rk in g in th e film .

So it w as in P o la n s k i’s v e rs io n o f Chinatown, t h a t E v e ly n d ies b e c a u s e sh e d o e s n ’t lo v e G itte s e n o u g h , b u t in R o b e rt T o w n e ’s s h o o tin g s c r ip t E v e ly n lives b e c a u se it is G itte s w h o is in s a n e ly c ra z y a n d o b se s siv e , w h ile E v e ly n is o n ly p a rtia lly fla w e d p s y c h o lo g ic a lly , fla w e d lik e “ th e iris o f h e r e y e ” .

T o w n e say s t h a t w h e n y o u w rite , “ Y o u h a v e to b e a b le to g e t in to th e w o rld s , th e fa n ta s ie s o f p e o p le o u ts id e y o u rs e lf as w e ll.” H e a d d s t h a t h e w o rk s w ith a c to r s lik e J a c k N ic h o ls o n a n d W a rr e n B e a tty b e c a u s e th e y a re in v e n tiv e and v e ry s k ille d at im p ro v iz a tio n a n d b e c a u s e w o rk in g w ith th e m “ te a c h e s m e s o m e th in g a b o u t w ritin g ” .

R e a d in g T o w n e ’s in te rv ie w a lso te a c h e s o n e s o m e th in g a b o u t w ritin g .

H e w o rk e d lo n g a n d h a r d , c o n te n t w ith th e b a c k se a t a n d fix in g u p o th e r s ’ sc rip ts , u n til h is r e p u t a ti o n w as so g re a t t h a t th e o ff e rs c a m e h is w a y .

H e ex u d e s se lf-k n o w le d g e , h o n e s ty a n d th e s o rt o f re la x e d view o f h is p r o ­ fe s sio n t h a t w as a ls o s h a r e d b y C h a y e fsk y : “ T h e r e ’s le s s o f a te n d e n c y , I t h i n k , to b e o v e rw h e lm e d b y o n e s e lf. I ’ve w o rk e d to o lo n g , k n o w n to o m a n y p e o p le . I t ’s ju s t n o t th e sa m e as e a rly s u c c e s s .”

C h a y e fs k y ’s re m a r k s b rin g m y fo c u s b a c k to th e re c e n t A c a d e m y A w a rd s w h e n h is fr ie n d W a r r e n B e a tty h a d to a c c e p t th e fa c t t h a t th e e m in e n tly -c o n s e r v a tiv e A m e r ic a n film in d u s tr y w o u ld n o t give Reds th e A c a d e m y A w a rd fo r a h o s t o f re a s o n s , o n e o f w h ic h c o u ld h a v e b e e n , as G o ld m a n p u ts it, t h a t A m e ric a n s d o n ’t w a n t to see m o v ie s w h e re th e y d o n ’t w in . T h e y g av e it in s te a d to Chariots of Fire, w h ic h , o f c o u rs e , w a s a b o u t w in n in g .

H ad Jo h n B r a d y ’s b o o k b e e n w ritte n la te r, o n e c o u ld b e s u re t h a t e ith e r T re v o r G r if f ith s o r B e a tty , w h o w ro te th e film c o lla b o ra tiv e ly , w o u ld a lso h a v e b e e n in c lu d e d b e c a u s e Reds ra ise s m a n y o f th e p r o b le m s fa c e d b y s c re e n w rite rs e v e ry w h e re .

Reds w as re le a s e d in A u s tr a lia a t a b o u t th e sa m e tim e as th e A u s tr a lia n film s The Killing of Angel Street a n d Heatwave, all o f w h ic h b y th e n a tu r e o f th e ir c o n te n t th r o w u p q u e s tio n s fo r s c re e n w rite rs . H o w d o e s o n e , f o r in s ta n c e , m a k e a s e rio u s film w h ic h h a s b o x -o ffic e a p p e a l w ith o u t to o m u c h c o m p ro m is e ? H o w m u c h is a

Book Reviews

scriptwriter who is drawing his or her material from history obliged to stay with the facts? Must an issue-oriented film succumb to the obligatory love story component? And can Australian writers avoid the Hollywood era when the industry treated them as “hacks” and proceed instead to the status of craftsmen as demonstrated by Brady’s book?

The one consistent criticism of Beatty’s Reds was that it sold out to the formula. It placed a heavy emphasis on the love story component to ensure box-office appeal to the detriment of its political content. This is certainly true of the first half in which it cuts back and forth between scenes where ideologies are being fleshed out by Greenwich Village bohemians, to repetitive cut-aways of Reed (Beatty) and Bryant (Diane Keaton) dancing and making love. The energy of the debate is transposed into sexual energy. They were marvel­ lously, heady days, but unfortunately Beatty overdoes it.

However, in the second half of the film the love story becomes a counter­ point to the revolution, and to the betrayal of the actual Russian Revolu­ tion by a new regime impatient to keep its grip. One sees this especially exemplified by Zinoviev and by Reed himself. The love story is not merely a box-office drawcard superimposed clumsily, but an extra dimension of the greater tragedy. It is a shorthand and effective way of showing the revolu­ tion betrayed, though of course it isn’t really history. John Reed’s Ten Days that Shook the World was the real history, and was translated to film more faithfully by Sergei Eisenstein’s Russian classic of the same name.

Heatwave also consciously set its love story component as part of the greater whole. The film can be seen as the first serious political Australian film which concentrates on issues to the detriment of the formula. Even Paddy Chayefsky’s Network had more concentration on the central love affaire between Diana (Faye Duna­ way) and Max (William Holden).

Chayefsky says, “ In order to structure the piece, the love story is the thing I used to build the story of N etw ork.”

In Heatwave, the leading players are only seen in the limited context of the overall structure of the film. One sees them one-dimensionally with the backdrop of the conflict between developers and residents always present. They appear as fragments of the larger whole. The Hollywood con­ vention of drawing fully recognizable characters that we see from every angle has been bypassed for a European sense of mood. The film takes a shifting impermanent quality that is much closer to how life is experienced.

Director Phil Noyce and his script­ writer Mark Rosenberg purposely set about writing a script that would achieve different levels of complexity, where the characters are fractured like the events that surround them, and where there is a continual background script which is constantly impinging on the main character’s world.

In a recent interview on ABC radio, Rosenberg said he was fortunate in the relationship he had with Noyce, because he was able to go on from the usual formula of the script as “dialogue” , to the script as a sort of “ sound painting” . He said he was able to write “ cinematically” , with the vision of how the film would actually

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AUDIO VISUAL

7

days a w eek

appear on the screen continually before him.

In the old days of Hollywood, that feeling for screenwriting would have been impossible, because the writer had little access or control over how his or her work would eventually reach the screen. But the question remains whether the sort of artistic control writers like David Williamson and Mark Rosenberg have experienced in Australia is a mere flash in the pan.

Most Australian screenwriters, in contrast, have tales of woe to tell.

They do not have the experience or the amount of leverage of a Robert Towne, Paddy Chayefsky or William Goldman. They are quickly finding that innocence and enthusiasm are not necessarily the right ingredients for facing the signing of film contracts.

Some screenwriters, afraid that any equivocation on their part could mean the loss of a contract, have found themselves signing their rights away to a producer anxious for what is seen as a “good deal” .

As the Australian film industry gears up with the help of recent taxexemption legislation, there is also an increasing fear that originality may give way to more formula writing.

There has already been several films made more with an eye to the market than to any concept of serious screen­ writing, but most of these films have sunk fairly readily. Some writers like Christopher Koch and Frank Moorhouse, who have worked in the film industry, have publicly expressed their concern that the 1980s might witness the ruin of a potentially-serious art form, with the more unscrupulous pro­ ducer’s view of writers as “hack” winning out.

Unlike the American film industry, the fledgling Australian industry still forces some scriptwriters to earn their living by writing for television. Many of these writers couldn’t as yet take the stand which David Hare mooted in a seminar at the Australian Film and Television School, when he warned of the danger of writing in stereotypes.

He argued that the scriptwriter has a social responsibility not to present

stereotypical characters because they do not mirror life, and they thereby undermine the craft of writing.

It seems the state of the art of screenwriting in Australia is at the moment undergoing rapid transition.

Some screenwriters such as Margaret Kelly and Roger Simpson have become producers of the films Puberty Blues and Squizzy Taylor, so as to guarantee that the film that goes into the cinema is controlled by the creative side of filmmaking and not by the taxexemptors. Other screenwriters like Cliff Green, who scripted Picnic at Hanging Rock, have taken to writing their own novels based around later hopeful script ideas. Another script­ writer, Howard Griffiths, has been appointed by a commercial television station to oversee the development of new telefeatures and mini-series, because of this network’s recognition of the importance of the writer’s con­ tribution, and has willingly moved from a position of writing scripts to commissioning them from fellow writers.

The reading of John Brady’s book would therefore not go amiss with many Australian screenwriters who are already intent on establishing the craft status of their work. It could also be an invaluable text for the new breed of tax-exemption producers whom Pat Lovell has described as possibly the biggest threat to the industry.

Most bad films can be traced to a bad script, which, when coupled with bad direction, leads to almost com­ plete disaster. Some recent Australian films which have appeared and dis­ appeared almost overnight nearly all fall completely into this category.

Films are a collaborative art form, and the sooner this fact is formally recognized by those involved, the better for all. The writing is on the wall in John Brady’s book and it seems that if cognizance isn’t taken, Australia may again find itself without any sort of film industry.

Due to space restrictions, “ Recent Releases” have been held over to the next issue.

CINEMA PAPERS October — 477

IT’S FRUSTRATING To have a good Doco idea but no resources to finance and produce it.

We are presently finalising our 1982-83 Production Schedule.

Your subject may fit our Australian TV Documentary Package.

fast and clear edge-numbering service?

Call or write to Brian Morris fora confidential interview.

