by Australia Post
Vim Wenders ilm Festivals ยกoman Polanski
VBP 2121
Anthony Clarke - M elbourne Age
W ON VIDEOCASSETTE Plus
รป
FREE teachers resource book For no obligation brochure and order form contact:
Film Australia
--
the production division of the Australian Film Commission Eton Rood, Lindfield N.S.W. 2070 Austrolio. Phone: (0 2 ) 467 9777, Telex: 22734
*VHS/BETA not including Sales Tax.
Ifyou want your next sound track to win an Oscar, it makes sense to use the desk that won an Oscar.
ssss&sts
So Colorfilm went to Burbank and bought it. During its time at The Burbank Studios, the Quad-Eight Dubbing 5 custom re-recording console created a world following. For its unique development, Quad-Eight was awarded an Academy of Motion Pictures Arts and Sciences Technical Achievement Award. That was to mark the beginning of this consoles very illustrious career. During which the Post Production Sound department of The Burbank Studios won an Oscar for
“All The Presidents Men”. And then went on to receive Academy Award nominations for “Electric Horseman”and also “Tootsie”. Recently The Burbank Studios decided to put in a larger Quad-Eight machine, so Les McKenzie of Colorfilm quickly snapped up the original. Given some minor modifications and a re-check by Quad-Eight, it was then shipped to Australia. It has now been installed for our Dolby stereo work in Colorfilm’s main
theatre, already equipped with 23 RCA high speed film transports and a Studer A800 24 track tape recorder. This now gives Colorfilm s sound department the best high technology re-recording facilities in the South Pacific. But don’t take only our word for it. If you have an Oscar contender coming up and you’d like to know more, contact Les McKenzie on: (02)5161066. C o lo r film !^ Leo Burnett 4.4935
FILMS IN CANNES! Congratulations to Film Australia for
ANNIE’S COMING OUT
and Richard Lowenstein for (our first super 16-35 mm feature)
STRIKEBOUND
Both receiving critical acclaim at Cannes O ur other features . . .
COMPETITIVE PRICES ON EKTACHROME RVNP, EASTMANCOLOR, B & W INCLUDING REVERSAL, 16 AND SUPER 16-35 BLOW-UPS, RCA SOUND TRANSFERS, VIDEO TO FILM, OPTICALS INCLUDING AERIAL IMAGE.
AND NOW 35 mm WETGATE PRINTING.
4 Guest St, Hawthorn 3122. Ph. (03) 818 0461
A CUT ABOVE THE REST... W hat do all th ese films h av e in com m on? 'T he Y ear of Living D a n g e ro u s ly '... 'T u rk ey S h o o t7. .. 'BMX B a n d i ts '... 'S ta n le y '...
They w ere all cut on th e KEM K 8 0 0 With this incredible system you can interlock 2 K800 tables with 16mm Twin picture modules and have 4 pictures and 2 sound tracks or you can tranfer film to video or lay film sound tracks to video or you can change all the modules to 35mm. It offers so many different combinations.
FROM
B FILMWEST
SOLE AGENTS FOR KEM ^ THROUGHOUT AUSTRALIA AND ASIA
For more details and prices on the K800 System contact:PERTH: Filmwest Equipment Sales Pty. Ltd. : 75 Bennett St. : East Perth. W.A. 6000. Telex: AA94150 ' ' ■ Tel: (09) 325 1177/3251423
S IN G A P O R E : Filmwest Pte. Ltd. Suite 157 Raffles Hotel 1-3. Beach Rd. Singapore. 0718 telex: RS36389 Tel: 337 8041/336 1509'
SYDNEY:
-
Alan Lake ; Film Production Services 102 Chandos St.. Crows Nest. N.S.W. 2065 Phone: (02) 439 3880.
SYDNEY: Peter Grbavac Photographic & General Instruments. 203 Rocky Piont Rd. Ramsgate. N.S.W. 2217 Phone (02) 525 6314.
Tolley & Gardner Insurance Brokers Congratulate
upon successfully completing principal photography
Insurance underwritten by Cinesure R H Tolley & G a rd n e r P ty L td Specialists in Film & Entertainment Insurance Melbourne 140-146 King Street Melbourne 3000 Telephone (03) 61-44455 Telex 35127 Sydney 56 Berry Street North Sydney 2060 Telephone (02) 929-4166 Telex 21923
The Australian Film and Television School is one of best equipped and most highly regarded film schools in the world. It is an independent statutory authority funded by the Commonwealth Government and was established by an Act of Parliament in 1973 to serve the needs of the industry and education in film and television. It is now seeking applications for the 1985 3-year Fulltime Programme which offers courses specialising in directing, writing, camera, editing, production management and sound, with all students being trained for both film and television. Particularly in the areas of camera, editing and production management the AFTS has not received the high level of applicant it desires. The closing date for applications has now been extended to the 31st August 1984. This date is final and no extensions are available. The Fulltime Programme has consistently sought mature, creative, socially and politically aware young men and women with visual imagination. People who will make an impact on the different areas of Australian film and television. People who are responsible and committed to the pursuit of excellence in the industry. People who are passionate about learning their craft or skill and through this control develop their artistic abilities. People who are interested in making films that are relevant to the issue, concerns and culture of all Australians and who understand the need for practical craft skills as well as creative ability. The AFTS is in the vanguard of these concerns. There are no specific educational prerequisites although most successful applicants have reached matriculation standard. There are no upper or lower age limits, but the preferred age range is 20-28. The average age on admission is 23, but students as young as 17 and as old as 32 have been selected in previous years. $ In the past the number of female applicants has been lower than male applicants and the AFTS seeks to redress this imbalance by encouraging more women to apply. Entry is competitive and assessment procedures long and complex. The rate of applications received to places available each year is about
12 : 1. The Fulltime Programme only takes 25 students every year who are currently paid an allowance of $6,100 p.a. However, the right combination of knowledge, attitude and commitment, backed up by appropriate supporting material, has a good chance of success regardless of numbers. Next year the Fulltime Programme Course is to be restructured with the introduction of a 3-year Directing Workshop. This means that all workshops will collaborate more closely and support each other.
Every student will therefore get the chance to learn the different skills of film and video making whilst remaining specialised in Film and video making is a collaborative process and the AFTS seeks to break down the barriers that exist between the various process stages. The AFTS has a dynamic structure which constantly questions its method of approach through an awareness of its deficiencies. It tries to cater to the needs of its students and these are reviewed as often as possible. The Fulltime Programme is aware of the state of the art, of current trends within the industry, of new technology and the new markets it is likely to create. It is a catalyst not only for the learning of skills and the expressing of concerns but also for meeting with people who are currently working in the industry or who soon will be. The AFTS encourages and employs professionals from all areas of the industry, not only in Australia but from the rest of the world. These appointments range from guest speakers who come for an afternoon to fixed term lectureships. All staff members come to the School fresh from active positions in the industry and bring with
them current and applicable skills. Naturally the School cannot guarantee employment for its graduates. Nevertheless its success rate is approximately 80% for graduates working, in one way or another, in the industry. There is a future for Australian Film and Television. If you feel you can contribute to this future either complete the coupon below or contact Iris Smithers, Students Officer, Australian Film and Television School, Box 126 PO, North Ryde NSW 2113. Telephone (02) 887 1666.
Australian Film and Television School
Further information and application forms are available from: AFTS Students Officer, PO Box 126 North Ryde NSW 2113. Please forward Fulltime Programme information brochure and application form for: 3 year course 1 year Screenwriting course Name: Mr/Mrs............................................................................................................... Address:........................................................................................................................ ..............................................State.......................................... Postcode...................... Closing date: 31st August 1984
INSIDE EVERY CAN SOMETHING INCREDIBLE JUST WAITING TO GET O UT! '
a
u
a
f
i
t
y
!
Every Cinevex Can contains top qua lity processing, g p *delivered to budget and before time. CINEVEX FILM LABORATORIES 15-17 Gordon Street, Elsternwick, Victoria 3185 Phone: (03) 528 6188
10 p.m. till 6 p.m. For Incredible Quality and Early Delivery.
RANK ELECTRONICS _____________________________________________________________________________________________________________________
ARTURO
SOFTLIGHTS me. H.M.I. A new complete range covering 1.25, 2.5& 5kw Tungsten plus a 1.2 kw H.M.I. (Shortly to be released a 2.5 kw H.M.I.)
IU U 1
N ow exclu sive to Rank Electronics. Rank Strand (U.K.) w ishes to advise th at effective 18 June, Rank Electronics is appointed exclusive distributors for all Quartzcolor Television & Film Lighting Equipm ent. New Products (as show n at S.M.P.T.E.) ” ...........
SHAULA BELLATRIX
anH .M .I. Blonde An H.M.I. version of the popular Blonde. The head is supplied with an 575 w H.M.I. lamp and safety glass and can be operated from any siro 575 watt ballast. All the Blonde accessories are available for the SHAULA.
Rank Electronics Pty Limited
w a tt D aylight Sungun. The Bellatrix offers the lightweight and rugged ness of the Redhead and Pulsar and the performance of the "daylight” spotlight. The unit can be mains or battery operated and can be supplied complete in a flight case. STATE OFFICES Sydney 16 Suakin Street Pymble. NSW 2073 Tel: (02)4495666 Telex: 71289
Melbourne 103 • 119 Gipps Street Collingwood VIC 3066 Tel. (03)4172333 Telex: 31904
SIRIO
12 h w H.M.I. Coming soon a 12 kw H.M.I. -T he 12 kwSIRIO will have the light out to match the traditional Brute Arc. All equipment is available for sale or hire.
Brisbane Unit 1,139 Sandgate Road Albion. OLD 4010 Tel: (07)2628366 Telex: 43396
Adelaide 34 King William Street Kent Town. S.A. 5067 Tel: (08)429827 Telex: 89202
Perth Unit 1,106 Oxford Street Leederville. W.A. 6007 Tel. (09)3285122 Telex: 93345
Motion Picture Guarantors Inc SYDNEY AUSTRALIA MLC Centre Level 59 (02) 2 3 5 2 7 3 6 Telex: AA 2 3 9 1 7
MELBOURNE AUSTRALIA 418 St Kilda Road Melbourne 3 0 0 4 (03) 267 4 6 8 4 Telex: AA 1 3 6 1 7 6
TORONTO 14 Birch Avenue Toronto, Canada (416) 968 0 5 7 7 Telex: CA 0 6 5 -2 4 6 9 7
LOS ANGELES Suite 930 9 2 5 5 Sunset Blvd Los Angeles 9 0 0 6 9 (213) 858 0 9 1 9
BEVERLY HILLS (2 1 3 )2 7 1 9 8 8 0
is proud to have provided COMPLETION GUARANTEES for these motion pictures in Australia, New Zealand and Fiji The Slim Dusty Movie Produced by Kent Chadwick Director Rob Stewart Associate Producer Brian Douglas Director of Photography David Eggby
Journey to the Dawning of the Day Produced by Michael Dillon Director Michael Dillon Executive Producers Lindsay Gazel, Judith West, Stanley Sarris Director of Photography Michael Dillon
Annie’s Coming Out Produced by Don Murray Director Gil Brealey Executive Producer Don Harley Director of Photography Mick von Bornemann A.C.S
Phar Lap Produced by John Sexton in association with Hoyts Michael Edgley International Director Simon Wincer ' Executive in Charge of Production Richard Davis Director of Photography Russell Boyd
Savage Islands Produced by Rob Whitehouse and Lloyd Phillips Director Ferdinand Fairfax Production Supervisor Ted Lloyd Director of Photography Toni Imi WHERE AUSTRALIAN
The Settlement Produced by Robert Bruning Director Howard Rubie Production Manager Irene Korol Director of Photography Ernie Clark
Ginger Meggs Produced by John Sexton Co-Producer Michael Latimer Director Jonathan Dawson Production Manager Jill Nicholas Director of Photography John Seale
Motion Picture Completion (Australia) Pty. Ltd Douglas Leiterman
Liz Butterfield
Christine Suii
Tessa Reynolds
Chairman
Chief Production Auditor
Melbourne Manager
Sydney Manager
EVERY COMPLETION GUARANTEE BY MOTION PICTURE GUARANTORS INC. IS REINSURED BY LLOYDS OF LONDON
Articles and Interviews Richard Lowenstein: interview Scott Murray Andrew de Groot: interview Scott Murray Dean Gawen, Gethin Creagh, Richard Lowenstein: interview PatFiske Wim Wenders: interview Rod Bishop, Tom Ryan David Bradbury: interview Barbara Alysen The Migrant Experience Adrian Martin Sophia Turkiewicz: interview Christine Cremen Hugh Hudson: interview Tom Ryan
Production Survey Box-office Grosses 211 214 216 224 230 233 236 250
Features
Film Reviews The Bounty Jim Schembri Greystoke: The Legend of Tarzan, Lord of the Apes Raffaele Caputo Fast Talking Geoff Mayer Daniel Keith Connolly The Ballad of Narayama Marcus Breen The Evil That Men Do and The Star Chamber Peter Malone
267 268 269 270 271 272
Book Reviews
The Quarter Festival International du Film, Cannes, 1984 Geoffrey Gardner, Kiernan Finnane Picture Preview: Robbery Under Arms Melbourne and Sydney Film Festivals, 1984 Rod Bishop, Keith Connolly, Debi Enker, Tom Ryan, Penny Davies, Mark Stiles Film Censorship Listings New Products and Processes Fred Harden
Strikebound Production Report: 210
259 281
208 218 222 240 249 255
Wim Wenders Interviewed: 224
Managing editor: Scott Murray. Contributing editors: Tom Ryan, Ian Baillieu, Brian McFarlane, Fred Harden. Sub-editor: Helen Greenwood. Proof-reading: Arthur Salton. Design and layout: Ernie Althoff. Office administration: Patricia Amad. Secretary: Heather Powley. 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., Old, WA, SA: Network Distribution, 54 Park St, Sydney, 2000. Telephone: (02) 264 5011. ACT, Tas.: MTV Publishing Limited. U.S.: T. B. Clarke Overseas Pty Ltd.
Roman by Polanski, Polanski: His Life and Films and Repulsion: The Life and Times of Roman Polanski Scott Murray 35 mm Dreams: Conversations with Five Directors about the Australian Film Revival Gilbert Coats Recent Releases Mervyn Binns
Sophia Turkiewicz Interviewed: 236
275
277 278
The Bounty Reviewed: 267
Cinema Papers is produced with financial assistance from the Australian Film Commission and Film Victoria. Articles represent the views of their authors and not necessarily those of the editor While every care is taken with manuscripts and materials supplied for this magazine, neither the editor nor the publishers accept any liability for loss or damage which may arise. This magazine mav not be reproduced in whole or in part without the permission of the copyright owner Cinema Papers is published every two months by MTV Publishing Limited, Head Office 644 Victoria Street North Melbourne, Victoria, Australia, 3051. Telephone: (03) 329 5983. © Copyright MTV Publishing Limited, No. 47, August 1984.
Founding publishers: Peter Beilby, Scott Murray. ‘ Recommended price only.
Front cover: Captain Starlight (Sam Neill) in Robbery Under Arms (see "Picture Preview” , p. 222-23). Photograph by Bliss Swift.
CINEMA PAPERS August — 207
iilillliliilligii
A n Open Letter to Independent Australian Short Filmmakers
drawn. Fund raising for the trust fund is an on-going process, and sponsorships and contributions will be invited from time to time. To date, the principal sponsors in clude Warner Bros Inc., Kennedy Miller, Village Roadshow Group, The Greater Union Organization, Film Victoria, Steven Spielberg and Network 10.