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Melbourne Theatre Company 699 *9122

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Full productions and Individual • Thousands to choose from 129 Ferrars S treet Sou th M elbourne 3 2 0 5

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In any company ... a great little mixer

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Ivan Hutchinson It was recently reported in a Holly­ wood trade-paper that soundtrack sales of film music were trailing well behind the American summer box­ office returns, which are very healthy indeed, of those same films. As films have become more and more involved in all manner of associated merchand­ ising, it is only natural that sound­ tracks are back in favor with record companies, although how long this will continue, based on the disappointing results to date, is debatable.

The reason why some of these record sales are poor is obvious when you hear the music away from the images it accompanies: although most are technically proficient, and wellrecorded, few have the ability as sheer music to stand alone. One hates to constantly hark back to the scores of the old Hollywood-Vienna school (Korngold, Steiner, Gold et at) but, as one can plainly hear when listening to the many records of their music now available, they were full-blooded, melodic, romantic and passionate, as well as being expertly scored. Even without the film, they stir the emotions as all good program music should, and can consequently be enjoyed long after the films are confused memories.

Although one welcomes back the full symphonic score to film sound­ tracks and to discs, only one or two of the records reviewed here can take their place beside the film music of the past, and that includes the recent past as well.

Brian May’s score for Mad Max 2 (That’s Entertainment, TER 1016), a decidedly effective adjunct to the film in the cinema, is probably his most sus­ tained and effective screen work to date. The string threnody which is heard on the beginning and end tracks of the disc is deeply felt music comple­ menting perfectly the images of the destruction and death of the civilized world. Plenty of brass, ditto per­ cussion and persistent hammered rhythmic figures, aided by the judicious inclusion of sound effects (including the chilling swishing and thunk of the feral boy’s boomerang), make this a good memento of the film and a quite exciting record. The overall sound is good but not outstanding, and the music editing seems to have some rough edges. ..rwMsnuuiANniwB

VTV

jOUtXMU0iMXMX>«

WmrnmmSBSi James Horner’s music for Star Trek o f Khan (Atlantic SD19363) is a digital recording with a spacious, aural perceptive suitable to the occasion. The main title music is — The Wrath

Editor’s note: Special thanks to Read­ ings, South Yarra, for a loan o f the imported discs mentioned in the above article.

excellent, reminiscent in style and har­ monic progressions of some of Korngold’s swashbuckling efforts for Errol Flynn, and overall the music, follow­ ing closely the action of the film, is strikingly played and brilliantly scored

by Jack Hayes.

The main theme is overworked, but ingeniously varied. The composer was shrewd enough to include in his music the original Star Trek theme by Alex­ ander Courage, but, unfortunately, the record omits the arrangement of “Amazing Grace” , which even the tone-deaf would have noticed while watching the film. However, as an added incentive, the producers have in­ cluded the well-known preamble (“ . . . to boldly go where no man has gone before”) spoken by a croaky­ voiced Leonard Nimoy.

Philippe Sarde’s music for Quest for Fire (RCA LP6034) is handsomelypackaged (it comes complete with color stills and a little logo on the back which says “ Home Taping Is Killing Music”) and has impeccable creden­ tials. The orchestras are the London Symphony and Philharmonic, Les Per­ cussions de Strasbourg and the Ambrosian Singers. The music is once again scored with exceptional skill and the use of voices (particularly in the tracks labelled “ Creation of Fire” and “The Last Ander”) is superbly effec­ tive. Too much of the music has little shape or much meaning outside the cinema, however.

The same goes for Ennio Morricone’s music for T h e T h in g (MCA-6111) which, with its emphasis on tempi mostly lento and andante, is undeniably eerie and atmospheric but thin as entertainment and music. In fact, there is a lot of music on the disc which I don’t recall in the film, and the track titles aren’t much help in associating it with anything in particular.

Accent throughout is on strings, with some electronics and a delicate use of harp and piano. The track called “ Bestiality” (Track 4, Side 1), a rhythmical fugal-type composition starting on the lower strings and extending throughout the orchestra, is fun, but only Morricone collectors would want to listen to the record more than once or twice.

Some local issues of music from Australian films (the Mad Max 2 record is an import) includes Bruce Smeaton’s 1920s score for Squizzy Taylor (Astor ALPS 1073) which is mainly tuneful, toe-tapping stuff nicely performed by the New Harlem Jazz Band and others (some particu­ larly smart clarinet and banjo through­ out from Dave Hetherington and John Withers). When the music expands (“Lapse of Luxury” , “ Dead All Over”), it is generally less effective and certainly less fun to listen to.

Festival’s “ Music From the Best of Australian Films” (L37789) contains music from Gallipoli, Breaker Morant and Picnic at Hanging Rock and others. In spite of some fulsome notes, the record has little original Australian composition, most of the selections either classical, overseas tracks or arrangements of ballads such as “ Soldier of the Queen” or “ The Holy City” .

The ABC release has a less positive title than the Festival disc — its selec­ tion is called merely “Music From Great Australian Films” — but is very handsomely packaged, with good notes. Unfortunately, it is a rather pedestrian disc with a distinct lack of sparkle in the arrangements. Still, it does cover a lot of favorites, from

Picnic to Gallipoli, and should sell well on that ground alone.

The outstanding disc of those under review is John Williams’ score for E.T. the Extra-Terrestrial (MCA-6109), an import which is a must for filmmusic lovers. Williams is a real film composer, capable of writing music that covers an amazing variety of styles, always listenable by itself but always enhancing the image. The music for this tender, funny, foolish and totally charming film is contem­ porary in harmonies yet full of melody which is in turn lilting, soaring, romantic and intimate, and reminis­ cent of the old film composers in its ability to bring key scenes vividly to mind.

Williams and director Steven Spiel­ berg working together pay homage to the best of the old Hollywood in this film (as in others) while remaining con­ temporary in style and outlook.

Hearing this disc reminds one once again of the enhancing effect the right music has to a film — and no one is more aware of that sort of ‘ rightness ’ than Williams today. From the delicate piccolo phrase that starts the disc to the extended 15 minutes of composi­ tion which ends it, and is in turn exhilarating, exciting and moving, called “Adventure On Earth” , the music for E.T. the Extra Terrestrial is a genuine aural delight. ★

CINEMA PAPERS October — 479

Crosstalk Crosstalk: while trying to identify the puzzling pre-delivery malfunction o f a new super-computer, E d Ballinger is crippled in a suspicious car crash. Confined by his mysterious employers in a luxury apartment with a beautiful nurse, he continues his search, only to fin d him self plunged into a vortex o f technological horror.

Crosstalk is directed by Mark Egerton, from a screenplay by Linda Lane and Mark Egerton, fo r producer Errol Sullivan. It stars Gary Day as Ed, Penny Downie, Kim Deacon, Brian McDermott, Peter Collingwood and John Ewart.

Above: Peter Collingwood and John Ewart. Below: Collingwood, Gary Day as E d Ballinger, and Penny Downie. Right: Kim Deacon.

480 — October CINEMA PAPERS

Production Survey

Production Survey Continued from p. 463 NSW FILM CORPORATION EQUAL OPPORTUNITY Prod, com pany.......... ...... John Sexton Prod.

Director............................. Richard Lee Smith Exec, producer.........................Peter Dimond Gauge.................................%-inch Videotape Synopsis: A series of community service announcements for the Anti-Discrimination Board. In English, Serbo-Croat, Greek, Italian, Vietnamese, Arabic, Turkish and Spanish.

GIVE IT A TRY Prod, com pany............... Soerabaja Pictures Director.................................... Brian Hannant Scriptwriter.................... Rosemary Campbell Photography..........................Ian MacDougall Sound recordist........................Geoffrey Grist Editor............................................. Doug Craig Exec, producer........................ Peter Dimond Prod, m anager..................... Cathy Flannery Length...................................................7 mins Gauge.....................................................16mm Shooting stock...........................Eastmancolor Synopsis: To inspire young unskilled, unemployed people (15-24 years) to consider enrolling in an E.P.U.Y. (Education Program for Unemployed Youth) course.

Prod, secretary...........................Pat Caspers Scriptwriter.................... Rosemary Campbell The film not only shows the correct methods Prod, assistant.............................. Peter Cass Photography..........................Ian MacDougall of BSE but examines the social attitudes Continuity...................................... Lin Arnott Sound recordist.................................GeoffreyGrist towards the technique and to breast cancer Camera assistant................ Adam Kropinski generally. Produced for the Tasmanian Editor....................................................... DougCraig Prod, company...............Soerabaja Pictures Make-up............................... Felicity Newman Exec, producer.........................Peter Dimond Department of Health Services.

Director ....................................Brian Hannant Assistant................................. Debbie Regan Prod, m anager..................... Cathy Flannery Scriptwriter.................... Rosemary Campbell Length................................................. 20 mins Length...........................................................13mins Photography..........................Ian MacDougall NATIONAL PARK HOLIDAYS Gauge....................................................16mm G auge................................................... 16mm Sound recordist....................... Geoffrey Grist Progress................................Post-production Shooting stock..........................Eastmancolor (GLIMPSES) Editor.............................................Doug Craig Cast: Lindsay Arnold (Morrie), Geoff Collis Synopsis: To promote awareness of the Exec, producer........................ Peter Dimond Prod, company..........................................TFC (Doug), Bill Longo (Steve). range of flexible, work-oriented transition Prod, m anager..................... Cathy Flannery Dist. company........................................... TFC Synopsis: A film dealing with the need for education projects developed to help Length.................................................. 8 mins Producer...................................JackZalkalns safe workshop practices in the automotive unemployed young people between 15 and G auge.................................................. 16mm Director....................................................

Jack Zalkalns repair and maintenance industry. Produced 24 years of age.

Shooting stock......................... Eastmancolor Scriptwriter....................................... Christine Schofield for the Tasmanian Department of Labour Synopsis: Shows that practical work skills, Photography........................................

Russell Galloway, and Industry. experience and life-management skills can Chris Morgan provide young unemployed with a foundation Sound recordist...........................................

Ian Sherrey SAFETY IN FARM MACHINERY on which they may build their future.

Editor................................. Mike Woolveridge Prod, company..........................................TFC Prod, assistants...........................................