Dear Filmmaker, The impressions circulating that Viilage/Roadshow have abandoned com ■ B B B B B B B B B B B B B B I B pletely the programming of quality Austra lian-made short films is inaccurate. Documentary Fellowships We have abandoned the screening of foreign short films and Australian pro The Australian Film Commission has duced promotional reels for the likes of announced that Gary Kildea and Tom mining companies and airlines that are Zubrycki of Sydney, and Brian McKenzie really just vaguely disguised long com of Melbourne have been awarded docu mercials. We also believe that in the main mentary fellowships for 1984. Each fellow stream cinema it is not our place to run ship carries a cash value of $75,000 with amateur or experimental films to an which the fellow is free to make a film of audience that pays $6.50. The original his or her choice. decision was taken with consideration to Fifty-four of Australia’s most experi both audience feedback and market enced filmmakers applied for the 1984 research. Subsequently patrons have Fellowship and passed through an inten reacted very favorably to the new policy. sive assessment procedure. However, we are seeking very high In presenting the documentary fellow quality and entertaining Australian shorts ships, Phillip Adams, chairman of the of around 10 minutes in length that can be AFC, said the awards were a tribute to the screened on an advertised basis with rem arkable achievem ents already appropriate features. This will be for a chalked up by the recipients and were in limited number where the blow-up cost tended to support them strongly in their from 16 mm to 35 mm is considered justi continued pursuit of innovation and excel fied and where the short will contribute to lence. the overall marquee value of the program. Adams said the AFC had originally In addition, to compensate for any announced two fellowships would be reduced screening time in our theatres, awarded each year. However, as there we will also be placing selected shorts on was a backlog of excellent candidates video through Roadshow Home Video. whose body of work deserved immediate We would anticipate distributing reward and support, and a need to maxi through Roadshow a minimum of five per mize the immediate impact of the new year in theatrical and ten per year in home scheme, the AFC decided to award three video under this new policy. fellowships, in the first year only of the This letter is to clarify our position and scheme. also to invite filmmakers with product Gary Kildea has been an independent which conforms with the above criteria to documentary filmmaker since 1972 and is submit their films to us for consideration. best known for Trobriand Cricket and The person in charge of acquisition of Celso and Cora. Celso and Cora, com short subjects is Mr Karl Mai, who can be pleted last year, follows for several contacted at the company’s Melbourne months the lives of a poor Manila couple office. Karl will welcome your enquiry. and their children. Yours sincerely, Brian McKenzie has been an inde Graham W. Burke, pendent documentary filmmaker since Managing Director, 1976, shooting and editing his films, as Roadshow Distributors. well as producing and directing. Winter’s Harvest (1980) presents a group of Italian I 1 B B B E B B 1 9 B E 1 B I B 1 families in Melbourne in their traditional ritual of slaughtering and eating a pig. He Byron Kennedy Memorial has just completed I’ll be Home for Christmas, which follows for two-and-aAward half years a group of homeless men in Nominations of candidates for the Byron Melbourne. Tom Zubrycki began his career as a Kennedy Memorial Award close on sociology tutor, and took up media work in August 17, 1984. The Byron Kennedy Award was estab 1974. His fir^t independent documentary lished in memory of the late Byron was Waterloo (1980), recording the Kennedy, to recognize and encourage response of an inner Sydney community talented individuals working in and contri to an urban renewal project. He has just buting to the Australian film and television completed Kemira: Diary of a Strike, a record of the sit-in strike at a colliery near industry. Reflecting Byron Kennedy’s life and Wollongong. work, the criterion for the Byron Kennedy Award is the pursuit of excellence, as B B B B I B I B B B B B B B B B B evidenced by a progressive body of work Pacific International Media or an outstanding unit of work. A jury of prominent industry profes Market sionals will meet each year to select the recipient of the Award, which carries a A major international film and television cash prize of $10,000 and a trophy, and media market is to be held in Melbourne will be presented at the annual Australian next January, coinciding with Victoria’s Film Awards. The Award was announced 150th Birthday celebrations. The Pacific International Media Market at the Australian Film Awards in Septem ber 1983 and has since been incorporated (PIMM), the first of its kind in the Asianwith the AFI Jury Prize. Pacific region, will take place at the presti A trust fund was established on October gious Regent Hotel from January 22 to 27,1983, from which the cash prize will be January 26.
208 — August CINEMA PAPERS
More than 500 overseas television and film producers and distributors are ex pected to attend, along with a similar num ber of Australian participants. PIMM will operate on a level similar to established international markets such as MIP-TV in Cannes, the American Film Market in Los Angeles and the London Multi-Media Market. The major sponsors of PIMM so far are the AFC, Qantas and Film Victoria and it also has the support of most of the Austra lian state and federal film and television organizations. The market was instigated by PIMM’s market director, Suzanne Wagner, and was put together after an extensive inter national feasibility study with the market’s co-director, Philippe de Montignie. At present, few Australian producers can afford to travel extensively overseas to market their products. PIMM hopes to establish a forum where Australian pro ducers will be able to meet with buyers and sellers, discuss the requirements of overseas markets, and tailor their produc tion and marketing techniques accord ingly. The Television Society of Australia has announced that it will hold its annual Penguin Awards in conjunction with
PIMM, and negotiations are underway to have the Awards televised nationally. Further details may be obtained by contacting either Suzanne Wagner or Philippe de Montignie on (03) 690 7366.
1984 Greater Union Awards The winners of the 1984 GUO awards were announced in Sydney at the opening of the Film Festival. The competition awards a prize of $1000 to the winner in each of three categories — general, docu mentary and fictional — and is open to Australian films less than one hour long. The winner of the general section was Ned Wethered, directed by Lee Whit more. Special commendations were awarded to Graeme Wood for photo graphy on Wrong Ways, Willie Zigler for music in In Search of Valuable Objects and James Valentine for music in She Whore. This section was judged by Susan Dermody (lecturer and writer), Frank Maloney (film consultant) and Phil Noyce (director). The winner of the documentary section was Shipwrecked, directed by Bill
■
Obituary [Accident] is about how characters in their lives settle down, and they stay settled all their lives, then something may happen that suddenly jumps them out of it, and they leap ahead or leap backwards, suddenly and without warn ing . .. Joseph Losey1 For American director Joseph Losey, that something came when filming Stranger on the Prowl in Italy in 1951: he was called to appear before the House Un American Activities Committee. Losey refused and was black-listed. Unable to find work in the U.S., he chose to move to Britain where he was able to get employ ment directing low-budget features under various pseudonyms (Victor Hanbury, Joseph Walton). Though more financially secure than he could have hoped to be in the U.S., Losey felt uprooted, an ‘exile’. After a varied career in Britain, where 1. Quoted in James Leahy’s The Cinema of Joseph Losey, A. Zwemmer, London, 1967, p. 156.
his fine collaboration with Harold Pinter finally helped him gain some degree of critical regard (the French had been laud ing him, rightfully, for years), Losey chose to move again. Re-establishing himself in France, he directed M. Klein, Les routes du sud, La truite and Don Giovanni. He did not make an English-language film for a decade, finally returning to Britain to film the stage hit, Steaming, which is now in post-production. Losey always dreamed of returning to the U.S. to make films. Cruelly, one American project collapsed on him only days before shooting. It was feted that the exile wasn’t going home. Losey: I’ve been asked if I’m bitter. I’m not bitter at all. But I profoundly resent the lack of opportunity to comment on my own society, my own roots, my own country.2 Joseph Losey died in London on June 22, aged 75. His career is one of the half dozen most distinguished in the cinema. Scott Murray 2. Quoted in Variety, New York, June 27, 1984 p. 28.
The Quarter
IBlSlllllBIllllllliiaiiliflllEiil
The Top Ten Films (continued) In the previous issue, G. R. Lansell looked at the “ All-Time Top Australian Films” , in terms of Australian gross film rental and rental adjusted for inflation. Here, Lansell charts the performance of all films released in Australia: That classic fairy-tale and merchandising exercise, E.T. the Extra-terrestrial, “ the best Disney picture that Disney never made” , as Variety of May 26, 1982, aptly put it, far outranks its nearest rival, the transvestite Tootsie, the latter a fairly sur prising success in an Australian context. Have we grown accustomed to Dame Edna’s face, or are both simply updates of the Brandon Thomas Charley’s Aunt (1893) drag tradition. The solitary Australian entry, Phar Lap, makes a more than respectable showing, though it is not in the same league as its more illustrious stablemate, The Man from Snowy River. Return of the Jedi has not quite the same phenomenal suc cess here that it has in the U.S. On the other hand, the glorified sitcom, Night Shift, and the science-fiction update of Hammett and Chandler, Blade Runner, did better business here than there. For the directly comparable list, “ Big Rental Films of 1983 (U.S.-Canada Market Only)” , plus commentary, see the 78th Show Business Annual (New York), Vol. 313, No. 11, January 11,1984, pp. 13 and 80. In unadjusted and therefore not really comparable terms, E.T. remains the firm favourite, though The Man from Snowy River, from more or less the same release period (an annis mirabilis for the lucky few), gives it a real run for its money. Unfortunately, because the “ Ail-Time Aussie Rental Champs” only first started appearing in the annual Variety “ Australia-New Zealand Show Biz Reviews” several years ago, one cannot adjust this 1984 list for inflation from 1940 onwards, the Australian release date for
The Top Ten Films in Australia 1983
1. 2. 3. 4. 5. 6. 7. 8. 9. 10.
E.T. the Extra-terrestrial (Steven Spielberg1) Tootsie (Sydney Pollack) Gandhi (Sir Richard Attenborough) Phar Lap (Simon Wincer) An Officer and a Gentleman (Taylor Hackford) Flashdance (Adrian Lyne) Return of the Jedi (Richard Marquand) First Blood (Ted Kotcheff) Night Shift (Ron Howard) Blade Runner (Ridley Scott)
Film and Television Institute The board of the Film and Television Institute in Western Australia has announced the appointment of Ann Macbeth as the director of the FTI. Macbeth comes to the FTI from a diverse business background in com merce, education and arts administration. For the past three years she has assisted Paul Barron to establish and manage Barron Films of West Perth. Before then, Macbeth was the founding co-ordinator of the Western Australian Young Film makers’ Festival, was involved in several Australian Schools Commission projects, did research for the Churchlands College of Advanced Education, taught with Lance Holt at his alternative school and has been a freelance filmworker.
10,852,000 4,378,000 3,379,000 3,130,000 2,231,000 2,230,000 2,100,000 1,874,000 1,708,000 1,258,000
1. D ire c to r
D ata: V arie ty (N e w York), Vol. 315, No. 2 (M a y 9, 1984), p. 41 6 .
The All-Time Top Ten Films in Australia * Not Adjusted for Inflation Australian Gross Film Rental in A$
Australian Titles in Bold Face
1. 2. 3. 4. 5. 6. 7. 8. 9. 10.
E.T. the Extra-terrestrial (19831, Steven Spielberg2) The Man from Snowy River (1982, George Miller) Star Wars (1977, George Lucas) Grease (1978, Randal Kleiser) Jaws (1975, Steven Spielberg) Raiders of the Lost Ark (1981, Steven Spielberg) The Sound of Music (1965, Robert Wise) The Sting (1974, George Roy Hill) Tootsie (1983, Sydney Pollack) Gone with the Wind (1940, Victor Fleming)
10,852,000 7,615,000 6,344,000 5,300,000 4,768,000 4,665,000 4,539,000 4,417,000 4,378,000 4,233,000
1. A u s tra lia n r e le a s e d a te 2 . D ire c to r
Data: V a rie ty (N ew Y ork), Voi. 3 1 5 , N o. 1 (M a y 2 ,1 9 8 4 ) , p. 50.
Gone with the Wind, as well as take into account any other likely, adjusted
■H i ■■■ Bennett, and was judged by Barbara Alysen (associate producer, Newsworld, ATN 7), Gary Hamilton (general sales manager, Hoyts International) and Nina Saunders (producer). The fiction section was won by Every Day, Every Night, directed by Kathy Mueller, and special commendations were awarded to Debris for special effects and Private and Confidential for stylistic achievements. The 11th Rouben Mamoulian Award, which carries a cash prize of $1000 donated by Kodak, was won by A Girl’s Own Story, directed by Jane Campion. (For more details about the documen taries in the Sydney Film Festival, see page 283.)
Australian Gross Film Rental in A$
Australian Titles in Bold Face
contenders from the 1940s up to the 1960s.
l l l l l l i l i
Although a graduate and diplomate of Murdoch University and the University of British Columbia, Canada, Macbeth has lived in Perth for the past 14 years.
nms mmmmmmmmmmmmm»
Letters Dear Sir, I refer to your July issue, p. 121, wherein you have tabulated the “ All-Time Top Ten Australian Films” . Could you please note that the correct figure for Phar Lap is $3,652,000 and not $3,130,000. Phar Lap is therefore the third all-time top grosser and not the fourth as registered in said issue. Regards, Jonathan Chissick, Hoyts. The editor replies: The figure given in the July issue was, as credited, from the list printed in Variety, May 2, 1984. What was not stated was that the figures given were calculated on rentals to January 1, 1984.
mmmmm
invention of recording to squeeze all that sound out of one electrically powered speaker and, naturally, man has yearned for “ the big sound” ever since. Stereo phonic recording is just one attempt at providing an answer. It caught on partly because of its commercial viability. Likewise, music has always been visual. Why do symphony orchestra musicians through to heavy-metal rockers dress up if it’s not? And, again, recorded music attempts to make up for the fact that it is fairly boring to watch an electric ally powered speaker going in and out by putting out packaging with lavish pictures and information about the performers. These days, though, you can get quite a thrill watching the LEDS bljgk on and off on amps, tuners and tape decks. I think it is probably more appropriate to say that video clips are part of the music retailing industry than to claim that they make music visual. Yours sincerely, Ernie Althoff, Composer
l l l l l l l l l l l l l l l l l Contributors
Dear Sir, When Russell Mulcahy said, “ It was a natural progression for music to become visual, just as it was natural for music to go from mono to stereo” , on page 141 of Cinema Papers, issue 46, I hope he actu ally meant recorded music. Ever since cavemen organized sounds in a ritualistic context, most music, except for solo songs and solo instrumentals, of course, has been polyphonic. It took the
Barbara Alysen is associate producer of Newsworld at Channel 7 in Sydney. Rod Bishop is a lecturer in film at Phillip Institute of Technology. Marcus Breen is a freelance writer. Raffaele Caputo is a freelance writer. Gilbert Coats is a freelance writer on film. Keith Connolly is the film critic for The Herald, Melbourne.
Christine Cremen is a freelance writer on film. Penny Davies is a freelance writer on film and a contributor to Filmnews in Sydney. Debi Enker is production editor at The Video Age. Kiernan Finnane is a freelance writer based in Paris. Pat Fiske is a Sydney filmmaker and sound recordist. Geoff Gardner is private secretary to the federal Minister for Finance and was form erly director of the Melbourne Film Festival. Fred Harden is a Melbourne freelance film and television producer, and has a regular column on technical information in The Video Age. Peter Malone is a freelance writer. Adrian Martin is a tutor in film studies at Melbourne State College. Geoff Mayer is a lecturer in film studies at Phillip Institute of Technology. Tom Ryan is a lecturer in film studies at Swinburne Institute of Technology. Jim Schembri is a journalist at The Age, Melbourne. Mark Stiles is a filmmaker based in Sydney.
BBBBBBBBBBBBBBBBfl
M T V Appointments Three more directors have been appointed to the board of MTV Publishing Limited, the publishers of Cinema Papers. They are David Stratton and David White, both from Sydney, and Les Pradd from Melbourne. The full board of MTV Publishing Limited now consists of eight people, the other directors being Peter Beilby, Alan Finney, Natalie Miller, Jill Robb and Tom Ryan. David Stratton is well known for his work for Network 0-28, for Variety, and as the program consultant for the Melbourne and Sydney Film Festivals. David White was a journalist for 13 years and has been federal publicity officer for the Labor Party and media secretary to Gough Whitlam. From 1978 to 1982 he worked as an independent film publicist, and has since worked as a free lance author and scriptwriter. Les Pradd is finance and accounting consultant for the Children’s Welfare Association of Victoria. Before that he was accountant and company secretary at the Melbourne radio station, EON-FM, and worked at Arthur Andersen and Co. MTV Publishing Limited has also adver tised for an editor for Cinema Papers. Applications are being sought from people with a broad knowledge of the Australian film industry and an enthusiasm for local and overseas cinema. Editorial experi ence, and the ability to liaise with authors and assign writing tasks are also pre requisites. The closing date for applica tions is August 10, 1984. MTV Publishing has also announced that a new edition of the Australian Motion Picture Yearbook is presently being researched, with an expected publication date of February 1985. More details will be provided in the next issue.