Di Heddle, TRADE YOURSELF IN Dist. company........................................... TFC Peter Cass Producer ..................................Barry Pierce Camera assistants.................................. GaryClements, Prod, company...............Soerabaja Pictures BREAST SELF EXAMINATION Director................................................ DamianBrown Joel Peterson Director....................................Brian Hannant Scriptwriter..........................................Damian Brown Length..........................................1 0 x 5 mins Scriptwriter.................... Rosemary Campbell Prod, company.................... Tasmanian Film Photography........................................... ChrisMorgan Photography......................... Ian MacDougall Corporation Gauge.................................................... 16mm Sound recordist.........................................

Tim Giblin Progress.........................................Production Sound recordist....................... Geoffrey Grist Dist. company..................... Tasmanian Film Editor..........................................Kerry Regan Editor.............................................Doug Craig Corporation Synopsis: A series of glimpses produced to Prod, secretary..........................................

Pat Caspers attract holidaym akers to Tasm ania’s Exec, producer........................ Peter Dimond Producer....................................Barry Pierce Prod, assistant........................................ PeterCass National Parks. Produced for the Tasmanian Prod, m anager.......................................CathyFlannery D irector.....................................Marc Jambos Continuity.......................................... Kay Alty National Parks and Wildlife Service.

Length.................................................. 5 mins Scriptwriter............................... Judy Tierney Camera assistant..................... Joel Peterson Gauge................................................... 16mm Photography.............................Gert Kirchner Key g rip .................................. Gary Clements SAFETY IN AUTOMOTIVE Shooting stock......................... Eastmancolor Sound recordist.............................Tom Giblin A ssistant..............................................

DebbieRegan MAINTENANCE AND REPAIR Synopsis: Illustrates how and why young Editor..........................................Kerry Regan Length....................................... ......... 20 mins women (15-19 years) should be encouraged Prod, secretary......................... Pat Caspers Gauge....................................................

16mm Prod, company..........................................TFC to consider seriously the possibility of a Continuity.......................................... Kay Alty Progress................................ Post-production Dist. company...........................................TFC career in a trade.

Camera assistant..................... Joel Peterson Synopsis: Each year many Australian Producer...................................................

Don Anderson Presenter..........................Sister Dace Shugg farmers are forced to quit the land because Director................................................DamianBrown TRANSITION — A DEVELOPING Length................................................ 15 mins of farm injuries. This film examines how Scriptwriter.............................................. DarylPeebles Gauge................................................... 16mm CONCEPT farmers can take precautions for a safe Photography...........................................

Chris Morgan Progress...............................Post-production working life. Produced for the Tasmanian Prod, company............................... Soerabaja Pictures Synopsis: Sister Dace Shugg’s occupation Sound recordist............................Ian Sherrey Department of Labour and Industry. -fa Editor.................................

Mike Woolveridge is to educate men and women about BSE. Director.................................................... BrianHannant

SKILLS TO WORK

TASM ANIAN FILM CORPORATION

FRIDAY 12 SATURDAY 13 t SUNDAY 14 NOVEMBER

m m

film festival T3 Stawell Film Society in association with the F.V.F.S. offers you a relaxed and inexpensive weekend viewing films in the Grampians resort of Halls Gap. • Seven feature films, plus selected shorts, in a comfortable theatre for only $20 or $40 including hostel accommodation and all meals.

• Book swiftly. Over 800 newsletters are mailed and only 150 seats are available.

8.00 p.m. SATURDAY

ACCOMMODATION

W a s n ’t th a t a tim e A rousing, nostalgic musical documentary to set the mood for the ritual Saturday night at the Festival party. B.Y.O.

f c 'r 'U - 'Q f

‘T H E S T U B B O R N * X M ULE’ \ JW 'Subject to being cleared by Australian c u s t o m s —: Voted Most Popular Film at the 1982 Melbourne Film Festival.

11 p.m. LATE SHOW

93 minutes.

“D O N ’T C R Y W IT H YO U R M O U T H F U L L ”

W a s n 't T h a t A T im e is a joyful film a b o u t the reunion o f T he Weavers, climaxing with coverage o f their sell-out final concert which to o k place in New Y ork’s Carnegie Hall in Novem ber

1980.

W

______________ __

9.15 a.m. S unday 1981 Academy award winner — Best Foreign Language Film.

A story about a 16 year old girl, her emotional development, her boyfriend and also about an hon­ est family. A light-hearted, amusing and entertain­ ing film from the French embassy, Canberra.

9.15 a.m. Saturday

he Seedling” India 1974

★ Free afternoon for winery expeditions ★ 4.30 p.m. OCCUPIED PALESTINE

Guests bring towels, bed linen/sleeping bag. Two blankets per bed supplied.

INDEPENDENT ACCOMMODATION

• Inquiries: Alan Bowman (053) 58 2046.

8.15 p.m. FRIDAY

Guests taking out a full subscription stay at Norval and Aginda Guest Houses, a short walk from the cinema. Both lodges are clean and meals are generous. Guests share dormitory rooms but may nominate a group party for a room.

Caravan parks — A.N.A. Caravan Park, Halls Gap. Ph: 56 4215.

Grampians Gardens Caravan Park, Halls Gap. Ph: 56 4244.

Halls Gap Caravan Park, Halls Gap. Ph: 56 4251.

Halls Gap Lakeside Caravan Park. Ph: 56 4281.

Guest houses: Mountain Grand Guest House, Halls Gap. Ph: 56 4232.

Holiday flats: A.N.A. Holiday Flats, 28 Elizabeth st., Melbourne. Ph: 654 3411 Grampians View Flats, Halls Gaps. Ph: 56 4210.

Halls Gap Holiday Flats, Halls Gap. Ph: 56 4304.

Halls Gap Lakeside Caravan Park. Ph: 56 4281.

Klngsway Flats, Halls Gap. Ph: 56 4202.

Holiday homes: Mr. L. Dunn, Rosea st., Halls Gap. Ph: 56 4263.

Mr. H. Harding, Halls Gap. Ph: 56 4266.

Mr. J. Ingram, Halls Gap Mini Mart. Ph: 56 4287.

Mrs. C.M. McNamara, Halls Gap. Ph: 56 4258.

Mrs. W. Richards, 20 Church st., Stawell. Ph: 58 1490. “ Valley Views” . Ph: 56 4238 or 82 3521.

(N.B. All holiday homes are situated in Halls Gap).

Motels: Grampians Motel, Halls Gap. Ph: 56 4248.

Grand Canyon Motel, Halls Gap. Ph: 56 4280.

Halls Gap Motel, Halls Gap. Ph: 56 4209.

Rocklyn Motel, Halls Gap. Ph: 56 4250.

FLYERS NOTE: 2 p.m.

Italy/France 1979

C H R IS T S T O P P E D ATEBOLI

A man from the North, of a rationalistic bourgeois culture is ideologically exposed to the Fascist regime which sweeps over his country. He is exiled to Lucania, a peasant land in the South, remote and cut off from the domain of history, where it seems that even Christ has never arrived. There, in this far-off land, he discovers a way of life, a human feeling with which he establishes a relationship through which he will be himself transformed. He will feel more strongly the weight of age-old injustices and will go all the way back to the roots of these injustices. This film Is a journey through conscience and through that of all men who carry a Lucania in themselves.

Take advantage of the 4,800 feet surfaced Stawell airstrip only 21 km. from Halls Gap. Phone Peter Marshall (053) 56 2219 to arrange being picked up and ferried to your accommodation from Stawell airstrip.

¡P Ticket Application

1

Cheque and stamped, self-addressed ^ envelope required to be sent to “ Stawell I Film Society” , P.O. Box 121, Stawell, 1 3380.

I I

Name: ..............

*

Address: .................................................

■

I

Qty. tickets @ $20.00 Qty. tickets @ $40.00 l/we wish to share accommodation with

CINEMA PAPERS October — 481

K E V IN A N D R O Y PR O U D L Y A N N O U N C E A R R IV A L OF N E W B A B Y N A M E D A E R IA L IM A G E O X B E R R Y , B R O T H E R TO E X IS T IN G OXBERRY. K E V IN A N D R O Y H IG H L Y D E L IG H T E D — N O W A B L E TO E X T E N D R A N G E O F O P T IC A L S W IT H Q U IC K E R T U R N A R O U N D T IM E .

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I Am No God

Censorship Listings Continued from p. 433 Veronika Voss (Die sehnsucht der Veronika Voss): Laura Film/Tango Film in co-prod, with Rialto Film/Trio Film/Maran Film, W. Germany, 2870 m, Melbourne Film Festival A War Story (16mm): National Film Board of Canada, Canada, 912 m, Melbourne Film Festival Wasn’t That A Time (16mm): Memory Lane Films, U.S., 788m, Sydney Film Festival

Films Registered With Eliminations For Restricted Exhibition (R) Erotic Adventures of Candy (2nd reconstructed version) (a): G. Palmer, U.S., 1951.65 m, Cinerama Films, S(f-m-g) Deletions: 7 metres (15 secs.)

Reason for deletions: S(i-h-g) Eunuch Of The Western Palace (videotape), Wa Ying Entertainment Co., Hong Kong, 93 mins, J&P Video Tape Hire, Vff-m-g) Reason for deletions: V(i-h-g) Indecent Exposure (pre-censor cut version), H. Lime, U.S., 2194.40 m, Blake Films P/L, S(f-m-g) Deletions: 8 metres (17 secs) Reasons for deletions: Sfi-h-g) Love Nest: M. K. Film, W. Germany, 2482.03 m, Filmways (A’sian) Dist. P/L, S(f-m-g) Deletions: 4 metres (9 secs) Reason for deletions: Sfi-h-g) Paul, Lisa and Caroline (reconstructed pre-censor cut version) (b): P. Balakoff, U.S., 2258.93 m, Cinerama Films, S(f-m-g) Deletions: 16 metres (35 secs) Reason for deletions: S(i-h-g) (a) Previously shown on November, 1981 list. (b) Previously shown on November, 1981 list.

Films Refused Registration Bound to Please (reconstructed version) (16mm) (a): Not shown, U.S., 591 m, 14th Mandolin P/L, S(i-h-g) Carla’s Thing (videotape), Not shown, U.S., 47 mins, Intercontinental Video P/L, S(f-h-g) Chances R (aka Love Gambler) (videotape): Not shown, U.S., 54 mins, Intercontinental Video P/L, S(f-h-g) Chopstix (reconstructed pre-censor cut version) (b): W. Dancer, U.S., 1986 m, Cinerama Films, S(i-h-g) Death Wish II (c): Golan/Globus, U.S., 2510 m, Fox Columbia Film Dist. P/L, V(f-h-g), Ofsexual violence) Electric Blue 008 (videotape): Scripglow, Britain, 58 mins, Electric Blue (A’sia) P/L, Sfi-h-g) The Family (videotape), Harlequin Films, U.S., 56 mins, Intercontinental Video P/L, S(f-h-g), Ofdrug abuse) Hi Hi Debbie (Pre-censor cut-version): J. Clark, U.S., 1249 m, 14th Mandolin P/L, S(f-h-g) Miss Layed Genii (d): E. Jeffrey/S. Haims, U.S., 2537 m, Blake Films (Vic.) P/L, S(f-h-g) Never On Friday: Silverstein & Randall, Italy, 2807.40 m. N.S. Productions P/L, Sff-h-g) Private Property (videotape): Not shown, U.S., 49 mins, Intercontinental Video P/L, Sfi-h-g) Sex And The Single Vampire (videotape): X Calibre Prods., U.S., 56 mins, Intercontinental Video P/L, S(fh-g) Sex World (videotape) (e): B. Thornberg, U.S., 89 mins, Blake Films (Vic.) P/L, Sfi-h-g) The Stimulant (reconstructed version) (16mm) (e): Not shown, U.S., 575 m, 14th Mandolin P/L, Sff-h-g) Taxi zum klo (Taxi To The Toilet): L. Straub/H. Schier, W. Germany, 2632.70, Crystal Film Corp. P/L, Sfi-h-g) The Tiffany Minx: R. Walters, U.S., 2262 m, Impact Films, S(f-h-g) The Young Marrieds (videotape): Da Pon Super Xvideo, U.S., 58 mins, Intercontinental Video P/L, S(1-h-g) (a) Previously shown on February, 1982 list.

Previously shown on January, 1982 list. (c) See also under “ Films Registered Without Elimina­ tions — For Restricted Exhibition” . (d) Previously shown on March, 1976 list. (e) Previously shown on April, 1980 list; see also under “ Films Registered without Eliminations — For Restricted Exhibition” .

(b)

Film Board of Review I Feel It Rising (videotape (a): D. Eagle, U.S., 79 mins, Anjohn International Decision reviewed: Refusal to register by the Film Censorship Board.

Censorship Listings Decision of the Board: Uphold the decision of the Film Censorship Board. (a) Previously shown on January, 1982 list.

June 1982 Films Registered Without Eliminations For General Exhibition (G) Bodas de sangre (Blood Wedding): E. Piedra, Spain, 1980.05 m, Crystal Rim Corp.

Dam enquartett (16mm): S tudio Ham burg, W. Germany, 1020 m, German Embassy Ein volksfeind (The People’s Enemy) (16mm): Terra, W. Germany, 1133 m, German Embassy Journey Through Youth: Ken Me & Ken Hai Ltd, Taiwan, 2647 m, Comfort Rim Enterprises Jules V e rn e ’s M ystery On Monster Island: Almena/Sebastiano Fort Films, Spain/ltaly/U.S., 2852.72 m, AZ Assoc. Rim Dist.

Mystery At Castle House (16mm): Ind. Prods P/L, Aus­ tralia, 914.40 m, Independent Prods.

Oliver Twist (16mm): Burbank Rims, Australia, 756.93 m, Sydney Rim Festival Outback (videotape): Antipodes Prods, Australia, 112 mins, David Roberts Run Rebecca, Run (16mm): Ind. Prods P/L, Australia, 914.40 m, Independent Prods Schneeweisschen und rosenrot (Snow White And Rose Red) (16mm): Schongerfilm, W. Germany, 682 m, German Embassy

Not Recommended for Children (NRC) Blacks Britannica (16mm): D. Koff, U.S., 625 m, Sydney Filmmakers Co-op., Lfi-m-j) Brave Archer — Part 3: M. Fong, Hong Kong, 2705 m, Joe Siu Int’l Film Co., V(i-l-g) El duuje ke liye: Prasad Prods, India, 5000 m, SKD Film Dist., Vfi-l-g) Grease 2: Stigwood & Carr, U.S., 3127.02 m, United Int'l Pics., 0(sexual innuendo) He Loved Once Too Many: C. Wong, Hong Kong, 2575 m, Golden Reel Rims, Ofadutt concepts) House Of Wax (3D vers.) (a): Warner Bros, U.S., 2414 m, Warner Bros (Aust.) P/L, Ofhorror) Legend Of The Mountain: King Hu, Hong Kong, 2828 m, Golden Reel Rims, S(i-l-g) VfU-j) O’Hara’s Wife: P. Davis/W. Panzer, U.S., 2350.98 m, Hoyts Dist. P/L, Ofemotional stress) Star Trek: The Wrath Of Khan: Paramount, U S.-, 3017.30 m, United Int’l Pics, V(i4j) Treasure Hunters: Shaw Bros, Hong Kong, 3007 m, Joe Siu Int'l Film Co. P/L, Vfi-l-g) Wrong Side Of The Road (mod. vers.) (videotape) (b): Inma Prods, Australia, 76 mins, Le Clezio Rims, L(f-m-j) (a) Previously registered and classified “ Suitable Only For Adults” with deletions in 1953. (b) Reduced by distributors’ cuts to qualify for lower classification; previously shown on August 1981 List.

For Mature Audiences

(M)

A Los Cirujanos se les va la mano (16mm): Aries Cinematografica Argentine, Argentina, 965.36 m, Spanish Films, S(i-m-g), Ofnudity, sexual allusions) Bat Without Wings: Shaw Bros, Hong Kong, 2608.80 m, Joe Siu Int’l Rim Co., V(i-m-g) Britannia Hospital: D. Belling, Britain, 3074.50 m, GUO Film Dist., Vfi-m-j) Desde el abismo: Aries Cinematografica Argentine, Argentina, 2726.90 m, Spanish Films, Sfi-m-j), (Xemotional stress) Die leldenschaftllchen (Time Of Passion) (16mm): Intemationes, W. Germany, 1224 m, German Embassy, S(i-l-j), Ofadult concepts) The Duel Of The Century: Shaw Bros, Hong Kong, 2753.40 m, Joe Siu Int’l Rim Co., V(i-m-g) The Fighting Dragon: Hsiao Yin Fang, Hong Kong, 2411 m, Golden Reel Rims, Vff-m-g) A Girl Who Died For Love: Hong Kong Int’l Co., Taiwan, 2310 m, Golden Reel Rims, Ofadult theme) Kitty And The Bagman: Forest Home Rlms/AdamsPacker, Australia, 2660.71 m, GUO Rim Dist., Ofsexual allusion) Ko to tamo pava? (Who’s Singin’ Over There?): Centar Films, Yugoslavia, 2358.98 m, P. Hourigan, Ofadult theme) Last Chants For A Slow Dance (16mm): J. Jost, U.S.,

group state that what happened was definitely not trickery.

Professor Frodsham analyzes the Continued from p. 473 phenomenon in two separate parts: the approach the question as to whether operation and the subsequent healing.

Orbito is under God’s guidance, Mentioning other healers, Frodsham according to their interpretation of the talks about the experiments made by a Nobel Prizewinner on materialization Bible.

Jon Sainken states that he firmly and de-materialization, proving that “materialization of certain forms, believes the whole thing is a fake, some of them partially formed and stressing his views that on a psycho­ some of them wholly formed, could somatic level the patients are influ­ take place given the presence of a enced by their own tendency to accept suitable medium — and of course this type of phenomenon and by the these healers are in fact mediums” . aura of mysticism surrounding the healer. Therefore, says Sainken, there He concludes that, “ we have to have a concerted scien­ is a psychologically-induced ‘healing’ tific approach to try to solve not just which doesn’t last for very long. the question of psychic surgery, but On the other hand, the film of perhaps even the more baffling Orbito’s operations is presented to the question of psychic healing.” group, some time after they return to Australia, in the presence of Professor One of the reasons why I Am No Frodsham. One of the members of the God is, as a whole, an interesting film crew, after carefully studying the documentary is its successfully film shot, says that in his opinion the unbiased approach to the subject whole thing is no more than a sleight- matter, its honesty in showing dif­ of-hand, whereas all members of the ferent and sometimes radically

Film Reviews

932.45 m, Sydney Filmmakers’ Co-op., V(i-i-j), L(f-m-g) Mallacoota Stampede (16mm): P. Tammer, Australia, 647 m, P. Tammer, Ofnudity, sexual allusions) Man Into Woman — The Trans-sexual Experience (videotape): Sabina Prods P/L, Australia, 71 mins, C. Oliver, Ofadult concepts) Next Of Kin: Filmco Ltd, Australia, 2454 m, Filmco Ltd, Sfi-l-g), Vff-m-g) One From The Heart: Zoetrope Studios, U.S., 2880.15 m, Hoyts Dist., Sfi-l-j), Lfi-m-j) Panicos Sta Sholia: Grega Films, Greece, 3000 m, Apollon Films, Sfi-m-g), Vff-m-g) Paradise: Avco Embassy Films, Canada, 2578.42 m, Hoyts Dist., Sfi-m-g), Vfi-m-g) Poltergeist: MGM/United Artists, U.S., 3127 m, United Int’l Pics, Ofhorror) Prohibited Area: Not shown, Hong Kong, 2550 m, Comfort Film Enterprises, Ofadult concept) Running On Empty (videotape): Western Aust. Film Corp., Australia, 83 mins, Roadshow Dist., Sfi-m-g), Vff-m-g), Lfi-m-g) Snow The Movie (videtape): Snowfilm Prods P/L, Aus­ tralia, 91 mins, Snowfilm Prods, Lfi-m-g), Ofnudity, sexual allusions) The Soldier: Embassy Pics, W. Germany/U.S., 2358.98 m, Hoyts Dist., Vff-m-g) The Story Of The Dragon: Cont. Film Dist., Hong Kong, 2262 m, Golden Reel Films, Vff-l-g) The Sword And The Sorcerer: B & M Chase, U.S., 2743 m, Filmways A’sian Dist., Vff-m-g) Ticket To Heaven: V. Lebosh, Canada, 2956.13 m, GUO Film Dist., Lfi-m-j), Ofadult concepts) Two Lions In The Sun: Basta Films, France, 2688.14 m, Ronin Films, Ofadult concepts) The World According To Garp: G. Hill/R. Crawford, U.S., 3636 m, Warner Bros (Aust.), Lff-m-j), Ofsexual allusions)