Corrigenda In the previous issue of Cinema Papers (p. 121), the AFC was cited as having committed $160,000 to a proposed screenwriters’ conference. The total budget has now been estimated at $130,000, of which up to $60,000 will be provided by the AFC. Cinema Papers apologizes for any confusion created by the error. The interview with animator Yoram Gross, announced in the previous issue as being in issue 47, is to be published in the next issue, released on September 25.'^'
CINEMA PAPERS August — 209
Set s to ry ' c tri^ e and d ‘a l t e r '1
.a g r ° : ; d i r eC*;
sotfnd Iro a c
A'»!;V^ok
c W r^
, hud^e
îrin ê*
DIRECTOR
R ichard L ow enstein is one o f A ustralia s yo u n g est and m o st exciting fe a tu re film directors. A fte r attending the alternative school Brinsley R oad, Low enstein enrolled at the Sw inburne College School o f Film a n d Television, where he wrote and directed the dram atic short Evictions, w inner o f the E rw in R ado A w a rd f o r Best A ustralian S hort Film at the 1980 M elbourne Film Festival. S trikebound, L o w en stein 's fir s t feature, is, like Evictions, based on the research o f his m other, oral historian W endy Low enstein. L ow enstein is interview ed by S co tt M urray. How did “Strikebound” origin ate? My short film Evictions, about the unemployed during the Depres sion, had left me with an unsatis fied feeling. It touched on a style that I hadn’t really fulfilled and I wanted another bash at it. I also wanted to place more emphasis on characters. The original material for Evic tions was only part of a vast amount of research my mother had done for her various books, in cluding Weevils in the Flour and Under the Hook. They are both oral histories. Weevils is based on the great Depression in Australia, while Under the Hook is similar to Stories o f the Waterfront. At that time of making Evic tions, I also met Wattie and Agnes Doig, and heard them talk of coal mining and unionism in Victoria. I was amazed at the clarity of the recollection of events 50 years ago. And, even though their idealism had been shown up to be a bit naive, because of the split in the communist movement and by what had happened in Russia, they hadn’t become demoralized. They still retained this wonderful fight ing spirit. I spent two years on and off talking to the Doigs, and filmed them four times. I also taped inter views with other people, such as
Harry Bell, who was Wattie’s best friend at the time. I then inter viewed mine managers and inspec tors, trying to build up the charac ter of the mine manager. I set out to avoid the cliché of the nasty mine manager but the real charac ter was, unfortunately, that cliché. The film is set in the little town of Korumburra, which is 30 km from the huge coal mines of Wonthaggi. Wonthaggi was a union town and, when Korumburra had this little strike, the entire town ship of Wonthaggi also went on strike, and 2000 miners and wives came to Korumburra to help the 100 miners. Some of this was cut from the film. I would have liked to have done it a bit more in depth, showing the support the Korum burra miners got. At that time, Wonthaggi had one of the highest percentages of Communist Party members in any town of the Western world. It was around 50 or 60 per cent. There was an incredible feeling of strength which hadn’t been experi enced in places such as Scotland, where if you went on strike you’d be lucky to get any strike relief. You would be just left to starve. In Wonthaggi and, finally, in Korum burra, as soon as the miners went on strike a massive organization would go into action collecting food from all the local shop keepers. If a shop-keeper didn’t
co-operate, the miners would black-ban his business. So there was a lot of benevolence from the townsfolk. At the time of the Wonthaggi strike of 1934, Robert Menzies and the Victorian government were scared that if they aggravated the situation more a republican state would be set up in Wonthaggi. And, if the Wonthaggi miners went on strike, the Victorian Rail ways wouldn’t be able to get any coal and the state of Victoria
would come to a halt. That was one of the unique things about the Wonthaggi area: because of their solidarity and the extent of their membership in the Communist Party and the union, they had great political strength. The Wonthaggi miners didn’t feel the Depression as badly as those in a lot of other areas. There was a strong fighting spirit, as well as a concern with keeping morale up, such as through the com munity singing seen in the film. CINEMA PAPERS August — 211
Strikebound — Direction
What appealed to me initially about Wattie’s story was the poli tical situation and the air of irre sponsibility. Wattie has a marvel lous description of working at a coal mine on the coast, near Kilcunda. The wheelers, who pushed the skips of coal from the coal face to the open, would each day check out what the weather was like. And, if it were a bright sunny day, they would look out over the coast and see the fish jumping, look down at the dark hole of the pit and then back at the sea. The wheelers’ billies would then slowly tip upside-down as a signal to the miners below, who would cheer and leave the pit. It was time to go fishing.
impetus to action is not from books. . .
Oh yes! It wasn’t through the teachings of Marx that, say, Agnes felt compelled to act, it had just become apparent that solidarity was the only alternative. She was in a situation where she was com paring continually her experience of militancy with that of working inside the Presbyterian church and the Salvation Army. Even though she had a very high regard for these people, it became obvious to her that what they were doing was ineffectual. The film shows the start of her transition from a conservative background to militancy. In later years, she joined the Communist In the film you don’t get that sense Party and stood for the Senate. of the miners being so eager to strike. There is reference to Wattie In your treatment of unionism you being strike happy, but you don’t have avoided the romanticized see any evidence of it . . . view adopted by many filmmakers. You don’t hold back from the That is true. There are a lot of union violence, some of which is incidents I tried to include in the quite shocking . . . film but I decided that I shouldn’t use them. They happened in towns One of my pet hates is films and other than Korumburra, and I felt television programs which roman I should keep the focus there. ticize the trade union movement. It Early on in the scripting, I had is one of the biggest untruths that made up my mind to stick to can be put across. There are a few reality rather than dramatize it too films like that which have come much. I wanted to recreate the out from England and there is also truth as Wattie and Agnes saw it. our own ‘favorite’, Waterfront. And the story of the wheelers, They are all well-meaning, but they though wonderful, would have tend to view the union as a mass of confused the matter somewhat. workers who couldn’t get their shit together if they tried, and who are Did you use the interviews with the forged into a fighting force by a Doigs at the beginning and end to dynamic leader. But from my reinforce the fact that the film is research, and from what Wattie from the Doigs’ point of view? told me, that just isn’t true. The solidarity came from the rank and Yes. It was also to drive home the fact that it was reality. I had a title — “ This is all based on actual events’’ — but I wasn’t sure how much impact it would have by itself. The parentheses were there also to bring it into a contemporary perspective, to try to make it rele vant to a contemporary society. Hopefully, everybody can gain something from its message. I didn’t want it to be dismissed as another ‘period’ film; I wanted it to be a statement of impact. I was borrowing a lot from people such as Peter Watkins and Ken Loach. Watkins’ style is something which appealed to me, and the first draft of the film was very much in Culloden style, almost like a news crew walking through. But that was toned down a bit. There are still a few bits in there, with people looking at the camera, but I would have liked to incorporate it into a more overt style. I was in such a mess while we were shooting it, as you can probably imagine. Next time it will be better. In the film you show union solid arity to be humanist and caring, rather than philosophical. Al though there is one shot of Lenin’s works resting on a red flag, the 212 — August CINEMA PAPERS
file. And, in the case of the water side workers in the late 1920s and ’30s, it was the union leadership that was in a mess. The same with the Miners’ Union. Of course, it wasn’t all a rosecolored garden. As with all unions, there were diverse elements and, whereas the official Marxist and union line was to be understanding of scabs, there were those who just wanted to beat the shit out of them.
wanted to put in a bit more, but which got lost somewhere, was that there was quite a large number of Italians and Yugoslavs in the union. They weren’t all Scottish and English miners. There was a large core of very militant, left wing Italians. But they weren’t intellectual Italians, they were working-class. That is another thing audiences have been misled about.
The role of the police is particu larly interesting in that they were called on to oppress members of their own class. But, with the It is a biased position and very exception of two scenes, such as unsympathetic. But the film does the one in which the miners hide show more diverse ways of dealing from the police behind the fence, it with scabs than a normal labor is a dilemma not really explored in movement film would. This was the film . . . one of the things which interested me particularly: how the Miners’ We had a problem there: we Union had the funds to pay the couldn’t afford any proper actors. scabs to leave town. However, I think that through the In Korumburra, scabs were character of the sergeant (Anthony treated pretty badly by the miners, Hawkins) you see a little of the but in Wonthaggi it was unheard position the police had been put in. of to be a scab. That is something They saw themselves as being which, perhaps, doesn’t come squashed between the management across in the film all that well. and the workers. They had grown When the miners find the Won up with the miners and yet were thaggi scab, they jump on him. To being told what to do by the direc be a scab in Wonthaggi was the tors of the mine. I think that comes biggest crime you could commit. across. You might as well slit your throat. The people who were scabbing Yes, but hinted at rather than ex in Korumburra in the Sunbeam plored. The only other moment is Mine were from Melbourne or when Hawkins makes a genuinely were farmers. They were in pretty sympathetic comment, and Wattie poor condition. A few of them sends him up. It turns one a bit were immigrants, who had become against Wattie . . . scabs mainly because of language problems and their inability to Oh yes, that is another know what they were doing. element. The film, as I have said, is Another thing about which I from Wattie’s point of view. He How do you think your film aligns to the position of scabs?
Locked out: militant miner Wattie Doig (Chris Haywood) stares through the gates o f the Sunbeam Mine. Richard Lowenstein’s Strikebound.
Strikebound — Direction
Financing
Character transition: from conservative member o f the Salvation Army to engaged militant. Agnes Doig (Carol Burns) in Strikebound.
At one stage, didn’t you intend taking this collaboration even How did you get the production further with regard to salaries and together and involve yourself with investment? producers? It was very important to me that When I was writing the first all the investors felt involved. I script, I envisaged the film as a tried to bring the investment level 50-minute, 16 mm, dramatized down to $1000 so the cast and crew documentary. I wanted to make a could invest in the film, and work film with my own people, with in a communal way. We achieved those who had worked on Evic it to a certain degree but not nearly tions. At best, I thought I would be as much as I had hoped. able to raise a $100,000 grant from At the time, we had the pro the Australian Film Commission. I spectus wrangle with the tax laws didn’t want to go to a big-time and we just didn’t have the $50,000 producer and say, “ Hey mate, do to do a prospectus. Our original this film for me.” budget was $600,000 and here were lawyers saying we had to spend It is typically Swinburne to use $50,000 on a prospectus. So what we ended up doing, and a lot of one’s friends . . . credit goes to Miranda Bain [joint Yes, it is very Swinburne. In producer] for figuring this out with fact, there was a huge proportion Ian Baillieu, a lawyer, was to set of both past and present Swin up a limited partnership. Every burne people on the crew — some investor thus became a partner in thing like 70 per cent. the company. But we couldn’t I really like the way Evictions have more than 20 investors, which evolved. It didn’t happen with an destroyed my view of all the crew auteur director saying, “ It must be and cast investing in the film. If this way.” It happened with a you have 20 investors on a budget group of people getting together of $600,000, that means $30,000 and throwing ideas around. I each. wanted to duplicate that situation That was when the whole com because I knew it could work very munal idea started to be com well. Of course, it can get out of promised. It was doubly unfor hand if it turns into hippie film tunate because it turned out that making, where you sit around talk someone like Andrew de Groot ing about each shot for about an ended up working for 12 weeks, at hour. 80 hours a week, and earning only We had a camera operator, Paul $350 a week, plus a percentage in Eliot, who is an amazing film the film. But his percentage is a maker in his own right, and he percentage of the production com continually suggested shots, as did pany’s percentage and he will be Andrew de Groot [director of lucky if he ever gets anything. photography]. There was con With the camera crew, I felt that tinual feedback the whole time. everyone’s input would be and
should be the same. Every person in my camera crew was a qualified operator and I felt it was bullshit that the camera assistant should be on $100 less than the camera operator, who is on $100 less than the director of photography. So we agreed on a set rate for everyone. This helped break down crew hierarchy. I find this a wonderful way of working. The Macau Light Com pany is trying to get a project together at the moment in a similar way, and they are doing it prop erly. Unfortunately, we com promised. What was the final budget on the film and did you feel restricted by it? The final budget was $750,000. So, it was a low-budget film, but that didn’t mean it had to look low-budget; it didn’t have to be a Man of Flowers. I didn’t really feel restricted by the budget, but it was annoying that while we were trying to get people in Wonthaggi for nothing or to lend us props for free, back in Melbourne there were people sit ting back with a brokerage fee of $30,000 or whatever. There was an enormous amount of dedication from everyone on the film and people were working for next to nothing. The final crunch came in the middle of the film when Actors Equity1, which had turned a bit of a blind eye to us using local extras, Concluded on p. 291
was the main source for research. But I did see other people in the town of Wonthaggi, and they said, “ Oh, Wattie wasn’t the angel he’s made out to be, you know. There was a dark side to him, too.” I 1. Actors and Announcers Equity Associa tried to show that. It wasn’t all tion of Australia. idealized. Wattie couldn’t relate to the ser geant’s position and Chris was great in getting that across because that is similar to Chris’ character anyway, to do those sorts of things. One of the interesting things about dramatizing the police was that it wasn’t the cliché of their shooting the workers. But the police and some members of the government were very worried about the threat of a workers’ revolution in Australia. The com munists and the unions thought it was a certainty. So the police tried to keep their options open. They knew that if there were a socialist upheaval, the people who were now the workers would soon become the bosses. So a lot of people, especially those in higher echelons of society, played both sides. The police had all these worries apart from treading on people they had known all their lives. They were also aware of the irrelevance of organizations such as the Labor Party. That could have been ■ ■ stronger in the film, too. One thing Agnes said was that the only way for her to go was with the Left wing militants because the Labor Party was not an alternative — a bit like now. Representation o f mine management and police: the manager (David Kendall) and a police sergeant (Tony Hawkins). Strikebound. CINEMA PAPERS August — 213
&few3e Gioot DIRECTOR OF PHOTOGRAPHY
On the strength o f one fe a tu re alone, A n d re w de G root has been acclaim ed as one o f A u stra lia ’s fin e s t directors o f photography. H is dram atic use o f low light levels, and his sensitive use o f the advantages and disadvantages o f Super 16, on which S trik eb o u n d was shot, suggests a courageous, new approach to fe a tu re film photography. L ik e L ow enstein, de G root is a graduate o f the Sw inburne School o f Film and Television, where he sh o t several short film s, including L o w e n ste in ’s Evictions. D e G root is interview ed by S cott M urray. What was the look you tried to achieve in “ Strikebound” ? It was a natural look as opposed to the manipulated lighting look of drama and melodrama, where the main audience attention is on the characters. In Strikebound, Wattie and Agnes Doig could have been portrayed as heroes by using dramatic devices, but that would have been a misrepresentation. They were important people, of course, involved in the struggle. The situation was primed for action, and Agnes and Wattie became the catalysts for that action, that revolt. Even though Strikebound is the story of a particular stay-in strike, that story has happened many times, through various industrial revolutions and action. A lot of people who have been involved in workers’ struggles would recognize that story and be able to relate to it. Consequently, I wanted to pre sent quite an ordinary feel for Wattie and Agnes. I didn’t want them to stand out above the rest, anymore than what was illus trated by their actions. I thought the best way to do that was to find a style half-way between documen tary and drama. It isn’t totally naturalistic. You can see that in the sequence where the old miner has the classic vision of the oppressive 214 - August CINEMA PAPERS
ness of the mining life: the coal seam caves in on him and you can see his hands struggling up through the rubble. Of course, a lot of the mining scenes are covered in a documen tary style to make the audience aware of the appalling working conditions in the mine. To have dramatized the situation would have changed what it was actually like. One of the horrible aspects of being in a mine then was that you could only see what little your car bide flame illuminated for you. If you put something down beside you and you couldn’t remember where, there was no way you could see it, even if it were only three1feet away. § Did you use any artificial light in the mine? Only in the opening mine sequences. I knew I couldn’t start the film with 20 minutes of murki ness, so I used just enough elec tricity to help the audience get an idea of the geography of the space the miners worked in. Once that had been established, I used less light and just went for faces. I lost the walls altogether. And, during the climax of the story, when the miners barricade themselves in the mine, I just went with the natural light of the carbide flames.
What stock did you use in the mine? We used 7293, the prototype, high-speed stock from Kodak. That has since been replaced with the official high-speed stock, 7294. The new stock is 320 ASA, whereas ours was rated at 250 ASA. We actually rated it at about 800 ASA to help shoot with car bide illumination, which only has the strength of about a dozen candles. On that rating, the color is
saturated and you don’t get a nice skin tone at all. It is very grotty and murky. Similarly, when we were shoot ing the mine exteriors, I pushed the normal, 100 ASA stock one stop to grotty it up a bit. Were you concerned about the grain, particularly in the under ground sequences? No. The blacks stay black and the grain is in the skin tone only,
Strikebound — Photography
which is fine for the look we wanted. We didn’t need to have grain on the exterior shots of the mine, but we introduced that intentionally to help match the mine interiors. The main problem was matching the grain, which is almost imposs ible if you are going for natural istic lighting. Unless you control and unify all the different light levels, you cannot match the grain. And if you are going to do that, you might as well light it all up to a brighter level and forget about grain. That would be easier — but, with Strikebound, less appro priate.
photographed in a more conven tional manner. You do focus on her, on her eyes. Particularly in the church during the inter-cutting of the two songs. That is one of the few points of insistent close-ups in the film . . . Yes, and also the scene of Agnes at the police station. That is a very conventional scene, in all respects. The lighting is very Hollywood-style, very artificial. It concentrates on the intensity of Agnes’ feelings, and how she will no longer tolerate this oppressive status. You can see the conflict of loyalties at work there.
You started talking about “ naturalistic” and now you are using the word “grotty” . Are they necessarily the same?
You have talked about your light ing style. What about lenses? Did you set yourself any restrictions?
I am talking only about the mine location which was as grotty as you can imagine. In the scenes in the town, I went for a more natural look, as opposed to naturalistic. With those exteriors, I worked out what was happening naturally then did my best to get that on film Occasionally, I reflected light in under the odd awning if it was too dark, but generally I just played with the latitude of available light. The bright sunlight might equal 100 units, whereas under a verandah it might be only 30 units of light. So you choose an exposure which gives the best rendition of the natural effect.
sphere of what it was like to live in houses directly controlled by the miners’ working situation. Miners could only afford little houses with little windows and very cheap electrical lighting. One light bulb gave far less light then than it does today. At night, you had to work right next to the light. That is why I often used real elec tric household lights as opposed to movie lights: they give that real im pression of coming up to where the light is. And when you walk away from the light source, the light falls away quickly and you find there is none in the corner. Today, that is On your interiors in the Doigs’ not the case because electric house, you often go for an illumination works differently. exposure which is pretty much that They get more watts from the coal of an exterior seen through a these days. window. That means the inside of the house is very dark. That is a Do you ever get negative reactions dramatic approach rather than from actors about the low light levels? naturalistic . . . Naturalistic lighting does have dramatic manipulation in it. You are just imitating certain elements of natural light. So I was often happy to shoot people in silhouette if I thought the particular moment in the drama didn’t call for seeing the exact expressions on their faces. It was more a general atmo
Yes. Some actors don’t like it at all. One actor, Rob Steele, used to talk to me after rushes about how he felt it was unfair not to light people’s faces. I discussed the various reasons why I had done it, reasons related directly to intensi fying the story. Rob felt Strike bound was a film about characters
and their differences. I felt it was the story of a struggle, not of par ticular individuals. It is almost a literary device when you don’t light actors’ faces. If you can see their silhou ettes and you can hear them, and you know the situation they are in, then you can use those elements to feed a more concentrated, particu lar expression in to the audience’s mind, rather than just an acted expression to the situation. With Strikebound, the audience has to be able to identify far more with the characters than they would in a film with heroes. You don’t have to imagine yourself as being a particularly daring or ener getic character. You can see your self being Wattie or Agnes, or any of the other miners or wives. You can relate to them, even if you don’t wish to be like them. That’s part of the politics behind the story: no one is more special than another. Agnes, of course, does go through a character transforma tion and her character shows the audience how one can go from a state of conservative acceptance to one of militancy. In that way, Agnes’ shift in loyalties is classic in story-telling, which is why she is
Strikebound doesn’t have a strong concept in lens continuity. That was for practical rather than aesthetic reasons. We were dealing with very low light levels and they give you terrible depth of field. Using wide-angle lenses helped us out of a lot of these situations. We would occasionally use the 9.5 mm, which is ultra wide, but usually it was the 12 mm or 16 mm. To contrast that and to make the use of wide-angle lenses look a deliberate style, rather than the practical considerations it was, we also used extremely long lenses: 300 mm and 600 mm. Often the 600 mm shots are cut directly with 12 mm shots. Part of the lens concept was to keep a documentary licence. The main unit operator, Paul Elliot, and the second unit operators, Dave Knaus and Steve McDonald, all have great documentary experi ence. This was premeditated crew ing so that some freedom could be given to cover action in an instinc tive, ‘documentary’ manner. Paul mixed this licence with dramatic framing as well. Also, because the film is often edited as a montage of concurrent events, the lens continuity wasn’t as important as if the story were presented chronologically. By moving from location to location, the lens cutting and lighting con tinuity weren’t as important as usual.