For Restricted Exhibition (R) Bedroom Mazurka: Palladium Films, Denmark, 2413 m, Blake Films Vic., Sff-l-j), Ofnudity) The Best Of Sex And Violence (videotape): C. Band, U.S., 90 mins, Video Classics, Sff-m-g), Vff-m-g) Bijou (pre-censor cut version) (16mm): Poolemar Prods, U.S., 504.60 m, Greg Lynch Film Dist., Sff-m-g) Conan The Barbarian: D. de Laurentiis, U.S., 3456.18 m, Fox Columbia Film Dist., Sfi-m-g), Vff-m-g) Cruel Passion (videotape): C. Boger, Britain, 92 mins, Intervision Video, Sff-m-g) Divine Emanueile: Chranders Film Prod., Greece/ W. Germany, 2705.14 m, AZ Assoc. Film Dist., Sff-m-g) Electric Blue 008 (reconstructed version) (videotape) (a): Scripglow, Britain, 54 mins, Electric Blue (A'sia), Sff-m-g) Erotic Passion: Andromeda Int’l, Greece, 2496.13 m, AZ Assoc. Film Dist., Sff-m-g) The Fruit Is Ripe (videotape): Lisa Film, W. Germany, 93 mins, Blake Films Vic., Sff-m-g) Home Sweet Home: Movies Anonymous Partnership Ltd, U.S., 2331.55 m, Int’l Film Dist. Aust., Vff-m-g) The Hot Nights Of Caligula: The Hundred Years Corp., Italy, 2441.27 m, AZ Assoc. Film Dist., Sff-m-g) Kung Fu From Beyond The Grave: Eternal Film Co., Hong Kong, 2496.13 m, Grand Film Corp., Vff-m-g) Menage (Super 8): B. Sussler, U.S., 400 m, Australian Film Institute, Lfi-m-g), Ofsadistic concepts) On A Trip (not shown) (pre-censor cut version) (16mm): Not shown, U.S., 702 m, 14th Mandolin, Sff-m-g) A Scent Of Heather: Praexis Films, U.S., 2166.97 m, AZ Assoc. Rim Dist., Sff-m-g) Sexy Paradise: S. Sui Thiroso, Japan, 2454.14 m, AZ Assoc. Film Dist., Sff-m-g) • Slip-Up: Pendulous Prods, U.S., 2119.50 m, Impact Films, Sff-m-g), Lff-m-g) Some Kind Of Hero: Paramount, U.S., 2633.28 m, United Int’l Pics., Sfi-m-j), Lff-m-g) Terror On Tour: S. Cobe, U.S., 2398.37 m, Int’l Rim Dist. Aust., Vff-m-g) The Valachi Papers: D. de Laurentiis, U.S., 3401.32 m, Video Classics, V(f-m-j) Wild Cherry: Hong Kong Man Wah, Hong Kong, 2314.70 m, Golden Reel Rims, Sff-m-g), Vfi-m-g) Your Ticket Is No Longer Valid: R. Lantos/S. Roth, Canada, 2445.50 m, Video Classics, Sff-m-g) (a) Previously shown on May 1982 List.

Films Registered Without Eliminations Special condition: That the film will be exhibited only at the 1982 Sydney & Melbourne Film Festivals and then exported.

Pixote, Survival Of The Weakest (a): Embrafilm, Brazil, 3402 m, Sydney Film Festival (a) See also under "Films Refused Registration” and “ Films Board of Review” .

opposed views, without being con­ clusive.

It was one of director Barrie Pattison’s concerns to keep an unbiased approach, to the extent that he had invited a number of doctors to con­ tribute to the film. They were told to feel absolutely free to state whatever they wanted and not to fear that their contributions could be used in a dis­ torted way. But all of them, one by one, declined to do so. Apparently, most doctors in Australia don’t want to be associated in any way with psychic healing. This is an example of how it is sometimes thought to be better to hide from the rain instead of facing it, with or without an umbrella.

The phenomenon of so-called psychic healing is not a new one, neither is it restricted to The Philip­ pines. In fact, it seems to be something mainly related to some Third World countries. Brazil and Africa, for instance, have been very prolific in this area.

I Am N o God touches an extremely

Special Condition: That the film will be exhibited only at the 1982 Sydney/Melbourne/Brisbane/Perth and/or Adelaide Film Festivals and then exported.

The Animals Film (16mm): V. Schonfeld, U.S./Britain, 1469 m, Sydney Film Festival j The Case Of The Legless Veteran (16mm): Howard Petrick, U.S., 655 m, Melbourne Film Festival Crystal Gazing (16mm): British Film Inst. Prod. Board, Britain, 928 m, Melbourne Film Festival De oppas (The Babysitter) (16mm): Sigma Films, Netherlands, 131.64 m, Melbourne Film Festival Die beruehrte (No Mercy No Future), Helma Sanders, Germany, 2935.01 m, Sydney Film Festival Garde a vue (16mm): Les Films Ariane TFI Films, France, 2195 m, Sydney Film Festival Just Another Missing Kid: John Zaritsky, Canada, 954 m, Sydney Film Festival Moonlighting: A Michael White Presentation, Britain, 2821 m, Sydney Film Festival 1922: Greek Film Centre, Greece, 3653.33 m, Mel­ bourne Film Festival Our Corpses Live On: Rosa von Praunheim, W. Germany, 2218 m, Sydney Film Festival Piso Pisello: Clesi Prods, Italy, 2866 m, Melbourne Film Festival A Poem Is A Naked Person (16mm): Flower Films, U.S., 983 m, Melbourne Film Festival A Question of Silence: Sigma Films, Netherlands, 2821 m, Sydney Film Festival The Subjective Factor (Der subjektive faktor), Basis­ Film Verleih GMBH, Germany, 3767.40 m, Melbourne Film Festival Ticket To Heaven: V. Lebosh, Canada, 2976 m, Sydney Film Festival The Tyrant’s Heart (A zsarnok szive): Mafilm Studios, Hungary, 2420 m, Melbourne Film Festival The Werewolf of London: Universal, U.S., 2166 m, Sydney Film Festival

Films Registered With Eliminations For Restricted Exhibition (R) Big Thumbs: Richard Lipton Prods, U.S., 2112 m, Blake Films Vic., Sff-m-g) Deletions: 2.5 metres (5 secs) Reason for deletions: Sfi-h-g) Linda: Lisa Raymond/Piato, W. Germany, 2342.59, Filmways A ’sian Dist., Sff-m-g) Deletions: 1.00 metre (2 secs) Reason for deletions: Sfi-h-g) Nathalie: Atlas Int’l, Italy/W. Germany, 2386.41, N.S. Prods, Sff-m-g) Deletions: 19 metres (42 secs) Reason for deletions: Sfi-h-g) Teenage Swingers (reconstructed soft version) (16mm) (a): Sun Films, U.S., 592.38, Landmark Films, Sff-m-g) Deletions: 14 metres (1 min. 17 secs) Reason for deletions: Sfi-h-g) (a) Previously shown on February 1982 List.

Films Refused Registration Auditions (videotape): C. Band, U.S., 78 mins, Video Classics, Ofsexual exploitation of a minor) House of Hookers (videotape): Not shown, U.S., 56 mins, Intercontinental Video, Sff-h-g), Ofsexual violence) Mary! Mary! (videotape): B. Morris, U.S., 68 mins, Roadshow Dist., Sfi-h-g) Pixote, Survival Of The Weakest (a): Embrafilm, Brazil, 3402 m, Sydney Film Festival, Ofsexual exploitation of a minor) The Ravager: D. Ackerman, U.S., 2163.90 m, Impact Films, Ofsexual violence) (a) See also under “ Films Registered Without Elimina­ tio n s ” and “ F ilm s B o a rd O f R e v ie w ”

Films Board of Review Christiane F (pre-censor cut, English-dubbed version) (a): Golden Harvest, W. Germany, 3456.18 m, Fox Columbia Film Dist.

Decision reviewed: Classify " R " by the Film Censorship Board.

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

Pixote, Survival Of The Weakest (b): Embrafilm, Brazil, 3402 m, Sydney Rim Festival Decision reviewed: Refusal to register by the Film Censorship Board.

Decision of the board: Register with special 1982 Sydney/Melbourne Film Festival conditions. (a) Previously shown on May 1982 List. (b) See also under “ Films Registered Without Elimina­ tions" and “ Films Refused Registration” .

controversial subject. But whether Orbito is really doing what he is supposed to be doing — and it isn’t easy reaching a conclusion — I Am No God isn’t actually a film about all this.

It is much more a documentary about people’s reactions to the issue, with the great advantage that the issue is docu­ mented on the screen for all viewers to see. The public reaction is usually one of total scorn, or unconditional accep­ tance — which are again types of reac­ tions similar to those depicted in the film. ★ I Am No God: D ir e c te d b y : B a r r ie P a t t i s o n . P r o d u c e r : C a r m e lo M u s c a . S c r e e n ­ p la y : B a rr ie P a t t i s o n . D ir e c to r s o f p h o t o ­ g r a p h y : C a r lo B u r a lli, C a r m e lo M u s c a .

E d ito r : B a rrie P a ttis o n .

P ro d u c tio n m an ag er: P h ilip M onaghan.

M u s ic co m posed and p ro d u ced by: S h e lte r Studios.

Sound recordists: Ian M c L o u g h lin , P ie r c y P o r t e r . P r o d u c t i o n c o m p a n y : C . M . F ilm s . D i s t r i b u t o r : A r in y a F ilm D is trib u to rs .

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What is a Documentary?

What is a Documentary?

Continued from p. 445

The Analytic Approach If Grierson’s stance was essentially reformist, that of Russian director Dziga Vertov (1896-1954) was thoroughly revolutionary.

Where Grierson produced documentaries with the aim of improving social institutions, Vertov’s goal was to transform those institu­ tions.

In the documentary, Vertov found a unique cultural tool that could be used to analyze both the emerging forms of post-Revolutionary socialism and the cinema’s potential as a form of expression. As a member of the revolu­ tionary wing of Russian Futurism, Vertov believed that “ art is not a mirror which reflects the historical struggle, but a weapon of that struggle.” New social conditions required new aesthetic values. As well as the social and political revolution, there had to be a revolu­ tion in art itself: pre-Revolutionary aesthetics were inappropriate for post-Revolutionary purposes. This meant declaring war on the dominant narrative cinema. In one of his first theoretical manifestos, Vertov announced that “ old films” were “ romanticist and theatric­ alized” and positively dangerous to the future of the cinema. His denunciation of “ acted” films, however, was not the same as Grierson’s.

Grierson’s objections stemmed from his belief that Hollywood cinema imitated rather than revealed the ‘real’. For Vertov, whose commit­ ment lay in working out the specific material conditions of cinema as a meaning-producing system with its own sphere of expression and influence, the hegemony achieved by fiction films allowed them to dictate what was possible and acceptable. An antidote to this “ terrible poison of habit” had to be found.

Vertov began his work as an editor, first with short propaganda newsreels pieced together out of material sent back from cameramen on Agitprop trains, and then with Kino-Pravda or Film Truth, the newsreel equivalent of the official Party newspaper. During this period he developed a new, non-narrative style of editing designed to set current events in a revolutionary perspective. This break with what were seen as the bourgeois tendencies of “ old cinema” was consolidated by his theory of the Kino-Glaz, or Film Eye: for Vertov, cinema was characterized by its capacity to capture the dynamics of movement and “ to render the ordinarily invisible visible to all” . While Flaherty’s docu­ mentaries were based on the observational power of the single camera — a perceptual mode akin to that of human vision — Vertov saw in the camera the possibility of a radical restructuring of perception. The Film Eye would offer completely original ways of seeing, unhampered by “ human immobility” and “ the limits of time and space” .

Slow motion, tracking shots, unexpected angles and cuts, shooting with hidden cameras, projecting backwards, animated stills, high­ speed film stock for night shooting — these were the aesthetic and technical hallmarks of such Vertov documentaries as Stride, Soviet (1926), A Sixth of the World (1926) and The Eleventh (1928). But it was in The Man With a Movie Camera (1929) that Vertov directly explored his Film Eye theory. This very com­ plex film presents a kaleidoscope of urban daily life at the same time as laying bare the means by which these cinematic images are produced, reproduced and consumed. We see both the making of a documentary and the documentary that is being made; so that where the Flaherty/

Dziga Vertov’s The Man with the M ovie Camera.

subject could the documentary arrive at “ truth” , defined in existential rather than absolute terms as “ one man’s truth” . As the French ethnographer-docum entarist, Jean Rouch, argued, the filmmaker had to say to the audience: “ I looked at what happened with my subjective eye, and this is what I believe took place.” 14 This vision of intimacy required new technology, since the cumbersome parapher­ nalia of the earlier documentary — tripods, heavy lights and cameras, cables, large crews — disrupted the action and made unobtrusive filming impossible. When the 16mm format already in use in newsreels was adopted, reduced costs and lighter, more manipulable cameras compensated for the loss of picture quality, and the development of more reliable film stock expanded the options for location shooting. Equally important was the creation of more flexible, portable sound recording equipm ent, as post-synchronous sound dubbing of dialogue or commentary was now seen as compromising. The “ feeling of being there” could only be conveyed if the filmmaker could, as Leacock said, “ walk in and out of buildings, up and down stairs, film in taxi-cabs all over the place, and get synchronous sound” .

What is a Documentary?

“Documentary is a dirty word in commercial television and as people who make a living out o f them we don *t find that encouraging. Call your film life, art, sex, religion, politics, or whatever, but not ‘important’, ‘worthwhile’ or, worse still, ‘educationalCall it a *special’, a ‘show’, but, if you really want to sell one, do not call it a documentary. ” Peter Luck Executive producer, This Fabulous Century and The Australians 1982

Grierson approach to realism effaces the process by which meaning is produced, Vertov systematically foregrounds this process. The Man With a Movie Camera questions the assumption that the documentary is a window on the world by drawing attention to the fact that what is on the screen is merely an image: the true reality is not the reality of what is shown but the image itself. This conscious subversion of the documentary makes the focus of the film not the real world but the cinematic language used to transcribe that world.

The Intimate Approach During the 1950s, a new critique of documentary was advanced by filmmakers who believed that the unwieldy and intrusive machinery of 35mm production precluded a genuine documentary realism. As journalist­ producer Robert Drew of Drew Associates, the famous American documentary production company, commented: “ As a reporter, I don’t believe them. I can see people directing them. I can see lights flashing. I can see people looking for cues. They aren’t real . . . There’s some­ thing puppet-like about them .” 12 The solution, according to the American documentary filmmaker Richard Leacock, was to abandon the “ controlled filming” of directors such as Flaherty in favor of tech­ niques which would allow the filmmaker “ to get as close as possible” to the spontaneous subject. For Leacock, the goal of documentary was to discover and reveal “ moments of truth” about the “ real” world, and the central problem was “ how to convey the feeling of being there ” .13 Only through intimacy with the 12. I n M a c C a n n , i b i d ., p . 2 9 5 .

13. I n i b i d . , p . 2 9 3 .

Two loosely-articulated schools emerged around these ideas: American Direct Cinema and French Cinema-Verite. Direct cinema, associated with such filmmakers as Richard Leacock, A1 and David Maysles, D. A. Penne­ baker, Frederick Wiseman and producer Robert Drew, was non-interventionist and observa­ tional, emphasizing sensitivity to events and “ being in the right place at the right time” .

Cinema verite, principally identified with Jean Rouch and Chris Marker, was premised on a commitment to participation and direct inter­ vention. Far from being a seemingly invisible eavesdropper, the camera became “ a kind of psychoanalytic stimulant” which let people “ do things they wouldn’t do otherwise” .15 Direct cinema and cinema verite had in common an interest in crises and the belief that essential truths were revealed in moments of tension and pressure. While direct cinema entered situations of tension, however, and waited for crises to develop, cinema verite actively provoked crises. According to Rouch, once a crisis was set in motion, what was con­ structed as totally artificial became totally “ real” and a source of “ staggering revela­ tion ” .16 For Flaherty, Grierson and Vertov, the docu­ mentary was a way of exploring and com­ menting on public culture: on the social, the ritualized, the typical, the instrumental, even the language of documentary itself. In contrast, direct cinema and cinema verite deliberately turned away from the public domain towards the realm of the private and the intimate, where truth was equated with personal confession, Concluded on p. 489 14. I n L e v in , i b i d ., p . 135.

15. I b i d . , p . 137.

16. I n i b i d ., p . 138.

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What is a Documentary?

Michael Ritchie

Michael Ritchie

completely nihilistic: innocence has gone. It is a strident shocker for the new age, and Ritchie’s involvement represents the point at which he has been finally ravished by the embraces of the new Hollywood. His triumph is the satire and style with which he copes with that submission.

His consolation is a recognition of the truth of that Jane Fonda line in Klute: “ Don’t feel bad about losing your virtue — everybody does.’’*

Continued from p. 420 and, visually, towards the audience. Ritchie might have made a modern Treasure Island, with Jolly Roger villains. But it is a decadent version, as if the island people (played appro­ priately enough by British actors) are anachron­ istic representatives of the last fling of Euro­ pean colonialism. Interestingly, the unease of the American in a European setting — of innocents abroad being corrupted by European ‘experience’ — is an important sub-theme of Downhill Racer.

The Island is Ritchie’s distinctive contribu­ tion to perhaps the most important genre of 1970s Hollywood cinema, the horror film. It replicates the modern horror film’s violence and its subversive assaults on bourgeois man (isolating him in a hostile island environment) and on materialist possessions (drugs, yachts, computerized fishing rods). But it is also a satire on the horror film, subsuming the menace of the villains under cackling comedy, and creating characters of such abandoned implausibility that it is quite impossible to feel any anxiety about their fate. It is thus both an example of a current film phenomenon, and a comment on that phenomenon, and it is prob­ ably this quality of critical detachment which disconcerted audiences but which is most characteristic of the director. The film is a satirical weapon aimed at materialism, America’s gun-ridden culture and a modern film audience’s uncomfortable relish for violence. The fact that it alienated audiences is perhaps the film’s aesthetic vindication and proof that its point struck uncomfortably close to home. In this regard, it could be regarded as Ritchie’s Ace in the Hole.

If the film occasionally seems too bizarre and extreme for its own good, perhaps the reason is that Ritchie’s satire keeps sliding into bitter­ ness. This bitterness might have something to do with the situation of the director in modern Hollywood, and the pressures on him to pro­ duce sensationalist extravaganzas like The Island rather than smaller and more personal pearls like Smile. The bitterness might also stem from a gathering impatience with bloodthirsty audiences who seem blind to nuances of tone or felicities of verbal wit. I. A. L. Diamond com-

What is a Documentary?

Continued from p. 487 disclosure, emotion and spontaneity. The com­ plex events that constitute the forms of public culture were subsumed under a discourse which emphasized personality. What mattered in this version of documentary realism was less what one had done than how one fe lt about it and, most importantly, how one was seen to feel about it on film.