Super 16 Why did you use Super 16 rather than 35 mm?
Carbide illumination in the mine. Strikebound.
It was easier. We had to work in a real mine, and a 35 mm camera would have been too cumbersome. We would never have been able to carry out our concept of taking the audience down into a mine and making them feel they were rubbing shoulders with the miners; we would have had to distance our selves from the action. Concluded on p. 287 CINEMA PAPERS August — 215
SOUND
The so u ndtrack o f S trik eb o u n d has been praised as one o f the m o st exciting and innovative since the A ustralian fea tu re film revival in the early 1970s. The so u n d recordist and so u n d editor was D ean Gawen, the so u n d m ixer G ethin Creagh. W ith director R ichard Low enstein, they are interview ed by film m a k e r P a t Fiske.
216 — August CINEMA PAPERS
What was the original concept for the soundtrack? Richard: I felt it should be a fairly industrial soundtrack, on a wider and more complex scale than most films. It needed thinking through very carefully so that the sound worked with the images and the dramatics of the film. We always thought that there would be no music, and that the sound would have to fulfil that role. For example, in Mad Max 2 all the dramatic points are punctu ated by huge symphonic bursts and I am pretty sure that a musical score like that wouldn’t have worked on Strikebound. We had to think of ways in which the soundtrack could heighten the dramatic points. We brought Dean in pretty early. Given the delays in starting production, we had been talking to him for about six months. So he had a fair amount of time to look at the script and think about the sound. Because he was doing both sound recording and sound edit ing, Dean was like a sound designer.
Dean: I wanted to do the film for two reasons: because of the editor, and because Richard and I have similar taste in music. I had thought about the sound a lot, but it was very much from a musical point of view. Richard: We tried to structure the film in rhythms. There was the synch sound and there was the music, which we saw as sound effects. We were very influenced by others on the crew and by what we were playing on location, which was a very rhythmical type of soundtrack, a lot of drums and things like that. I think that tied into one of the guys we worked with on the soundtrack, Greg Perang, the percussionist from Hunters and Collectors. He gave us a lot of ideas about actual sounds. We spent a bit of time working out how we were going to fill in for the lack of conventional music. A question which is often put to me is, “ Who did the music?” We have to explain that we used the sound effects as music. And the quality of Declan Affley’s song just blended in. We knew the sort
Strikebound — Sound
of feel we wanted. Throughout the editing and the track laying, I was trying to bring it down to some thing specific, trying to pin it down to what I wanted. I was trying a few composers out and talking to a few people and it was always, “ No, it’s not right.” We tried working with a Fairlight but that wasn’t right. We ended up coming back to something basically very simple. Gethin, when did you get involved with “Strikebound” ? Gethin: My first contact was when I saw a rough cut on video at Colorfilm. I loved it straight away. It had a nice documentary feel. When the fine cut finally arrived, it had evolved a lot more. It was much more musical and richer. Did you understand the feel that they wanted to get across? Gethin: It seemed that my cue points were really the underground scenes in reels one and two. I ran through what Dean had selected and it was obvious how it should sound from that. You had to listen to the choice of effects, rhythms and machines, and how they had been juxtaposed. Then you under stood that the rest of it had to be like that, weaving in and out of the dialogue. Dean: Richard kept stressing that he wanted the sound to be arrhythmical, like anti-rhythms. Richard and I saw the film as stereo and never in any other terms. People think stereo is a flick of a switch whereas it is genetic; it starts from the shoot. What difference does it make when you are shooting in Dolby Stereo? Richard: It actually involves a lot more location time because you have to cater for movement, for the sound going from left to right or back to front. Dean: The crew was magic. Everyone was really concerned about the sound. They saw this film as sound and vision, not just picture. Richard: We wanted real stereo, not just stereo music and mono sound. And to do that we needed proper shooting and editing time. But we had a very tight budget and people who didn’t understand what we were talking about. Today you can talk to a pro ducer and they understand what you are talking about because stereo is all the rage. But one and a half years ago, they looked at you as if you were a freak. They thought we were just wanking. I was getting it from everyone — producers, Film Victoria — and it was just ignorance, basically. The same people who said, “ What are you talking about? The investors won’t pay for that” , are now say ing, “ Great, I wish you had spent more money on stereo.”
While we were mixing I learned what the system was capable of. Knowing what we could have done with more money was so frus trating. Are you generally happy with it? Richard: Well, 50 per cent. What would you do differently? Richard: Do it all again! We would have a longer shooting schedule, not only for directing the film, but also to record things properly, and have more realistic editing and mixing time. In terms of the sound, is there any thing specific you would change? Dean: I would like to add more sharp noises and increase the dynamics between the loud and the soft bits. We never had a chance during the mix to sit down for half an hour and think about what we were doing. I think you should mix a film twice. Gethin: I would slightly com press the dialogue if I had another go. You would be able to turn the level up more and then the effects would come through. Dean: But because the crew was so fair, we recorded great dia logue. Gethin: It is really clean. It is as if it were recorded in a studio. How much post-synching did you do?
Top: Wattie and Agnes: source material and the point o f view. Above: Idris Williams (Hugh Keays-Byrne), leader o f the Wonthaggi Communist Party, leads miners, wives and children on a protest march over the use o f ‘scab’ labor. Strikebound.
Richard: The only post-synching we had to do was to change names for legal reasons. We had inadvert ently used the name of a real mine manager. To Dean’s credit, he kept reminding me during the shoot, while my head was in the clouds, that synch sound was important and that there shouldn’t be any post-synching. Dean: The Strikebound situa tion was unusual in that we did
things differently to the way I had been taught. Although I had no idea that we would get as complex as we did, I was always laying tracks in my head, thinking, “ Well, I need that.” The crew was great; they would ask, “ Why are you doing that?” and it kept making me think. I couldn’t put anything over on anybody, not that I wanted to. But because this was the first Concluded on p. 288 CINEMA PAPERS August — 217
Festival International du Film, Cannes, 1984
The Thirty-nine Steps
Geoffrey Gardner Cannes, for the first time, tends to overwhelm those formerly with encyclpaedic tendencies. Hundreds of films are on show and a huge selling opera tion is always underway. On inspection of the process, one wonders whether in fact any other industry ever feels the need for similar ostentatious displays, similar amounts of conspicuous con sumption or similar degrees of vul garity as it goes about its commercial transactions. This conspicuous con sumption is mostly neither here nor there: after all, it is mostly paid for by bankers or grateful taxpayers. How ever, one must question the taste of the same couple of hundred people who turn up to eat and drink at the expense of the Indian and other third world governments. In Cannes, no one raises an eyebrow when buyers announce a purchase without bothering to see the film. Adventures in the film trade are un related to merit, or even a judgment as to how a film was received by its audi ence. Adventures for reviewers relate to patience and programming. John Gillett’s famous “ book” remains a model for all. “ I’ve got time to see one Australian film. What should I see?” , asks an American reviewer of an Australian. The answer came back “ Strike bound” , thus starting a ball rolling and simultaneously relegating a dozen films to also-ran status. As for myself, I can only claim that what I saw was less from a desire to provide a view of everything and more from an instinct which said that going down the alleys of my own preference was simply more pleasurable than slavishly tracking through the official selections. If that included the occa sional lapse into bad taste (such as Howard Avedis’ New World produc tion They’re Playing with Fire) or nationalism (Philippe Mora’s A Breed Apart) at the expense of a Marta Meszaros film or the Merchant-Ivory production of The Bostonians, well, apologies all around.
The Competition The official selection remains the most competitive game in the world, if not the only game in town. The roster of big names presenting their work for inspection provides an interesting testi mony to the power of the Competition to affect the world’s markets. The number of films presented out-of Competition, simply for the cachet of a screening in the new Palais, adds strength to the argument. Films by 218 — August CINEMA PAPERS
Ingmar Bergman, Woody Allen and Sergio Leone, and blockbusters from Alain Corneau (Fort Saganne) and Roger Donaldson were all presented in this way. A producer with a sharp eye for publicity hired the Palais for a “ private” midnight screening of A ndrzej Z ulaw ski’s La femme publique (The Public Woman), which proceeded to cause chaos as hundreds rushed doors in vain. The exercise proved so successful he repeated it twice in other cinemas. I never met anybody who actually managed to see the film. Beyond these circuses remained Paris, Texas, Wim Wenders’ remark able film which, unlike Hammett, demonstrates a distinctive response to the American landscape. A line from the earlier Lightning Over Water comes back to provide a point of entry to the film. Wenders watched The Lusty Men and calls it the best film ever made about coming home. Paris, Texas is a film about re-connecting and dis connecting within families. Every reunion is paralleled by a break-up and each carries an intense emotional change. At long last, it may be that there is an inheritor to Nicholas Ray, the master artist who within a Cinema Scope frame placed his characters at odds with themselves and adrift in the universe. Wenders’ lonely individuals, each seemingly alone and separate even from those they love, move inexorably toward the only reunion that offers any lasting hope and in the process destroy the fragile connections between each of the other characters. His choice of locale for the film’s anti reunion between Travis (Harry Dean Stanton) and Jane (Nastassja Kinski) goes right to the heart of the non-com munication affecting his characters’ lives, situating their discussion in an artificial ‘peep-show’ where pathetic
fantasies are sold to eyes in the dark ness. The final image of Travis alone in an Edward Hopper urban landscape is among the finest in modern Ameri can cinema. Wenders would seem at first an un likely candidate to pick up the mantle of Ray. Ray’s violent and dynamic dramas set in a hostile landscape have here been filtered through a conscious ness that produces characters that are simply troubled and disordered. They find no relief or extinction in violence but go on living in “ quiet despera tion” . Wenders has stripped the genre conventions out of Ray to go to the heart of the failure of people to con nect. The irony of it all is that the American cinema itself is in no state to even contemplate such work and as a result the film is a German-FrenchBritish co-production. It won the Palme d’or. Bertrand Tavernier’s Un dimanche a la campagne in other years might easily have won the Palme d’or without any adverse reaction. Perfect within its own terms, this is the quintessential French art movie: tender, endearing, gently humorous and beautifully shot in summery light by Bruno de Keyser. An old man living in the country with his crotchety maid is visited by his two children and his son’s wife and family. During one day, Tavernier shows how each life is blighted by its failed ambitions and ruined hopes. If there is any quibble with this, it is simply that the film is so limited in its own ambitions and so predictable in its development. This is Marcel Carne brought up-to-date rather than Jean Renoir renewed, and in that distinction I would see both a failure of nerve and a failure of imagination. For Lino Brocka, there is no desire to escape into the past. His films are the stuff of today’s newspaper head
lines in The Philippines, and Bayan ko (My Country) is the best and most assured of his films I have seen. His micro-subject is a strike in a printing factory producing, by archaic labor intensive means, cheap pamphlets. The workers strike, the factory owner brings in scab labor and the strike leader runs into the whole “ rich versus poor” apparatus of The Philippines social structure. His wife gives birth and runs up enormous hospital bills thrusting, as Brocka says, the social melodrama into film noir through the husband’s increasing desperation. Beneath this plot, however, is Brocka’s most complete critique of modern Asian capitalism. Here is a telling indictment of those societies whose enemies have been recon structed from feudal-agricultural to feudal-capital, allowing a tiny entre preneurial class to repress its working class and the unemployed so as to com pete with the advanced western econo mies. The rich live well (big houses, private hospitals); the poor, despite being employed, live in poverty. Brocka’s film is scrupulously fair in its analysis. The police are not villains, the doctors in the private hospital do no more than explain their predica ment; the analysis is complete. Brocka, of course, could not make a film which represented the overthrow of the system. He stops short of that. His argument, however, is compelling enough as it stands. The Brocka film went unnoticed by the jury which clearly preferred its films to have a little more artifice about them. In this context, two films by veterans, possibly the last for each, provided an interesting study in con trast which demonstrated an even more intriguing set of preferences. John Huston’s Under The Volcano and Satyajit Ray’s Ghare baire (The Home and the World) are both based on novels and both require special handling. Huston and his adapters un doubtedly had the more difficult task before them. Both had the advantage that few seeing the films had read the novels. Huston’s film was certainly the centre of attention. Its uncom promising qualities are clearly estab lished by its unflinching concentration on the drunken slide into death of its central character on the day in which Mexicans celebrate the Anniversary of Deaths. Relentlessly forsaking all offers of help, kindness or love, Geoff rey Firmin (Albert Finney) heads down a suicidal path with a flamboyance that cannot mask the pain he feels despite the enormous amount of alcohol consumed. Finney’s flam boyant performance is technically adroit but the film somehow remains coolly aloof from all this suffering. Huston is too detached from the
Cannes Film Festival
Werner Herzog’s Where the Green Ants Dream: subject of controversy at Cannes. Phillip Adams complained, Herzog was silent.
Top: Geoffrey Firmin (Albert Finney) on a suicidal path in John Huston’s Under the Volcano. Above: Satyajit Ray’s The Home and the World: slow and precise movement.
vicious whims and self-abuse of the real drunk before him to develop a total sympathy. As it is, the film still is intense enough for audiences to find it an unpleasant experience. One must doubt whether it has any real prospect of finding the mass audience for which it was designed. Satyajit Ray’s films have never enjoyed a Huston-sized audience and his The Home and the World is a fit ting final film from a director who, unlike Huston, has never com promised with his subjects and never allowed himself to be swallowed up by any assignment. Ray is again probing the likely limits of human liberation in a society beset with tradition, supersti tion and an iron-clad class structure. The tentative efforts of Nikhil (Victor Bannerji), the governor of a province,
to encourage his wife to leave the home and enter the world are contrasted with his reaction to the violent but ineffec tive revolt being led by the governor’s friend Sandip. The wife falls for Sandip, and personal and political conflicts collide, only for both to be resolved in ineffectual death. As usual with Ray, the slow and precise move ment, the confinement to one locale and the unleavened seriousness all make for a film for the minorities of the world film-going audience. An interesting point is raised, how ever, by the relative treatment accorded to Ray and Huston by the jury. Having been voted out of conten tion for a real prize, Huston was then given recognition by virtue of a prize for his career output. One assumes that the jury was completely aware
that side by side with his modest number of triumphs there are a succes sion of assignments, listless outings and straight turkeys. For every Maltese Falcon there was an Across the Pacific. And what sort of a career was it that produced in succession Heaven Knows, Mr. Allison, The Barbarian a n d The Geisha, The Roots of Heaven, The Unforgiven, The Misfits, Freud, The List of Adrian Messenger, Night of the Iguana, The Bible and an episode of Casino Royale between 1957 and 1967? The award, and the lack of a similar notice to Ray, indicates only how much the American cinema, not just its production but its distribution and exhibition, dominates the western world. Without the Americans attend ing and competing, the European festivals are inevitably less important. The opposite side of the competition between these giants was the entry for the first time of films from Ireland, Cal, and New Zealand, Vigil. Both are low-key, sexually-charged melodramas with a certain exotic quality that springs, in the first instance, from con flicting political and religious loyalties and, in the second, from the spectacu lar locations and a sense of the bizarre that provides enough plot twists to keep the banality level down. Both are determinedly down-beat. These quali ties are worthy of recognition though they cannot hide some fairly funereal and humorless pacing. These films would seem to occupy the place that might formerly have gone to an Australian film but obvi ously this year’s production list con tained nothing to please the selectors’ eyes. Instead, Australia was misrepre sented by Werner Herzog’s Wo die grunen ameisen traumen (Where The Green Ants Dream). People took this film seriously and were quite happy to overlook the sloppy sound recording, erratic acting and Herzogian blind alleys (the lady with the dog!). True, the Aboriginals in the film did have a silent dignity, and the inexpressive delivery of lines by them contributed to this image as well as providing sharp contrast to much of the mugging and leering of the cast (whose supporting
cast is almost identical to that of Man of Flowers). Herzog himself was prepared to state that the film simply drew on the basic confrontation about land rights to veer off into its own flight of inven tion. However, the program note said only: A group of Australian tribal abori gines struggles to defend a sacred site against the bull-dozers of a mining company. It is the place where the Green Ants dream. Not very enlightening and Herzog can not be at every screening to talk about his “ private mythology’’. Audiences will ponder about the idiotic Euro peans, their explanations of the pheno mena of the title and the representa tion of the meaning of sacred sites, via a scene in a supermarket involving an unkempt shopkeeper (masterfully played by Bob Ellis). Chairman of the AFC, Phillip Adams, was sufficiently upset by all this nonsense, particularly the mis representation of the Australian Government’s position, to issue a statement which was widely reported in the Cannes press [see box]. Neither Herzog nor any of his collaborators, Australian or European, issued any reply. Finally, mention must be made of Marek Kanievska’s Another Country, a film whose splendid dialogue and acting hide the fact that its central pur pose is not achieved. Setting out to define the link between education at Eton, youthful homosexuality and traitorous behaviour, the film fails to pull together these linkages. However, it does provide a portrait of the deadening influence of a class-ridden and hidebound education system. Another Country’s photography and its verbal dexterity hide its wider failures. It was, of course, not the only failure on show. Carlos Dieges’ Quilombo had the distinction of being the only film in Competition to empty out the theatre. There was also Berg man’s After the Rehearsal, a post script to an allegedly completed career which might have been better off CINEMA PAPERS August — 219
Cannes Film Festival
unmade. Three characters torment themselves and each other in the longest hour-and-a-quarter of the Festival. If this psychological claptrap had been submitted by any other director it would have got a very quick shove from the selection committee. As it is, it will probably have a little career on television, for which it was made. No doubt 0-28 will feel it a bounden duty to inflict it on Austra lian audiences and The Age and Sydney Morning Herald television guides will feel a similar duty to review it with reverence. The official selection was closed with Roger Donaldson’s The Bounty, a strong and highly likeable tale of the sea done with reasonable skill and which pays attention to keeping the story moving. On a high-priced epic such as this, these virtues often go un rewarded. Donaldson has pulled off his assignment with a decent amount of skill and flourish and, if the box office responds as it ought, then he should get more opportunities in the big league. Around the Festival there was relief that one had been spared the David Lean version of these events. One can see just so many sunsets.
Australian participation What with Herzog misrepresenting us and the runaway Donaldson showing how to do it, it seems that Australia was in a bit of a trough. With only Paul Cox’s Man of Flowers in any official section, the AFC was left to plug along in the market. Chairman Adams was pleased enough with the efforts to put his name to a press release which included the following: Australian films that have created the most interest this year are Paul Cox’s Man of Flowers (about to open in Paris this month), Ross M atthews’ Fast Talking, Joan Long’s Silver City, New Wave direc tor Richard Lowenstein’s Strike bound and Gil Brealey’s Annie’s Coming Out (the latter to be released shortly by Hoyts in Aus tralia). Actresses Angela Punch Mc Gregor (Annie’s Coming Out) and Gosia Dobrowolska (Silver City)
Fletcher Christian (Mel Gibson) in Roger Donaldson’s The Bounty.
Stephen Frears’ “first-rate caper”, The Hit.
added glamour and warmth to the Australian participation heightening media interest enormously whilst Lowenstein has become Tenfant terrible and cause celebre’. Major events generated by this year’s festi val include a prestige presence at Montreal Film Festival in August (13 films), invitations to Lowenstein and Strikebound for Venice, London, New York, Toronto and Filmex (Los Angeles) festivals and a further invitation for Gosia Dobro wolska and Silver City to at tend Filmex for the period of the Olympics. Business interest particu larly in the above films has been highly encouraging. Now this was interesting, and one must assume it is not a teeny bit tongue in cheek. Disturbing questions are opened up. Is there a New Wave in Australia? If so, where? Is it one of our better kept secrets? And what of Razorback? That was a film which packed in audiences and had at least a few people conferring extravagant praise. But back to reality. The question that really must be asked is whether the methods for marketing Australian films at Cannes via endless screenings in a large market cinema are either desirable or cost-effective. There was little interest in about a dozen other
films, each of which was given several screenings to minuscule or possibly non-existent audiences. Currently, the efforts to sell Austra lian films are fragmented and unco ordinated, with producers, sales agents and the AFC often tearing off in different directions. The time must be near for the AFC to take a more decisive role and simply insist that where taxpayers’ money is involved (be it through investment or tax conces sions) that it should have more say in how films are sold. For its part, the AFC probably needs to produce better results for its marketing effort, or greater effort, if it is to obtain the con fidence of producers or investors in its capability. Finally, the Australian contribution in two other areas cannot be over looked. The problem of pursuing a languid career in Hollywood was acutely dramatized in Philippe Mora’s A Breed Apart. The problem of getting your vital details exact was acutely dramatized in Stephen Frears’ other wise first-rate caper, The Hit. Here one had to sit and watch a scene in which Bill Hunter is watching a video tape of Hawthorn playing Essendon
Erland Josephson, Ingmar Bergman and Lena Olin during the filming o f After the Rehearsal.
220 — August CINEMA PAPERS
AFC Press Release Prior to my appointment to the Aus tralian Film Commission I was ap proached by Werner Herzog seeking assistance for his film Where the Green Ants Dream. Having met Werner at the Cannes festival and greatly admiring his work (in particu lar his valiant efforts on behalf of indigenous peoples in many parts of the world), I was happy to help. As a member of a number of committees concerned with Aboriginal Tan3 rights, I was able to introduce him to black activist friends and suggest the casting of Aboriginal artist Wanjik Merika in a leading role. Delighted to think that Werner would focus world attention on the issues, colleagues in our film industry and the AFC also did their best to facilitate the production. Now, having seen the film at Cannes, 1 must register the com plaint. No, it is not that Werner has borrowed my name for one of the film’s more villainous characters, it is that he has, I hope accidentally, misrepresented the position of the Australian Government on Abori ginal land rights: The film infers, and indeed in one
and the soundtrack has Peter Landy describing a Carlton versus Essendon match. Perhaps that is a subversive comment on Australian television and not a mistake.
The Alternative Cannes is quite specifically the very present of narrative cinema. Anything else occupies such a marginal position as to be almost entirely overlooked. There was a small selection of modern French filmmaking but its examples, such as Philippe Garrel’s Liberté, la nuit (Liberty at Night), caused massive walkouts. In fact, Garrel’s film, the first of his work I have seen since his La révolutionnaire in 1974, was a work of great emotional intensity focusing on his father’s experience during the period of the Algerian War. A willingness to allow each scene to be played in its actual time, thus creating longueurs for an audience conditioned to the energetic shorthand of American models, was also found in Bless Their Little Hearts (directed by Billy Woodberry and with a screenplay by Charles Burnett), the only film in courtroom scene postulates, that the A u s tra lia n G o v ern m en t both opposes land rights and ridicules Aboriginal culture, in particular dis missing the significance of their sacred sites. This is simply untrue. On innumerable occasions the Aus tralian Government has appeared in court on the side of the Aborigines, Recently, in a dramatic, symbolic and highly controversial decision the Government handed Ayers Rock, Australia’s most famous natural monument and a major tourist centre, over to Aboriginal control. Such decisions have provoked regional electoral backlashes, but they have been taken. Werner stresses that Where the Green Ants Dream is his “ private mythology” and I have no wish to inhibit his freedom as an artist to make any interpretation he wishes of our country, but when his “ private mythology” contradicts the facts, and misrepresents the view of the Government which is making every effort to redress the injustices and in sensitivities of the past, I feel obliged to comment. Of course I do not seek to com ment on the production qualities of the film or the style it embraces.
Phillip Adams
Cannes Film Festival
the Critic’s Week which I managed to sit through. Woodberry’s film, like Burnett’s earlier Killer of Sheep, examines the lives of working-class blacks in Cali fornia. The poverty here is genteel, largely because the wife, and this is a source of tension, has a job while her husband is forced to take whatever casual work he can find. This situation leads to his loss of self-esteem, the straining of their sexual relationship, his affair with another, richer woman and his fear that his children have lost their respect for him. Shot virtually without any compression of scenes into dramatic cores, audiences find it difficult to retain concentration on the minutiae of daily routine it presents. However, the method itself, as much as the subject, is a rejection of the Hollywood models which geographic ally at least live side by side with this interesting sub-strata of American film. As such, Bless Their Little Hearts, like the Garrel film which is far more complex in its narrative tech nique, warrants discussion for its contribution to the battle against the Hollywood model of narratives taking place in the independent sector. To one side of all this was the French Cinema Perspectives, a selec tion of commercial French filmmaking during the past 12 months or so. Here was included Volker Schlondorff’s Un amour de Swann (Swann in Love), his faithful and quite effective adaptation of Marcel Proust, and Wajda’s Love in Germany, apparently shortened and re-edited since its less than rapturous reception at Venice last year. My enjoyment of the film apparently was not shared by anyone else. Then there was Jacques Rivette’s L’amour par terre, materializing on the last day and, probably as Rivette would wish, casting a spell over those few who managed to find their way to the screening. In the film, two actresses agree to participate in a drama to be presented in a play wright’s home. It turns out that the drama is highly autobiographical and offends his friends and his audience. It also turns out to be Rivette’s funniest, most playful, most absorbing and most polished film, certainly since Celine et Julie vont en bateau (Celine and Julie Go Boating) and probably including it. But, such a judgment must be weighed by the contradiction inherent in trying to form a reasonable attitude to the fortieth new film in two weeks, all seen without the aid of any critical build-up. (Hence one should develop some critical circumspection and some ability to fight clear of that journalistic disease which seeks to make quick judgments and never have them ques tioned or corrected.) Rivette’s film represented a seem ingly distinct break for the director. His previous retreat into improvized obscurantism, Le pont du nord, had pleased very few. This new film returns to the playful quality of Celine and Julie and becomes a comic mirror to the earlier L’amour fou, its reversal of and oppositions to that film forming an intriguing sub-text which, again, is prevented from any detailed analysis by the context in which it was seen. Such is the story of film festivals: the fortieth film strikes a jaded palate and only leaves one in a state of fright. By now, all judgments had to be cautious, for all recollection is inextric ably entwined with the best and worst of the other 39 steps that lead to the fateful encounter.
Kiernan Finnane A fte r intensive viewing o f film s at Cannes, one is left with echoes fr o m one film to another. These echoes contribute m ore or less directly to an image o f E uropeans erring in a w orld reshaped in the afterm ath o f W orld War 2 under the hegem onies o f the tw o superpowers, the U.S. and the Soviet Union. This them atic aspect, which so belies the “united E u ro p e ” p o lem ic in this European Parliam ent election year (ironically coinciding with the fo rtie th anniversary o f the A llied Invasion o f Europe), will be at the fo r e fr o n t o f the discussion below. With the outcome of World War 2 as a preface, it is interesting to start with a German film, Werner Herzog’s Wo die grunen ameisen traumen (Where the Green Ants Dream). It is not relevant here that this film misses out on being the important film it could have been, given the potential of its subject. Just consider its first, few fascinating minutes during which one sees a flat, denuded landscape one would usually recognize as being typical of central Australia, far from the problems of Europe. This reviewer, however, was confused to the point of wondering if this were not the wrong screening, for the landscape is veiled in a grainy mauve and resounds with beautiful requiem music by Gabriel Faure. Then a third element takes its place: the dedication of the film to Herzog’s mother. And for these few minutes the filmed object, an Australian land scape, is totally transformed, appro priated — not, however, as a German space, but as its negative. It is the dead mother(land) which is not filmed. What is filmed amounts to an image of mourning for what is not or is no longer. The film could well have stopped there: it never again attains a similar intensity and pertinence. In fact, the rest of the film looks and sounds like a television comedy with serious preten sions — pathetically so, after the poig nancy of the opening sequence. At the end of Jerzy Skolimowski’s Success is the Best Revenge, the future — a return to the homeland, to “ true friends, true enemies’’ — is evoked and gives rise to a declaration of inten tion, a profession of faith. This, how ever, is the privilege of the son, Adam (Michael Lyndon); the father, Aleksander (Michael York), remains
shackled to the ‘losing team’, in exile. This exile is fundamentally different from the German one, for Poland is vitally existent, in all the specificity of her recent history. For Aleksander, Poland is tauntingly impossible (he would have had to pay the price of his art) but his constant, bitter preoccupa tion. Having paid the price of his country, Aleksander still has to pay, to a certain extent, the price of his art. Success may be the best revenge but it remains elusive. (Skolimowski, the real-life Aleksander, talks about doing a ‘real’ film next; no more films about Poland.) For Adam, Poland is his very real destination, finally just the other side of the passport checkpoint at Warsaw Airport. He also pays the price paid by his father but does so willingly, to have finished with shams and pretences, to have some sense of winning and of helping Poland to win. Where Wenders’ film is a brilliant study, a constatation, Skolimowski’s violently debates political (and life) choices. The difference depends on which side of the Iron Curtain one comes from. There are also exiles who go in the other direction, from West to East. They are generally evoked with a fascinated incomprehension and bewilderment. Such is the tone of the journalist’s question posed at the start of Marek Kanievska’s Another Country, a film which has the instant attraction of being based on the famous Guy Burgess defection to the Soviet Union. The question, asked against the backdrop of a sinister Moscow apartment block and a corre spondingly bleak interior inhabited by the sick and ageing Burgess/Bennett (the decor ironically enough is filmed
Training ground for defection: Marek Kanievska’s Another Country.
on location in London), is how could Burgess/Bennett have turned his back on his class and privilege? It is, in fact, the betrayal of his class, rather than the betrayal of his country, which pro duces the greater bafflement. At the end of one-and-a-half hours, Another Country has not brought one much closer to an understanding of Bennett’s extraordinary act. There is still a lot of distance to be covered between bitter disillusionment — doors which once had opened now close because one has transgressed the codes of one’s class — and commit ment, with all the upheaval and risks it implies, to an opposing ideology and power structure. The film suggests that Bennett’s was a kind of self destructive act of vengeance, made at a young and vulnerable age when body and spirit had already taken a batter ing in one of the great English public schools. This psychological explana tion, however, falls short of the his torical and social interest of the sub ject. What the film offers is good drama, very well acted and correctly filmed, but in no sense does it venture beyond already explored terrain. It is fitting to close with a film about a return from exile, a return, however, which is never accomplished. The film is Theo Angelopoulos’ Taxidi sta Kithira (Voyage to Cythera). The returning exile is an old Greek, a com munist who has spent most of his life in political exile in the Soviet Union and now wants to come home. This home-coming is an act in the present continuous tense which is never sufficiently anchored in space or time to complete itself. It is pushed to the outer limits of its sense and is then cast adrift. There is resistance between a body whose history has, for many years, been acted out elsewhere and a country — his? — which constituted this history on the basis of exclusion from its territory. The status of the returning exile is puzzling, like a black hole. How can he assume a presence that is completely traversed by absence? He speaks and is spoken to, sees and is seen, across an abyss of his torical rupture. There is never a moment of intimate space in this film and, consequently, a rigorous absence of close-ups and sub jective shots. Just once a pivoting camera approaches the old man, draws in and away again without a second’s pause. This is already towards the end, during the last moments he will spend on Greek soil. Thereafter, one hardly sees him. The ‘not seeing him’ impreg nates every shot, similar to the driving rain which saturates what previously was the empty space around him, creating a kind of watery bridge, the last link, between the exiles adrift in stateless (international) waters and those who remain on shore, his child ren and a handful of waterfront unionists who sing to him workers’ songs. The old communist’s daughter, a woman in her late thirties, captures something of the estrangement of her post-war generation: I realize with relief and horror that I don’t believe in anything anymore. So I turn to my body. It’s the only thing that reminds me that I’m alive. The children of the coming generation, as portrayed in Wenders’ and Skoli mowski’s films, are, however, beyond estrangement. They are completely cut loose from their parents’ histories. However the new maps are drawn, they will have little to do with the old.^ CINEMA PAPERS August — 221
Robbery Under Arms
sellili
They are colonial boys, not yet wild, but soon to be. He is the renegade o f a noble English fam ily with a taste fo r fin e wine, other m en’s wives and a talent fo r robbery under arms. The boys, Dick and his younger brother Jim, are Ben M arston’s, an Englishman transported to New South Wales and with a legacy o f leg iron scars to remind him. Set free before his wife Mary gave birth to the boys, Ben cannot forget his past and w on’t change his outlaw ways. Based on the novel by R o lf Boldrewood, Robbery Under Arms is both a theatrical film and a television mini-series. Budgeted at $7.3 million, this South Australian Film Corporation production is the fifth film version o f the novel. Robbery Under Arm s is directed by Ken Hannam and Donald Crombie, from a screenplay by Tony M orphett and Graeme Koelsreid, fo r producer Jock Blair. The director o f photography is Ernest Clark, the sound recordist Lloyd Carrick and the editor Andrew Prowse. It stars Sam Neill, Steven Vidler, Christopher Cummins, Liz Newman, Deborah Coulls, Susan Lindeman, Tommy Lewis, E d Deveraux, Jane Menelaus, Robert Grubb and David Bradshaw.