Re-Viewing Documentary Over the past decade, a new approach to documentary has emerged. With its point of departure being the assumption that the documentary has scarcely been treated in terms other than those laid down by conventional wisdom, this approach focuses not on the way that the documentary represents reality but on the reality of representation itself. It argues that the fact/fiction, truth/illusion, authenticity/ artifice, enlightenment/entertainment distinc­ tions are more ambiguous than documentary filmmakers and theorists would have one believe. Rather than attempting to define docu­ mentary or to classify documentaries into

Filmography 1969 Downhill Racer

1972

Keith Carradine and Monica Vitti in R itchie’s ‘lo st’ film , A n A lm ost Perfect A ffair.

1972

mented recently about the lost art of screen writing and the difficulty of writing subtle humor for an audience that is increasingly in­ discriminate, callous and insensitive; and the future of an intelligent comic satirist like Ritchie becomes more precarious if he shares Diamond’s reading of the present situation.

The Island is an interesting attempt at some sort of middle ground, but the critical and audience response suggests only a partial success: admirers of Ritchie were dismayed by the horror; admirers of the horror film were baffled by the satire. Its commercial failure makes it that much more difficult for Ritchie to set up a truly personal film.

It is an acute problem, particularly for directors who have not the cult following of an Altman or a Woody Allen. A certain coarseness of visual and verbal expression seems to have crept into the films of distinguished men who in the past have preferred discretion and implica­ tion (I am thinking of films like Billy Wilder’s Buddy, Buddy, Blake Edwards’ Victor/Victoria, and Arthur Penn’s Four Friends.). It is hard to ascertain whether such coarseness is a reflection of their frustration with the present film situation or their belated attempt to con­ form to it. The Bad News Bears is pretty frank in its language, but there is an innocence and idealism underneath the film. The Island is distinctive schools or traditions, it begins by asking how the formal properties of all film ‘texts’, conventionally called documentaries, are organized for the production of meaning and how this resembles or differs from other textual practices in cinema. “ It is only by examining how a series of images and sounds signify that we can begin to rescue documentary from the anti-theoretical, ideologicallycomplicit argument that documentary-equalsreality” 17, with the screen acting merely as a window through which one turns one’s gaze in order to discover the revealed Truth about the world ‘out there’. Work from this perspective seeks to replace the “ celebration of content’’ with a critical concern for that language of documentary which allows this content to be meaningfully expressed in the first place.

This project has proceeded on two separate but related fronts. On the one side, there is the theoretical writing, bringing together dialectical materialism, psychoanalysis and linguistics, which has been able to demonstrate that many of the structural characteristics of documentary texts — verbal and visual exposition, the treat­ ment of time, the use of spectacle — are not so far removed from the novelistic and narrative 17.

B.

N ic h o ls ,

“ D o c u m e n ta r y

T h e o ry

Screen, v o l. 17, n o . 4 , 1 9 7 6 /7 7 , p . 35.

and

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1974

1976

1977

1978

1980

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d ir .: M ic h a e l R itc h ie , p r o d . : R ic h a r d G r e g s o n . s c rip t: J a m e s S a lte r , p h o t o g .: B r ia n P r o b y n . 101 m in s , c a s t: R o b e r t R e d f o r d ( C h a p p e lle t), G e n e H a c k m a n ( C la ir e ), C a m illa S p a r v ( S ta h l) , J o e J a y J a l b e r t ( E r b ) , T im o th y K in k ( B ry a n ) The Candidate d ir .: M ic h a e l R itc h ie , p r o d . : W a lte r C o b le n z , s c rip t: J e r e m y L a r n e r . p h o t o g .: J o h n K o r ty . 110 m in s , c a s t: R o b e r t R e d f o r d ( M a c k a y ), P e te r B o y le ( L u c a s ) , D o n P o r t e r ( J a r m o n ) , A lle n G a r f ie ld (K le in ), K a r e n C a r ls o n (M rs M a c k a y ) Prime Cut d i r .: M ic h a e l R itc h ie , p r o d .: J o e W iz a m . s c rip t: R o b e r t D illo n , p h o t o g .: G e n e P o l i t o . 86 m in s , c a s t: L e e M a r v in ( D e v lin ), G e n e H a c k m a n ( “ M a ry A n n ’’), A n g e l T o m p k i n s ( C la r a b e lle ) , G r e g o r y W a lc o tt (W e e n ie ), S iss y S p a c e k ( P o p p y ) Smile d ir .: M ic h a e l R itc h ie , p r o d .: M ic h a e l R itc h ie , s c r ip t: J e r r y B e ls o n . p h o t o g .: C o n r a d H a ll. 113 m in s , c a s t: B ru c e D e r n ( F r e e la n d e r ) , B a r b a r a F e ld o n (M rs D iC a r lo ) , M ic h a e l K id d ( F r e n c h ) , N ic h o la s P r y o r ( A n d y D iC a r lo ) , G e o f f r e y L e w is (S h e a rs ) The Bad News Bears d i r .: M ic h a e l R itc h ie , p r o d .: S ta n le y R . J a f f e . s c rip t: B ill L a n c a s te r , p h o to g .: J o h n A . A lo n z o . 103 m in s , c a s t: W a lte r M a t th a u ( B u tte r ­ m a k e r ) , T a tu m O ’N e a l ( W h u r liz e r ) , V ic M o r r o w ( T u r n e r ) , J o y c e V a n P a t t e n (C le v e la n d ) , B e n P ia z z a ( W h ite w o o d ) Semi-Tough d ir .: M ic h a e l R itc h ie , p r o d .: D a v id M e r r ic k , s c rip t: W a lte r B e rn s te in , p h o t o g .: C h a r le s R o s h e r j u n . 107 m in s , c a s t: B u r t R e y n o ld s ( P u c k e tt) , K ris K r is to f f e r s o n (T ille r), Jill C l a y b u r g h ( B a r b a r a B o o k m a n ) , R o b e r t P r e s t o n ( B o o k m a n ) , B e rt C o n v y ( B is m a r k ) An Almost Perfect Affair d ir .: M ic h a e l R itc h ie , p r o d .: T e r r y C a r r , s c rip t: W a lte r B e rn s te in , D o n P e te r s o n , p h o t o g .: H e n r i D e c a e . 93 m in s , c a s t: K e ith C a r r a d i n e ( H a l) , M o n ic a V itti ( M a r ia ) , R a f V a llo n e ( F r e d d ie ) , C h r is tia n d e S ic a ( C a r lo ) , D ic k A n t h o n y W illia m s ( J a c k s o n ) The Island d ir .: M ic h a e l R itc h ie , p r o d s : R ic h a r d D .

Z a n u c k , D a v id B r o w n , s c rip t: P e te r B e n c h le y . p h o to g .: H e n r i D e c a e . 114 m in s , c a s t: M ic h a e l C a in e ( M a y n a r d ) , D a v id W a r n e r ( N a u ) , A n g e la P u n c h M c G re g o r ( B e th ) , J e f f r e y F r a n k ( J u s tin ) , F r a n k M id d le m a s s ( W in d s o r ) Divine Madness: d i r .: M ic h a e l R itc h ie , p r o d : M ic h a e l R itc h ie , s c rip t: J e r r y B la tt, B e tte M id le r , B r u c e V ila n c h . p h o t o g .: W illia m A . F r a k e r . 93 m in s , c a s t: B e tte M id le r , J o c e ly n B r o w n , U la H e d w ig , D iv a G ra y .

preoccupations of fictional cinema.18 On the other side, there are those counter-realist films which variously incorporate conventional docu­ mentary ‘techniques’ — location shooting, natural sound, dramatic enactments, historical reconstructions, interviews with ‘real’ people — in order to deconstruct and interrogate them: One Plus One (1968), British Sounds (1969), Pravda (also 1969; Jean-Luc Godard, 1930- ), The Chronicle of Anna Magdalena Bach (1967; Jean-Marie Straub, 1933- ), Song of the Shirt (1979; Susan Clayton and Jonathan Curling) and the Australian Two Laws (1981; Carolyn Strachan and Alessandro Cavadini). Both these tributaries have broken with traditional assumptions about the nature, function and social import of the documentary, and even with attempts to ‘document’ documentary history. While by no means providing a coherent, fully-integrated body of theory or filmmaking practice, this re-viewing may prove to have a considerable part to play in the reshaping of what has until now been offered as the answer to the question: what is a documentary? * 18.

S e e , f o r e x a m p le , A n n e t t e K u h n , “ T h e C a m e r a I, O b s e r v a tio n s o n D o c u m e n t a r y ” , Screen, v o l. 19, n o . 2, 1978; S te p h e n H e a t h a n d G illia n S k ir r o w , “ T e le v is io n : a w o r ld in a c t i o n ” , Screen, v o l. 18, n o . 2 , 1977.

CINEMA PAPERS October — 489

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Continued from p. 407

IBIBBIBBBBBBBBIBBB

Film Library Biennial

Professional Film Workshop

The Australian Council of Government Film Libraries’ Biennial Conference is to be held from October 20 to 22. The loca­ tion is Goodsell Building, 8-12 Chifley Square, Sydney.

Visitors to the Conference may attend the “ open sessions” , which cover topics such as “ Cataloguing and Booking Sys­ tems” , “ Technological Developments” and “ Copyright vs Information Flow” .

Manila Film Festival The director-general of the Manila International Film Festival and Market, John J. Litton, visited Sydney in Septem­ ber to view the latest Australian films and to plan the involvement of Aus­ tralian films in the coming event.

Alan Wardrope, of California Connec­ tion, the Australian delegate to the Fes­ tival, said that at the last Festival Aus­ tralia was strongly represented by such films as Gallipoli, Puberty Blues, Freedom and Around the World with Dot. The Manila Festival and Market, first launched last January, is scheduled to take place on January 24-February 4 next year. The locale will again be the city’s Film Centre and the nearby Philip­ pine International Convention Centre.

FTPAA Changes Following the recent annual election of the council, the Film and Television Production Association of Australia has chosen Anthony Buckley as president and Tom Haydon as vice-president.

The FTPAA is administered by a council of management (two elected members from the five divisions), and a small, full-time professional staff. It rep­ resents Australia’s film, television, com­ mercials and facilities production companies.