Above: Dick Marstorx (Steven Vidler) and his ‘love’, Gracey (Liz Newman). Below: Captain Starlight (Sam Neill) and Ben Marston (Ed Deveraux).
Opposite page, clockwise from top left: Jim Marston (Christopher Cummins), Starlight and Dick; Starlight; Aileen Marston (Jane Menelaus), Dick and Mary Marston (Elaine Cusick); Dick, Trooper Goring (David Bradshaw) and Sir Frederick Morringer (Robert Grubb), Head o f Police; Kate (Deborah Coulls), who tries to tempt Dick away from Gracey, with Dick.
WÈÈ
Wm
Rod Bishop and Tom Ryan
Wim Wenders has made 11 features and four shorts in 14 years. Although his films have been critically acclaimed, they have not received the wide exposure of other West German film makers: only four of Wenders’ previous features have been commercially screened in Australia. But Paris, Texas is about to change all that. Joining forces with leading American play wright Sam Shepard, Wenders gives Paris, Texas an emotional depth only hinted at in his previous films. But Paris, Texas is also a superbly condensed summary of Wenders’ road movie trilogy (Alice in the Cities, 1973; Wrong Movement, 1974; Kings of the Road, 1976), held together by the cohesive ‘internationalism’ shown in his choice of casts and locations (The American Friend, 1977; Lightning Over Water, 1980; The State of Things, 1982). Resident in New York City since 1979, Wenders made Paris, Texas as a GermanFrench co-production on a budget of $2 million with a cast including Harry Dean Stanton, Nastassja Kinski and Dean Stock well, with photography by Robby Muller and a sound track from Ry Cooder. Paris, Texas won the Palme d’or at the Cannes Film Festival last May. Paris, Texas opens with a figure in a desert. A man is illegally crossing the Mexican border, a man who refuses to talk, a man with the past etched into his face. A doctor (Bernhard Wicki) looks through the man’s wallet and finds the name and address of Walt (Dean Stockwell), the man’s brother, now a resident of Los Angeles. The man who refuses to speak is Travis (Harry Dean Stanton), who disappeared four years ago, as did his wife, Jane (Nastassja
Kinski). Their son, Hunter (Hunter Carson), now eight years old, was left on Walt’s door step four years ago. With his wife, Anne (Aurore Clement), Walt has given Hunter a home. In Los Angeles, Travis begins to talk . . . but not about the past. First, he must learn to talk to his son and then he must look for Jane. She is somewhere in Houston. Travis and Hunter find her working in a ‘peep show’, where men on one side of a one way glass window talk with ‘fantasy’ women on the other. With the glass between them, Jane and Travis begin to talk . . . about their past, their love for each other and the violence that killed it. When I worked with Joe Chaikin, he said a really interesting thing about this whole concept of story telling. He said, ‘At the turn of the century, story telling was a real form that people felt filled their lives in a way: this long thing — beginning,,middle and ending — really meant something in their lives, and maybe now we’re in a time where that doesn’t fit any more. That demands something new, other kinds of concepts — maybe the story has to do with moments, rather than this long epic form which just doesn’t match our lives any more, because everything’s so fragmented and broken . . .’ It’s funny now, because Hollywood persists in trying to make it work. And I think it’s just failing more and more, this idea of a literary story adapted to film. The way the script for Paris, Texas was actually conceived was moment by moment . . . Until we got half-way through, we just never started thinking in terms of ‘Where is it going?’
Sam Shepard, 1984x 1. These comments have been adapted and edited from interviews with Sam Shepard and Harry Dean Stanton included in the press material distributed by Roadshow.
Jane (Nastassja Kinski), and her son Hunter (Hunter Carson) in the 8 mm home movie: the family united and happy as if in a dream. Paris, Texas.
As always I find myself playing how I personally feel. All this material is very close to me, all of this whole situation. I have a son I’ve never seen . . . So there’s not much acting involved in it. Really, all my feelings about innocence, children, Nastassja, having a brother . . . It’s my life, it’s the story of my life we’re talking about here . . . Painters paint from their soul and good actors will pick parts that will correlate with what they are inside . . . I’m trying to work like a documen tary . . .
Harry Dean Stanton, 19842 2. ibid.
CINEMA PAPERS August — 225
Wim Wenders
as well as the characters within the fiction. That imagery, combined with the film’s narrative formation, not only leads one towards Travis’ personal history but also composes a vision of American culture, a reflection on “ the state of things” . In this context, the U.S. can be identified in two ways. It is there in a series of images at once obscene and beautiful, bizarre and breath taking: the giant columns beneath the freeway network, the neon cityscapes, the unbelievable concrete wonder-world of the Houston drive-in bank, the immense billboards that hover above the streets, the peep-show club whose exterior is decorated by a painting of the Statue of Liberty, the high-rise buildings that dominate the urban world . . . And it is there in the way the characters perceive and pursue their lives in relation to these images, in the way in which they attempt to grasp their reality. There is a wonderful expression: seeing through a glass darkly. Everything, even life, is inevitably removed from you. You can’t reach or touch the real. You just see reflections. If you try to grasp happiness itself your fingers only meet glass. It’s hopeless.
Douglas Sirk, 197P That the happy ending counts as something typic ally American is completely understandable when one considers that the American spectator, above all others, must not know that he can be a failure in his profession, in love, in his struggle with himself. So when he is in the dark womb of the auditorium, constantly flanked on both sides by these doors above which shines in blood-red “ EXIT” , then he hopes there is such an emergency exit for the characters with whom he identifies in a film. He needs an exit for them and for himself from all these pressing problems. How improbable, how scornfully sad and unhappy is this happy ending . . .
Douglas Sirk, 1973a
Top: Walt (Dean Stockwell), somewhere near the Mexican border, with his brother Travis (Harry Dean Stanton): a man “on a voyage o f rediscovery, o f both himself and his country”. Above: Jane, reunited after four years with Hunter: “It is as though [America] had one single idea, which was The Family. As a general rule, it doesn’t work anywhere, and I mean anywhere. ” Paris, Texas.
Paris, Texas, bom from the imagery of Sam Shepard’s Motel Chronicles, is both a story and a reflection on a story. In one sense, it would be appropriate to see its characters and the lives they suggest as the creations of some corny country and western song. Indeed, Wenders’ film strategically evokes that reference point. The interlocking stories it constructs are full of the pain of loss and loneliness, all drenched in a veritable sea of heartbreak, and set to a sound track of Ry Cooder’s country chords. But, beyond this perspective, the film becomes a meditation on places and on life-styles, and on the people who pass through them. It may give characters for whom one can come to care in their suffering and searching, but it also gives a sense of them as elements in a story which has been told and retold thousands of times. They are trapped within that story just as they are trapped within the confines of their culture. Shot by Robby Muller, the film is visually no less than extraordinary: apart from its stylistic innovations, there is the way its images con stantly use the details of landscapes and cities to convey information about the lives of its characters. Travis emerges from the vast,, empty desert near the Mexican border, silent, mysterious, threatening; for him, the roadway is an irrelevance, “ a navigation to nowhere” . Returned to civilization, to the constructions of 226 — August CINEMA PAPERS
man, he commences a journey that takes him simultaneously towards his past and his future, leading him to rediscover the roadway, a route that stretches out behind and ahead, a cobweb that measures the boundaries of his life and that returns him whence he came. And, around him, the film’s world is full of images of order, of enclosure and of illusion, dictating the form of life of its inhabitants. Like the film’s viewer, striving to under stand, to unravel, the mystery of Travis’ past, Travis is also constantly evoked as an onlooker. Atop the Los Angeles hills, he surveyslm urban panorama across which aeroplanes seem to stray like lost souls. In his brother’s livingroom, he recalls a domestic paradise as he watches the home movie of a family, united and happy as if in a dream, and a wife, “ in a galaxy far, far away” . Then, later, in the claustro phobic peep-show booth, he watches her again, this time through the screen-like frame of the one-way glass. And he carries with him the photograph of the lot he has purchased in Paris, Texas, the sign of an ultimate, un fathomable mystery, an image of the place where he believes he was conceived. Given the knowledge of the film’s production history — even during the shoot, the latter parts of the story had not been worked out — the imagery of Travis’ quest comes to embody a search that directly implicates the filmmakers
In their mutual concern with the glittering surfaces of American culture, with a physical environment that dwarfs the individual and annihilates any-sense of the possibility of independent power, and with families at the point of breakdown, there appear to be strong connections between Wenders’ preoccupations as they emerge in Paris, Texas and the melo dramas about American life made by Douglas Sirk. Sirk preceded Wenders to the U.S. by about 35 years and has not made a film there since 1959, but it now would seem that, like Fassbinder in a different way, Wenders has taken up the legacy left by Sirk. It is a question of sensibility and style. Wenders, through Paris, Texas in particular, reveals both a desire to use and question tradi tional narrative structures and an ability to balance a humanist impulse against a sense of irony. Just as Sirk worked at transforming the banal surfaces of popular forms in such a way that the surfaces themselves came to be recog nized as symptoms of social trauma, so too does Wenders in Paris, Texas. The imagery of illusion and entrapment proposed in the first Sirk comment above, about his last film in Hollywood, Imitation of Life (1959), could almost have provided a thematic framework for Paris, Texas generally, and especially for the remarkable sequences where Travis and his estranged wife, Jane, meet on opposite sides of the peep-show window/mirror. 3. Jon Halliday, Douglas Sirk, Seeker and Warburg, London, 1971, p. 130. 4. Wolfgang Limmer, “ The Happy Ending, An Emer gency Exit: An Interview with Douglas Sirk” , Süddeutsche Zeitung, November 17/18, 1973. (Trans lation by Virginia Lockwood-Bean.)
Wim Wenders
,
R od Bishop and Tom Ryan talk with Wim Wenders about Paris Texas, R y Cooder, Duane Eddy, JeanLuc Godard and his new film on Japanese director Yasujiro Ozu. There are similarities between Travis (Harry Dean Stanton) in “Paris, Texas” and Philip Winter (Rudiger Yogeler) in “Alice in the Cities” , although Travis is a more extreme personality. Were you and Sam Shepard conscious of this as you developed the screenplay? No. I realized the new film would involve a man who redis covers his young son and embarks on a journey with him. So I told Sam I would like him to see Alice to prevent me repeating something I had done in the past. We watched Alice together and found there was no real problem: the whole move ment of Paris was quite different. I didn’t think about Alice again until I saw the rushes and was struck by the visual similarity be tween Hunter (Hunter Carson) and Alice (Yella Rottlander). There is a powerful use of architec tural images in your ‘American’ films, in particular “ Alice in the Cities” , and “ The State of Things” . There are also recurring motifs: trains, roads, aircraft, maps. You use them to create ‘grids’ around your characters, but in “Paris, Texas” Travis just walks across these ‘grids’. He doesn’t follow the routes expected of a normal person . . .
resolution. When he meets Jane again, the first thing that happens is that he gets angry and jealous. You can see how he became violent four years before. He totally goes off the handle. You can imagine, and can see him imagining, how he is likely to repeat what happened before. So when he talks to her a second time, he tells her the whole story, but, in so doing, tells it to himself for the first time. That’s the way I see it. He tells her some thing that is not repeatable. He tells it as the past and, through tell ing it, it becomes the past. He goes through an exorcism of their com mon past which will enable her to free herself from that past, free herself into accepting her son once more. At the same time, he talks himself out of any possibility of regaining his family. He knows it and that is why he leaves.
The actors were also in favor of it, especially Harry Dean Stanton, who was very much for an ending where the three of them would be together. He fought the hardest for it and he almost refused to shoot the ending we used. He couldn’t believe what I was asking him to do. But then again, Harry in his own life has never achieved this family. He will always be Travis. Did Stanton want you to create an ideal for him? Yes, he wanted to be his own ideal. I finally explained to him that he was going to be a hero, not by being the hero he wanted to be, but by making the heroic effort of realizing who he really was. I think he finally, reluctantly, realized he would be bigger by not keeping the
family. But reconstituting the family was always a choice, and I did shoot another ending to the movie with Jane and Hunter together after their reunion, alone without Travis, but having filmed themselves in Super 8 mm. The movie was going to end on Travis looking at the Super 8 film that showed Hunter and Jane living together, therefore implying they were ready to get in touch with him again. But we cut that out. You can think whatever you want about the ending. You can always imagine that, after some time, they find Travis, or Travis finds them, and they are ready to accept him. But, for me, the movie ends with Travis’ exit, because to me that is the more important, the more truthful and the more de manding conclusion.
Did you ever consider ending it with the family being recon structed?
Yes, we always did. Sam was always in favor of an ending where Hunter and Travis would leave together; and Kit Carson, who came in at a certain point and helped me very much with the story line, was also in favor of that. Kit is the most American of the three of us. He always said, Travis is on a voyage of redis “ You have to have a family.” He covery, of both himself and his couldn’t imagine anything else. country. This was the starting point for Paris, Texas: a man who had to start from scratch and re learn everything. He wouldn’t talk at the beginning of the film and would be like a child who must be re-introduced to American civiliza tion: to its roads, its cars, its air craft. He has to be re-introduced to social behaviour and become the adult person who needs both his son and his wife — the two people he left behind years ago. That was the original architecture of the movie.
Above: Jane and Travis, in the ‘peep show’: “there was a fever for the week it took to shoot those scenes. We almost couldn’t handle it.’’ Below: in Los Angeles, Travis re establishes a relationship with his son Hunter: Travis is “a man who had to start from scratch and relearn everything”. Paris, Texas.
At the end of “Paris, Texas” , the husband and wife are reunited and, in a very lengthy sequence, recount their versions of the per sonal violence that destroyed their relationship. But during these con versations the man decides not to continue to be with his family. What was your motivation for this? At the point when Travis says, “ I’m gonna go find her” , and Hunter replies, “ I want to come with you” , Travis still hopes there is going to be a family. I think it is only much later that Travis under stands there won’t be such a CINEMA PAPERS August — 227
Wim Wenders
Jane at the peep show bar: a fantasy woman in a dream world. Paris, Texas.
This notion of the family in American society is still the ideal everybody holds up. It is as though the whole country had one single idea, which was The Family. As a general rule, it doesn’t work any where, and I mean anywhere. Maybe one out of a hundred families actually works, but it is still the central idea of the whole country. It is almost schizo phrenic. I know the way the movie ends is painful, and I had to fight myself as well. I don’t want to make a final statement about families and I don’t think that all the fathers have to leave now. But the ending does one thing the way it is: it makes people enormously conscious of what they would like to have, or what they still desire. I think that is more important. A lot of people I know, who have child ren, were devastated by the movie and said they felt they had done something wrong in their life. In Sam Shepard’s play ‘True West’, his dialogue is very ellip tical, in the sense that there is a sub-text behind or underneath what the characters are saying to each other. But at the end of “Paris, Texas’’ the dialogues be tween Jane and Travis are aston ishingly direct and honest. One 228 — August CINEMA PAPERS
feels the pain, not so much at the break-up of the family, but in the rawness of the confrontation be tween them . . . Both Sam and I wanted to go further than either of us have gone in our works before. Sam went further with his last play, Fool for Love, the one after True West, and I went further than ever before in The State of Things. Sam and I both wanted to explore a relation ship between a man and a woman. Sam had actually written those scenes without really seeing the peep-show. The peep-show turned out to have incredible potential. And the one-way glass we used was the real McCoy. The reality of the mirror and the reality of the peep show environment was very power ful and added much to the written scenes. There are two big scenes with Jane and Travis, and both scenes were like one-act plays, very powerful to read; Harry Dean and Nastassja both brought more to the situation than you can usually expect or demand from an actor. There was Harry Dean, with his whole life, and his whole bio graphy; it was as if he had waited his whole life for this very scene that contained everything he had
missed, and everything he had wanted to achieve in his life. And Nastassja was pregnant at the time, with her first child, and at the same time getting over a separation. In a way, it was almost too much for me. The two of them, with everything they offered and the scene written as well as it was, added to the powerful dimen sion of this mirror image. It was like there was a fever for the week it took to shoot those scenes. We almost couldn’t handle it. “ Paris, Texas” seems the culmina tion of your concern with form and with characters: the film could almost be summarized as a search for a story and you clearly come to care about what happens to Travis, Jane and Hunter. Do you see this film as the first time you have managed to bring it together? Yes. And after The State of Things, which was entirely con cerned with the form of movies and story-telling as a language, I really didn’t have any choice. That film was some sort of a dead-end. You can only find out so much about your own profession and then it comes to the point where it really has to have something to do with life or some other reality. The
State of Things was so much about movies and filmmaking, and so little about the people involved. At the end of The State of Things, I really didn’t have any choice: I had to kill both characters because I really couldn’t go on like that. I could not possibly go on investi gating the language, the form and the conditions of filmmaking. After The State of Things, I said to Sam, “ I really want to make a movie with you, but I don’t want to refer at any point to other films, to the cinema, to story-telling, to anything you or I have seen before. I want us to make this film as if cinema didn’t exist, as if we had never seen a movie. We have to tell the story of Travis as if there were no tomorrow.” It was the same approach with Robby Muller, the cameraman. We had made seven films together until The American Friend, but since then we hadn’t been able to work with each other. When Robby came, two weeks before the shooting, and he wanted to start as usual by thinking and talking with me about the look and the style of the movie, I said, “ Robby, no. We won’t have any of this. We are not going to discuss the style of this movie. We don’t know anything about this movie. We will go into the first day of
Wim Wenders
shooting and we won’t have any thing. We w on’t make any sketches and we won’t know the style of the movie until we start shooting it.” So, each day we tried to be in the position of inventing it from scratch. We came up with something that we’d never done before. In the press kit for “ Paris, Texas” you mention Ry Cooder’s musk and how well it fits many of Robby Muller’s images. Some of the establishing shots in the film remind one of American ‘new realist’ painting and, given Ry Cooder’s ability to condense many streams of American folk music into a single musical form, I wondered whether this explained the connection between Muller and Cooder’s work? That is true. I don’t know any other musician who has that sense of scholarly dedication to the his tory of the music with which he is involved. Is Cooder still unrecognized and underrated in the U.S.? I think so. He has given up play ing live or touring. Film sound tracks have been his profession for the past two years, and his records have been rather unsuccessful. I saw him a year ago playing in a little club in the Valley, after he had met Duane Eddy in Las Vegas. Duane Eddy hadn’t played for 12 or 15 years. He had disappeared and was living in Las Vegas, so Ry convinced him to come out of his hide-out and play. Ry played with him and his original band, and it was an amazing event, absolutely incredible, but of course on a very small scale. Duane Eddy is credited on the soundtrack for “Streets of Fire”
I think that resulted from the concert in the Valley. Ry has an in credible concern for musicians as people. What he has done for Chicano music, Mexican music and Hawaiian music is really some thing, or for groups such as the Golden Gate Quartet, which had disappeared before Ry brought them back into the public eye. He is really more like a . . . How would you call it? Conservatory? Yes, more like a one-man con servatory than a rock musician. Can you say something about the film on Ozu on which you have been working?
I hope you are not going to expect too much because it is not a film about Ozu. It is more an extension of what I started two years ago with an idea of making films in the form of a “ journal” . Reverse Angle was one of these films. I went to Tokyo with the cameraman, Ed Lachman, who shot Lightning over Water, and the two of us shot the film. It was a journal about how I saw Tokyo, and the Japan I knew from Ozu’s movies. I have two very long inter views with two people who both worked on each and every one of Ozu’s films from the beginning of his career: Chishu Ryu, who acted in all of them except one, and cameraman Yushun Atsuta, who worked on all of Ozu’s films, first as an assistant and then as the cameraman. Atsuta demonstrated Ozu’s shooting technique for us and we found the actual camera they used for Autumn Afternoon. He brought me the tripod that Ozu had designed himself, and demon strated the way Ozu used it. But it is not really a scholarly movie about Ozu. It is more like a jour nal. Do you plan to continue making these 16 mm films? Definitely. How do you see them in relation to your other work?
Alexander Auder (the film director) and Roger Corman (the film lawyer) in Wim Wenders' The State of Things: " That film is some sort o f dead-end . . . I could not possibly go on investigating the language, the form and the conditions o f filmmaking. ”
I see it a little bit like a cure. The fictional movies are taking longer and longer. In the beginning, a year was enough time to make a film. Now, two years is just enough. Sometimes it takes a lot longer. Paris, Texas took two years. You get so caught inside one story, inside one fiction; it takes so
much energy out of you to believe in that one story from beginning to end. The idea behind the 16 mm films is to be confronted with a certain reality when you have a camera and nothing else: no framework, no story, nothing to help you. You learn again how much a movie depends on the underlying, pre existing reality which you so easily forget if you are involved with a fiction film for a long period, especially if you work in Holly wood. It should be the law that some of the people in Hollywood have to go out and make a film that way. It should be in their con tracts. You spoke earlier about having reached a dead-end with the pro cess of filmmaking in “ The State of Things” . Have you decided not to finish up like Jean-Luc Godard and the kinds of films that he is making? It is really exemplary what he had to go through: the way his fic tional films started to disintegrate and the way you realize he didn’t have the strength to go on, to dedi cate the year, or whatever it took then, to tell one story. You can say the opposite of that as well: that he didn’t believe in it any more. But I really think that it is a question of strength and that he is really the first one, the only one who has lived it all, who showed what happens when your whole life becomes story-telling. He made some incredible choices. Do you think Godard has been a cure for cinema? Yes. In a way. But at what price? -fa CINEMA PAPERS August — 229
D avid B radbury's new docum entary, Nicaragua no pasaran, Som oza dictatorship that was toppled b y the 1979 revolution opens in m o st capital cities during m id- to late-1984. I t is his and the im pact o f A m erica n -b a cked rebel attacks along the third m ajor w ork, fo llo w in g Frontline (1979) and Public co u n try’s border with H onduras. The a tte m p t to be even Enemy Number One (1980). A s with the earlier two, it was handed notw ithstanding, Nicaragua no pasaran is fir m ly proedited by Stew art Young. Sandinista. M uch o f the co m m en t is p ro v id e d by cabinet Release o f Nicaragua no pasaran fo llo w s lim ited showings m em ber Tom as Borge. o f Nicaragua a Special Report, with journalist John Pilger The p ro ject that becam e Nicaragua no pasaran (the slogan and directed by A la n Low ery, which was screened at the “they shall n o t p a s s ” was used by anti-fascists in the Spanish Sydney and M elbourne Film Festivals. M ade f o r television, it Civil War) began with B ra d b u ry’s pla n to lo o k at Panam a has y e t to f in d a buyer here. through the eyes o f novelist Graham Greene. B radbury m et L o w e ry ’s film is an angry denunciation o f A m erican policy with the author a couple o f tim es b u t the p ro jec t d id not towards its p o o r C entral A m erican neighbours, a picture o f progress m uch fu rth er. Greene suggested a film on Nicaragua evil versus g o o d . and Bradbury elicited the in volvem ent o f expatriate Bianca The tone o f B ra d b u ry ’s w ork is m ore one o f debate than dagger. That film was all set to go when things cam e unstuck. outrage. I t includes criticism o f the Sandinista governm ent Barbara A lysen talked with B radbury a b o u t that and what alongside coverage o f its achievements, a history o f the happened afterw ards . —
I arrived in New York in February 1983, with my crew due to fly in a week later. Bianca said she was definitely still interested. We toasted the success of the film from the forty-eighth level of her borrowed apartment on the upper east side of New York. But, the day before we were due to go, she finally said that she wouldn’t be involved in the film because I wanted her to sign an ordinary release form giving me total editorial control. She wanted to keep editorial control of her image in the film and that was a limita tion I wasn’t prepared to buy into. I had knocked back funding and a co-production deal on the same grounds, to maintain my integrity as an independent filmmaker. So, we went down to Nicaragua without Bianca and a little bit at a loss as to what we were going to do. It was quite a trying situation for the first 10 weeks because I was looking for a central character to hold the film together. I knew whom I wanted — Tomas Borge — but getting to him and securing his agreement took 10 weeks of pur suit. In the meantime, I was trying to keep the crew and myself happy by shooting little bits and pieces, such as the Pope’s visit and militia training. Didn’t you consider holding off for a while after Bianca Jagger withdrew? By the time Bianca said she wasn’t prepared to be involved, the crew had already arrived. It was too late to send them back home. Also, I wanted to be in Nicaragua for the Pope’s visit. I felt it would be a dramatic moment — and I wasn’t disappointed. Presumably you researched this film far more thoroughly than the earlier two . . . I did, but this time I had the limitation of not speaking the language. It was frustrating not knowing whether I was getting the right stuff on film, hearing words Opposite: sound recordist Toivo Lember, translator Elena Caldera, cameraman Geoffrey Simpson, associate producer Leah Cocks and director David Bradbury in Nicaragua.
such as “ imperialism” constantly creeping into the conversation and worrying that it might be just another anti-imperialist rave, knowing that people in our societies won’t buy straight-out clichés like that. I was in Nicaragua 12 months before we shot the film, looking at the various issues that would be in volved. Again, though, this film has been made very much in the editing room with Stewart Young. What opinions did you form about Nicaragua while you were there? I felt a bit sceptical about what I would find in Nicaragua, but see ing it I was very excited. I felt it was a genuinely popular revolu tion, one that went across all classes and was made for the poor, rather than a seizure of power by a group of cynical politicians or mili Tomas Borge, the only surviving founder of the Sandinista party, the FSLN, and now Minister of the Interior. David Bradbury’s Nicaragua no pasaran. tary men. munist revolution to all of Central Afterwards I learnt his story: America and that the U.S., there that he had spent six years in fore, has the right to crush Nicar Somoza’s gaols, that he had been agua. tortured, that his wife had been murdered and that he had main How did you select Tomas Borge tained his revolutionary zeal right through to the end. I felt I had a I made the Burchett film [Public as the film’s central character? good subject to pursue. Enemy Number One] out of con I felt that in a lot of ways he viction. He had had years of bad press and I wanted to tell his story. symbolized what the revolution is How much were you allowed to I found both with Neil Davis [the about: the commitment and pas fiim? subject of Frontline] and Wilfred sion to follow through the revolu One of the frustrations was that Burchett that the problem with tion no matter the price. Also, he having heroes is that when you get was the only survivor of the FSLN we had only limited access to close to them you discover that, [Sandinista movement], and there Tomas, partly for security reasons, like all human beings, they have was a quality about him which partly because he is a very busy man. feet of clay. Still, I made the films attracted me. I first met Tomas during my As Minister for the Interior in about them as much out of commitment as I did this one, al research trip in 1982. The govern charge of the police and state though this film is more the result ment had cancelled the Easter holi security, he couldn’t allow us to of commiTfnent YcT*a particular day break becSTO^Tt feared an film as flies on the wall, as I had invasion. It wanted everyone either wanted to do. So the film isn’t a cause. at work or somewhere where they total portrayal of a revolutionary; Did you also have a feeling of could easily grab their rifles and it is a combination of a story of a wanting to set the record straight take to the streets if they were in revolution and a revolutionary. I vaded. It was a hard thing to do want my next film to be a study back home? because the holiday is sacrosanct. which employs the vérité style. Well, yes, but for a world audi Borge turned up at a bull-ring to ence, rather than just an Austra explain the decision and there was Were there restrictions on filming lian one. In fact, it was made more something about him: the way he in general? particularly for European and pulled up with his entourage of American audiences because I bodyguards; the way this little guy No, we could go anywhere we think the U.S. government is strutted by, checking everyone wanted to. O bviously, one deliberately keeping people misin over, including myself. Then he couldn’t just walk on to army formed about the character and gave a captivating speech and, I bases because the country is in a style of the Nicaraguan revolution. suppose in a continuation of my state of siege, but other than that That way it can continue to put being fascinated by heroes, I there was no problem. We got our forward its policy that the country decided he would be a good press passes and a letter from the FSLN to say we were making a is hell-bent on exporting com character to use in the film. It does sound very much as though you made this film out of convic tion, whereas you made the last two because they were good yarns
CINEMA PAPERS August — 231
David Bradbury
film for Australia, and the letter seemed to work like clockwork wherever we showed it.
when you felt you were being watched and that it was a danger ous situation, but there were no attacks.
What about your ‘talent’? Were you able to choose the people you spoke to?
Did you set out to shoot the film in feature length?
Yes. It was much less restrictive than in Vietnam where you have an official interpreter and guide, and you are watched over 24 hours a day. We could come and go as we pleased. We weren’t told we couldn’t do this or we had to speak to that person and so on.
No. I wanted to make it the length that seemed right. Stewart Young and Bob Connolly [co director of First Contact] have both influenced me a lot towards the idea that documentaries can’t really sustain more than an hour in length, and I have felt that about most films I’ve seen. But when it came to making this film I didn’t feel I could compress it into 50 minutes or an hour. [It runs 73 minutes.]
Did you get the impression that people were telling you what they really thought rather than what they felt they should say? Very much so. That was one of the nice aspects of the climate there: people would bitch and criti cize the government and complain about what they thought were its shortcomings without fear of being dragged off to the Gulag. Did you ever get the impression that people were speaking in cliches? They talk in terms of imperial ism and so on, but when you understand where they have come from, and what imperialism means to them, you realize it is a quick way of summing up what they have experienced. So, yes, they do speak in clichés at times, but you can’t deny what they are saying and where their hearts are placed. The only time they really tried to set anything up for us was at the Miskito prison farm. It was sup posed to be a propaganda exercise but, in fact, it backfired because it was quite obvious that the people weren’t all terribly happy to be there. It was a very difficult situa tion. The Miskito are a minority group, to a large extent alienated from the Sandinistas, and they’ve plotted against them. After the propaganda exercise backfired, we were able to go back to the prison farm to film the situation under which they live and there were no restrictions placed on us. In fact, we were able to speak to Miskito women who said they had not been given a trial after four or five months in gaol and that they had been picked up without the normal processes taking place. You would never have been able to film like that in a country such as Vietnam.
Did you see many other crews in Nicaragua while you were there? Sandinistas, members of the civilian militia, guard the northern frontier in Nicaragua from invading contras, who cross into Nicaragua from Honduras. Nicaragua no pasaran.
It was a matter of time and money which made it easier for us to buy archival film from other people who had been with the two groups. For example, it would have taken a month of hanging around before we could have gotten through to the contras. In terms of historical footage, can one assume that there was very little of the Sandinistas fighting during Somoza’s years in power? There is a little archival footage which comes from Incine, the government film body. But because I had been criticized for relying on a formula of archival film and interview in the past, and because to use it would have been going over history already shown
You purchased the material of the contras1 and Pastora’s fighters2 1. The contras are CIA-backed, former members of Somoza’s national guard, operating against the Sandinistas from Honduras. 2. Rebels led by Eden Pastora are fighting on a separate front. Pastora was prominent among the Sandinistas who fought to overthrow Somoza; now he is fighting the Sandinista government.
232 — August CINEMA PAPERS
in the U.S. and Europe particu larly, I didn’t want to dwell too much on the history of the war against Somoza. So we have used some archival film just to sketch it out. You don’t get the impression from looking at my film that the Nicaraguans have gone through 43 years of very bloodthirsty struggle to defeat a dictator. It is covered very quickly and brings one up to the present day, but in fact 300,000 Nicaraguans died during 40 years of war, which is a lot for a country of two-and-a-half million people to suffer. Was the mood in the country one of a people under siege? Yes, although you don’t get that impression in Managua. It is an in credibly small country, the size of Tasmania, and that puts a lot of pressure on the government when it is being attacked along two bord ers. Even so, because the country is so well guarded, in the major cities you don’t get the same sense of being under siege, except for a few things, such as shortages of petrol and food rationing, and the funerals that were taking place all the time for the young high-school students in the militia and army personnel who are killed when the contras invade1. But you do get the sense of being involved in a struggle, especially whenever President Reagan makes an anti-Sandinista statement. Two hundred thousand people turned out in the streets the day after the speech by Reagan. Did you come close to the fight ing?
Pope John Paul II during an appearance before 600,000 Nicaraguans in March 1984. Nicaragua no pasaran.