The FTPAA recently announced that its full-time secretariat and executive director, James Mitchell, has resigned.

Mitchell was appointed executive direc­ tor in February 1979 and served as a spokesman for the film and television industry for three years. Mitchell now wishes to concentrate on his own film projects.

Graham Farrar, the industrial advo­ cate for the FTPAA, will act as adminis­ trator until a new executive director is appointed.

Hammond Leaves SAFC Lesley Hammond, executive producer of documentary films and former board member at the South Australian Film Corporation, has resigned after eight years service. She has been appointed general manager of Open Channel, Aus­ tralia’s largest community-based tele­ vision production service, in Melbourne.

John Morris, managing director of the SAFC, said that in present circum­ stances it was not intended to replace Hammond. Follow ing the recent retrenchment of another documentary executive producer and his assistant, this will result in a reduction of the SAFC’s small but successful documen­ tary team from six to two.

The two most vital factors in the healthy growth of any industry are hands-on experience with craftsman’s working tools, and regular, first-hand interchange of information between pro­ fessionals.

This was the theme behind the initial Professional Film Workshop, held recently in Perth, and organized jointly by the Australian Film and Television School and the Western Australian Film Council. The WAFC is the official government body assisting the interests of the local filmmakers, and is attempting to do what its counterparts — the various other state film corporations — are doing for their respective local industries: making film production a viable commercial proposition.

Because of the WAFC’s initially meagre funding, and its early depletion of funds with investments in two Mel­ bourne-based productions, Harlequin and Roadgames (the latter being only partially shot in Perth), there had been intense local pressure to spend the fastdwindling reserves on gaining practical experience for the widest possible sector of the Western Australian film community.

Unlike most of the other states, where it is reasonably easy to move between capital cities, it is rather difficult for those in Perth, especially younger members of the film scene, to “ duck down to the Union” and pick up a few gems of prac­ tical information over a couple of beers.

It is cheaper to spend a week in Singa­ pore, flying from Perth, than to do the same thing in Melbourne or Sydney.

Western Australian crews are continu­ ally being depleted of promising talent, as the frustration of stop-go employment drives them to seek work in Adelaide, Sydney or Melbourne. There was no way the necessary experience could be gained in the home state under existing conditions.

The Professional Film Workshop was devised to permit those aspiring and practising filmmakers to develop and refine their skills.

Three prominent Australian film identities were recruited to provide sought-after information and expertise during the week-long project: • the supervizing director was Igor Auzins, whose We of the Never Never was acclaimed at this year’s Cannes Festival; • the photography was supervized by Vincent Monton, whose credits in­ clude Newsfront, Roadgames and Heatwave; and • Phil Reid, who worked on The John Sullivan Story and Sara Dane, supervized the editing.

The producers of Puberty Blues agreed to make sections of their script available for use during the workshop.

This enabled a critical comparison of what had been attempted during the workshop, and what had been achieved in the original production.

Location shooting was held during three days, with separate crews being on duty each day. In all, a total of 55 crew and 36 observers took part. The three-day effort resulted in 12 minutes of

Filming Kicking Around: Paul Barron, producer, in dark shirt stands next to director David Rapsey. Director o f pho to ­ graphy, Ian Pugs ley, is behind the camera. edited film. Local directors, cameramen, clapper loaders, sound recordists, gaffers, grips, etc., shared the work over the period, and interesting observations and constructive comments were made over the traditional tinnies at the final wrap.

There was also a team effort to bring the workshop to reality, and apart from the AFTS and the WAFC, which shared the $10,000 cost of funding the opera­ tion, the local logistics were pieced together by the Western Australian Film Producers Guild, the local branch of the Australian Cinematographers Society, the Australian Writers Guild, the Perth Institute of Film and Television and the colleges of advanced education that teach film.

G enerally, all concerned were pleased with the end result, but not without offering suggestions to improve any similar project that may be planned.

Time has always been a critical factor with shooting schedules, and imposes discipline required for professional pro­ duction. With so much taking place over a relatively short time, much of which was new to some crew members, it was felt that more time should be allocated in the future for the supervisors to explain beforehand what they intended to do with, or how to treat, the next sequence.

Also, once the day’s shoot was con­ cluded, it was felt there should be time allocated for a post-mortem, discussing pertinent questions while still fresh in the minds of the trainees.

Andrew Swanson, director of the WAFC, expressed satisfaction at the acceptance of this new initiative, and is confident that this, and any future similar workshop, will be a major factor in raising the standard of all facets of pro­ duction in the Western Australian film industry.

New Series Attracts Acclaim Following favorable reviews in the east coast press, and enthusiastic local reaction to the televizing of the first episode in a 10-part weekly series Kick­ ing Around, the Perth film community is optimistic about future production prospects on the west coast.

Kicking Around is the story of a group of rough, street-smart, fast-talking teenagers who come together to form a soccer team. The mini-series follows the setting up of their club, Wesport United, with the accom panying financial hassles, personality problems, poor equipment and the problems of kids from vastly different ethnic back-

Addenda and Corrigenda In John Fox’s comments about Greet­ ings from Wollongong in Cinema Papers, No. 39, p. 344, Mary Callaghan was mistakenly named Gallagher.

Cinema Papers regrets the error.

The cover photography from Far East (Cinema Papers, No. 39) was taken by Carolyn Johns.

Supervising director Igor A uzins, left, with producer-turned-director Hugh Kitson.

Director David Kefford, centre, discusses a shot with Vince Monton, left, and Peter Godall. Part o f the Professional Film Workshop.

grounds, as they manage to scrape their way through to the glory of a Cup Final.

The series is the result of efforts by Perth producer Paul Barron, who filmed a pilot episode just over a year ago. He took the 24-minute tape around the world, asking television networks, agents and distributors if they wanted such a series. “ Everyone was very impressed with the high standards of production and the exciting treatment of the 100 percent Aussie material” , said Barron.

Kicking Around was shot on location in and around Fremantle, Western Australiar^remantle is an old working port whose buildings were constructed in the latter half of the 19th Century and the early 1900s. Although its old houses have recently been ‘discovered’ by pro­ fessional people, and renovated, large areas of the city are still working-class suburbs, being the homes of the large Italian community, as well as of Yugo­ slav, Greek, English and Portuguese families. With such a diversity of ethnic p a rticip a tio n , in te rn a tio n a l sales prospects are enhanced.

The initial 10 episodes were brought in on a budget of $800,000 and went to air on the ABC (East Coast stations August 10, Adelaide and Perth August 17). It is being screened on the basis of one episode per week.

The series has also been sold to France, Belgium and Luxembourg.

Barron Films are currently finalizing sales to Britain (two networks), French Canada, Africa and large parts of Asia.

The series was certified for the federal tax incentives, attracting most of its investment money from Western Australia.

Kicking Around has the distinction of being the first major drama production out of Perth, receiving national and inter­ national exposure, that was produced with an entire Western Australian cast and crew (28 cast, 34 crew).

Pam Borain, co-producer of the series, was previously with the ABC and BBC on such projects as Ben Hall and The Outsiders, and with Channel Nine and NLT Productions (Sydney) pro­ ducing The Don Lane Show and The Evil Touch. She is most impressed with the calibre of people available in Western Australia, and the willingness of everyone to co-operate.

A team of writers contributed to Kick­ ing Around, under the guidance of script editor Alex Glasgow, who wrote for the popular BBC television series, When the Boat Comes In. The series concept came from w riter Joan Ambrose, author of the Falcon Island series, filmed in Western Australia two years ago.

Direction was shared between David Rapsey, who did the first six episodes and supervised post-production, and Steve Jodrell, whose recent film, Buck’s Party, is in theatrical release.

Director of photography was Ian Pugsley, for whom the Kicking Around projeci was the first main assignment since returning to Perth early this year from Britain. Pugsley filmed program material for Dr Who, The Goodies, Dr Finlay’s Casebook and Wings.

Sound recordist for the series was Noel Bolden. Immediately after the con­ clusion of shooting, Bolden left Perth to take up an appointment with the Austra­ lian Film and Television School in Sydney, the organization he left two years previously as head of their sound department, to live and work freelance in Perth.

Other Perth producers who have projects in the pipeline are closely monitoring Barron Films’ initiative, and hope that there will be enough follow-on work to keep key crew members and facilities busy on the local scene.

Time may prove Kicking Around to be the catalyst that finally established an ongoing drama production industry in the West, and, more important, the credibility of local crews.

Compiled by Darryl Binning

CINEMA PAPERS October — 491

WINNING ISN’T EVERYTHING but a festival prize can help a film’s sales prospects. Often, a film’s appearance at an international festival attracts buyer attention.

Rod Webb, the Australian Film Commission’s Cultural Events Officer, maintains records on hundreds of international film festivals, and provides advice and assistance to producers wishing to participate.

There are festivals for feature films, short films, documentaries and animated films, on subjects ranging from dance to speleology.

There is probably one for your film.

Call Rod Webb (02) 922 6855 for an appointment. Australian Film Commission, 8 West Street, North Sydney, NSW 2060. _)^histrafiiinf'ifmCmmisswtv ,

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2 82 N o rm a n b y Rd., Port M e lb o u rn e , VIC ., 3 2 0 7 . Ph: 6 4 -1 1 1 1 .

17 D over S tre e t, A lb io n , OLD ., 4 0 1 6 . Ph: 2 6 2 -7 5 5 5 .

H in d m a rs h A ve n ue , W e lla n d , S.A., 5 0 0 7 . Ph: 4 6 -9 0 3 1 .

22 N o rth w o o d S t., L e e d e rv ille , W .A ., 6 0 0 7 . Ph: 3 8 1 -4 6 2 2 .

1 69 C a m p b e ll S tre e t,' H o b a rt, TAS., 7 0 0 0 . 3 4 -4 2 9 6 .

In d u s tria l D iv is io n N AM E: .. .

ADDRESS: Postcode:

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Rank Film Laboratories North Orbital Road, Denham, U xbridge, M iddlesex UB9 5HQ T elephone 0895 832323 T elex 934704