We went up into the northern frontier area where the contras are operating and we were close to the firing. We didn’t get involved in any combat but we went out on army operations chasing the contras. There were moments
Quite a lot. Nicaragua had suddenly become a flashpoint of interest, and there were crews coming in and going out all the time; mainly crews from the American networks or European television would come in for a week or so. There were a lot of parallels with the Vietnam war: the way people would come in and try to sum up the Nicaraguan revolu tion in a week, staying in one or two of the good hotels downtown, spending a lot of time in the bar or by the pool. Maybe I am being a little harsh, but one got the distinct impression they didn’t concentrate on getting to know the people or developing a feeling for the country. I thought I could shoot the film in 12 weeks; in fact, we spent nearly six months there. Do you expect to break even on it? I think I will. It has been made very cheaply because people such as the cameraman and sound recordist were prepared to work for half wages and Leah Cocks [associate producer] and myself worked on a totally deferred salary. I think I have a good chance of selling it because of the interest in Nicaragua in the period leading up to national elections on November 4, and because of R eagan’s statem ents on the country. Are you worried about the film becoming dated by the November 4 elections? I am very much aware of the problem, and I have been rushing against the deadline to get it out. My intention is to go back to Nicaragua in time for the election on November 4 and perhaps make another film there. In retrospect, do you have any regrets that your original plan to make a film with Bianca Jagger fell through? No regrets. ★
Adrian Martin
It would be a blessing indeed if the pheno menon of racism was encapsulated simply in the existence of racists, those unpleasant, deranged ideologues who figure as a society’s ‘bad apples’. Pointing the finger at a repre sentative racist and deriding him or her as a dinosaur, a sorry hang-over from the past, is an easy way of papering over the messy legacy of racism still prevalent and powerful in society. Racism is, in fact, rarely a matter of being a 100 per cent, certified racist: racist statements, values and attitudes, as anyone can testify, pop up unevenly and surprisingly in family, friends, public celebrities and authorities alike. The Migrant Experience, a six-part series produced by Film Australia with the Australian Institute of Multicultural Studies, has a single spokesperson for the firm and ferocious ‘white Australia’ mentality that defines well a certain aspect of Australia’s national racism. Bruce
Ruxton of the Returned Servicemen’s League appears fleetingly to suggest that, “ We’re suckers and the Asians know this.” In the context of the dozens of amicable, liberal humanist speakers with whom the program sur rounds him — such as the likes of Phillip Adams and Eric Bogle — Ruxton can only look ridiculous and offensive. This is doubtless the effect the program is keen to achieve, for it thus establishes a personalized scapegoat, a figure who soaks up and bears the burden of all racial ideology. A particular problem is thus written off and dealt with all too easily, for the pro gram cleanses its viewers of any complicity with racist attitudes. The Migrant Experience aims to be a happy and boundlessly positive account of the effects of migration upon Australia. In so far as it posits a difficult and often tragic history of incidents of racial prejudice, it does so only in
order to announce the end of that history and the dawning of a new age, the era of multiculturalism. The images of multiculturalism privileged by the program are the familiar, government-sponsored fabrications of a mythical ‘family of man’ that one recognizes immediately: the advertisements in the “ I’m an Aussie” campaign of a few years ago, the triumphant logo of Network 0-28 (on which this series was screened), even the “ dial home” commercials that advertise Telecom’s ISD service. “ The migrant picture has been an exciting one” ; “ Migration has been a vehicle for radical social changes” ; “ There can be little doubt about the record of the past” : these are only three quotes from the program that point to its positivist rhetoric, and the type of juggling and asserting required to paint such a rosy picture of history. As well-meaning and uplifting as CINEMA PAPERS August — 233
The Migrant Experience
the series undoubtedly is, there seems some thing a touch glassy-eyed to it all, as if the traces of a few tricky problems had to be con stantly swept aside in the process of its con struction. A celebration and documentation of migrant culture — recorded here in brief snatches of indigenous songs, dances, cere monies and family rapport — is indeed welcome and valuable. But the end to which all this wonderful material is marshalled as evidence, the claim that there is a new tolerant Australia, in which all things flourish, seems only like the hopeful or opportunistic dream of Australia’s major political parties. There are many tropes and devices employed by the series to secure this dreamy optimism. Most obvious is (once again) Warren Mitchell as Alf Garnett, another scapegoat racist designed to make every viewer feel comfortably superior and anti-racist. Intermittently through out the series he is let loose on an assort ment of migrant shopkeepers and workers to berate them on topics such as the natural supremacy of the British Empire and the great ness of Australian beer. However, at the very end of the series, Mitchell steps out of character and surprises a bemused Greek worker by speaking to him in animated and friendly Greek: a sign, it is to be assumed, of the emergent multiculturalism of even the most strident bigot. This is fiction of the purest sort, and it is of course deployed comically. But, even when it moves in the realms of historical fact, The Migrant Experience tailors a very particular account of the ‘truth’ which takes on its own order and sense. “ The migrant experience” itself is a phrase which comes to signify human life itself: both historically (everyone’s family tree leads back to origins and traditions of other nations) and personally (everyone leaves parents, everyone grows up and moves on,
etc.). Ancient Aboriginals are referred to as “ the first boat people” ; Australia is conjured as “ the last great frontier” through the reminis cences of Irish migrants; and, although more matter-of-fact motivations for migration are detailed, such as incidents of religious persecu tion, political exile and refugee flight, they always refer to a troubled past that has now been transcended. For the present, the message of the series is clear: Australia is again to be valorized as a “ lucky country” , a “ classless society” (according to Eric Bogle) in which “ you’re as good as you prove yourself to be” , a stage upon which a magnificent personal scenario of drive, ambition and aspiration can be played out. The Migrant Experience is at pains to provide a clear and coherent historical account of migration. Key events and tendencies within the Australian government’s migration policy are surveyed in terms of their reasons for being implemented and their effects. The ground is covered several times over from episode to episode: the beginnings of the ‘white Australia’ policy and its links with the establishment of the trade union movement; the governmentpreferred assistance scheme which enticed migrants to Australia; the flight of European war refugees into Australia; the ‘factory fodder’ principle of the 1960s; and, finally, the drama of the ‘boat people’ at the end of the Vietnam war. Each period is in some way marked as a ‘crisis’ time, revealing either social contradic tion (the rise of unionism leading paradoxically to a racist policy), wastage and error in economic planning (every European migrant, whatever his skill or status, was classed in the 1950s and ’60s as ‘laborer’), inhuman and opportunistic calculation (the British migrants were carefully sorted out, during Arthur Calwell’s government, in terms of their ‘breed
Meal time in a migrant hostel in New South Wales, circa 1958. The Migrant Experience. 234
-
A ugust
CMEHA PAPERS
ing’ potential) or an inability to cope (the anxious delay before the ‘boat people’ were allowed to disembark on Australian shores). All these ‘crises’ are added together in a linear fashion by the series, and the resulting ‘story’ has a significance which its writers and directors are keen to insist upon. The perpetual crisis prompted by the phenomenon of migra tion in the Australian nation provides a death and a birth, both of which are highly desired. What has supposedly ‘died’, in government policy, is any tendency towards inequality, racial calculation, or lack of compassion. British migrants (it is triumphantly asserted) now go through the same tough screening as anyone else; Asians, since 1982, come into the country as migrants, no longer as refugees. All are welcome and everyone has a chance to develop his or her individual skills, not only as laborers but also as doctors, lawyers, artists and academics. In Australian culture, too, it is suggested that certain national self-images have little by little crumbled away: the ocker, the Anzac, the ‘mate’, the Bazza McKenzie figure. “ In the late sixties” , according to Egon Kunz in the final episode Are You Fair Dinkum?, “ the slogan ‘the Australian way of life’ started to dis appear” , along with the behaviour (such as racist humor) that identifies it. By using creaky old advertisements and pop songs from the 1950s and ’60s, The Migrant Experience tries hard to evoke the notion that these definitions of ‘Australian-ness’ are quaint and outmoded, thoroughly superseded in enlightened, multi cultural times. Yet, the recent date of some of the material deployed to this end (such as the infamous “ football, meat pies, kangaroos and Holden cars” commercial) is inadvertently quite enough in itself to give the lie to these clearly fallacious assertions about Australia’s ‘progress’ into a new age, assertions borne out
The Migrant Experience
neither by sociology nor anyone’s personal experience. The thesis presented by The Migrant Experi ence is every bit as clear and coherent as it was intended to be, but that is precisely its major conceptual problem. Social and cultural history simply does not proceed in a tidy linear fashion, an organic pattern of death and rebirth, crisis and progress. The mentality of entire genera tions of individuals cannot just turn over with the official announcement of a new national consciousness. Another picture of the present would be to see it as the bearer of many unresolved tensions and contradictions left over from history — a messy, uneven, tangled present, progressive in some respects and lamentably backward in others. Only the segment on the bilingual education experiment at Debney Park school that is included in the sixth episode — a piece of vivid documentary reportage that stands out starkly from the rest of the series — gives a tough, complex glimpse of the position of migrants in a sector of Aus tralian society. There are also related problems in the very format and construction of The Migrant Experience. The format is not uniform: the differences from episode to episode indicate not so much a variation in the approaches of suc cessive writer-directors (Ben Lewin directed episodes 1, Setting Out, 5, Something Old, Something New and 6, Are You Fair Dinkum?; Karl McPhee directed episodes 2, Of Dreams and Reasons, 3, First Encounters and 4, Working) as a number of decisions about how certain subjects would best be tackled. The first two episodes, for instance, contain a conven tional use of voice-over narration, a device dis carded for the later episodes 5 and 6. The earlier episodes are historical and ‘educational’: they seem almost to take the form of classroom lessons. The later episodes make an attempt at
‘immediacy’: current situations, trends and pressure points. But immediacy, conveyed by any means, is precisely what the series lacks. It engenders a tone of distance and detachment through the excessive use of archival footage. The research that went into finding and collating of this footage (by Heather Forbes, Tom Zubrycki and Sue Cram) is unquestionably an impressive achievement in itself. The Migrant Experience, however, needs to be something more than a survey of pre-existing bits of film if it pretends to be grasping the reality of the present situation of migrants in Australia. The archival footage is deployed in dubious ways by the series. It is heavily treated and inflected by conventional documentary addi tions; not only voice-over commentary, but also fake sound (tinny crowd noises, gun shots, horse hooves) is included to ‘correct’ silent footage and provide it with a mandatory effect of reality. Even more alarming is the attempt by the series to use shots from fictional films of a past time as if they were raw pieces of news reel. Many government-sponsored shorts — obviously entirely scripted and directed — are dropped into the flow of the series entirely un identified. This is particularly objectionable when one particular fictional short, a film showing two hopeful German refugees present ing a touching plea to Australian migration officials, is used again and again in the series as a summing-up of the actual migrant experience. It seems for much of the time as if the series only wishes to touch the migrant experience through its previous representations, at a second or third degree. In the fourth episode, Working, one sees, in place of any immediate Refugees wait for their applications to go to Australia to be by Australian officials at a Displaced Persons’ presentation of factory work, various fictional processed Camp in West Germany, circa 1950. accounts of it: a mime presentation by a migrant theatre group; shots from Gillian Arm strong’s early short 100 A Day (again dropped in as if newsreel); still photographs. Obviously, in the realm of another film practice, directors such as Jean-Marie Straub and Danielle Huillet would be ecstatically happy to make this type of film on the subject of work, layering and con trasting only its representations. But The Migrant Experience is definitely not History Lessons, and it is not trying to raise any ques tions about its own procedures and conven tions. The series, as with any standard docu mentary, is on the track of reality and the feel of a social experience; all it produces is a dis count, reduced reality. This impoverishment is all the more evident when the series, finally, bursts open with some lively and exhilarating footage in the fifth episode, Something Old, Something New. Here, at last, is a glimpse of what the other episodes have left the audience craving for: the rich texture of migrant culture, the rapport between family members, the celebrations between friends, the lyrical anecdotes and whimsical reminiscences. It was a wise decision , indeed to leave this footage alone, without narration, for even when what it shows is frag mentary or unfamiliar to a viewer it provides a breath, a touch of the real that is badly needed. The Migrant Experience is an example of a series which tries to cover the lack of power and vividness in its material by stretching it out. One sees far too much of these noble ‘spokes persons’ for the migrant experience: actors, singers, academics. Eric Bogle strikes it lucky for a song and a chat in at least four episodes! And one sees far too little of the actual events and places and situations that make up that experience. Juggling what it has, The Migrant Experience inevitably arrives at pat conclusions and an easy optimism. As with every television documentary, it sets out, in its promotion, with a firm promise to be ‘controversial’. It ends up being merely safe, conservative and reassuring.-^ Artist’s view of emigrants embarking for Australia in 1880. CINEMA PAPERS August — 235
bR BhS
nB n
mmm •f
•’l l . -ij
n
i
What did you gain from your time at AFTS? What the AFTS does best is pre pare you to survive in the competi tive film world. I was lucky in that I was a mature-aged student and could deal better with the com petitiveness. The AFTS also gives you a short cut into the industry. If I had tried to make my way through freelance writing, I would probably still be writing documentaries for the SAFC. Given all the things that are wrong with the AFTS, there are also a lot of good things, such as having the opportunity to make films and spending three years finding out what aspect of the industry you are interested in and suited for. When I enrolled there I had no idea that I was interested in directing; I went in as a writer who discovered she really wanted to direct.
Sophia Turkiew icz was b o m in L u sa ka in N orthern Rhodesia (now Zam bia). A lth o u g h her parents are Polish, they fo u n d them selves in A fric a after W orld War 2, fo llo w in g one o f the m any strange routes that refugees were fo r c e d to take to leave Europe. Turkiew icz arrived in Frem antle with her parents in 1950 at the age o f three a n d a half, then, shortly afterwards, the fa m ily m o v ed to A d ela id e where she grew up. Turkiew icz began her career in film m a k in g as a writer after doing a writing w orkshop with the South Australian Film C orporation (SAFC ). In 1975, she was accepted as a stu d en t at the A ustralian Film and Television School (A FTS), where she wrote a n d directed her fir s t film , A Handful o f Jellybabies (1977), a n d Letters from Poland (1978). She graduated fr o m the A F T S as a writer and director. Silver City, her fir s t fea tu re, takes up and explores the them e she touched on in Letters from Poland: the e ffect on the lives o f p eo p le a n d their relationships o f the dislocation and traum a o f p o st-W o rld War 2 m igration. Silver City was screened this yea r at Cannes and is due to be released later this year. Turkiew icz sp o ke to Christine Cremen while in p re productio n on her n ext project, Time’s Raging, a tele-feature f o r the A B C .
What made you decide on direct ing? The first film I made, A Hand ful of Jellybabies, was dreadful. I thought I had done justice to a very serious topic — it was based on a Frank Moorhouse short story — but when I screened it for the other students they fell off their chairs laughing. That was quite Dana (Basia Bonkowska), a young Polish refugee, in Sophia Turkiewicz’ Letters from traumatic. It was really only in my Poland: weaving the story of tragic relationships into “a socio-historical context”.
second year that I understood what the whole process was about. Since then I have either written my own scripts or collaborated in the writing of the script. I see myself as a writer-director: even if I were to collaborate with someone else on a script, I would want to have a lot of my own writing in it. What was “A Handful of Jellybabies” about? It explored the idea of social embarrassment by telling the story of two very awkward people trying to make an overture towards one another, but whose shyness and neuroses get in the way of anything developing between them. The problems existing in human rela tionships are a continuing interest of mine. You take this theme up again, in the context of migrants coming to Australia, in “ Letters from Poland” . . . I have made two films — Letters from Poland and Silver City — which deal with immigration and because of this people categorize me as an ethnic filmmaker, which is not the case. My interest is story telling: what I like to do is find stories about the way people live out their lives. In Letters from Poland and Silver City, what I have done is to place European CINEMA PAPERS August — 237
Sophia Turkiewicz
Dana, alone in Australia, thinks longingly about her husband still in Poland. Letters from Poland.
Flashback scene with the young Dana in Poland. Letters from Poland.
characters in a fictional story and then into a socio-historical con text. If people think they are going to see a documentary about immigra tion when they go to Silver City, they are going to be disappointed; basically it is a love story about a young girl who falls in love with a married man. I didn’t want to make a film about immigration because I thought people would be turned off by that. What I tried to do is write a story that was access ible to the general public and, through that, say something about a particular group of migrants. I guess what I am trying to do is explore the subject of Australian national identity as it is today.
there on a grant having a look at Polish film production; in fact, that is where I started writing Silver City. I remember sitting, at Christmas time in 1978, in a little room and writing the first few pages of the script on this funny, Polish graph paper because I did not have proper paper.
I do have a bent towards the tragic. As a child I was in a hostel for a short time, and I was brought up all my life with anecdotes and stories from my parents and their friends about their experiences during the war: a diet of personal lives which ended in tragedy of some sort. Again, that is what interests me: the drama of people’s ordinary lives; how virtually every one is betrayed; how a little event can have the most extraordinary implications for the rest of some one’s life. This is what the story teller in me tunes in to. And what is dramatic is usually often tragic; the two go together. How did you go about doing the research for “ Silver City” ?
The relationships in “ Letters from Poland” and “Silver City” are I don’t think I could have quite tragic. Is this a reflection of written the script without having your personality as much as an gone to Poland. After I graduated element of the narratives? from the AFTS, I spent six months
Nina (Gosia Dobrowolska) and Julian (Ivar Kants), the lovers in Sophia Turkiewicz’ Silver City: “I f people think they are going to see a documentary about immigration . . . they are going to be disappointed . . . ” 238 — August CINEMA PAPERS
What was Thomas Keneally’s con tribution to the screenplay for “ Silver City” ? It was not a collaboration in the true sense of the word where you pass drafts back and forth. I had done five drafts of Silver City and I was not happy with certain aspects of it. I felt I had not dealt properly with the war-time back ground of my characters. I knew that Tom had been to Poland researching Schindler’s A rk , so Joan Long asked him if he would have a look at the script. He con
tributed some ideas which I wove into the next five drafts. “ Silver City” is a film which both you and producer Joan Long have been interested in making for a long time . . . I had had a conversation with Joan back in the days of my work ing for the SAFC about what a good idea it would be to make a film which dealt with a post-war, European refugee camp in Aus tralia. It so happened that she had tried to involve Film Australia, where she was working at the time, in a project dealing with that theme, but there was just no interest. Then, while I was at the AFTS, I was exploring that territory in Letters from Poland which, at one stage, I had considered unrealistic ally as a third of a film which became impossible to organize.
The riot in the migrant camp about the segregation of the sexes. Silver City.
Sophia Turkiewicz
actors. I ended up by having a mix: real Europeans and Australians playing Europeans. All in all, I think that mix worked. As a first generation Australian, what do you think about the repre sentation of migrant groups in Australian cinema?
Joan happened to be one of the How long did it take to get the outside assessors brought in to funding? look at the final year’s work at the When I came back from Poland AFTS. She saw Letters from Poland, liked it and wrote me a I spent the next couple of years letter after I graduated, encour writing the script. When we started aging me to keep on developing the to try to get money things were idea. Then, when I was in Poland extremely difficult. We spent two and had begun writing, I got a years, almost giving up every letter from Joan, completely out of week, thinking that we just would the blue, asking, “ What are you not get over the obstacle of that up to? I have a feeling you are up particular week. But, somehow, miraculously, we managed to keep to something interesting.” Joan has certainly come into my going. life at key points professionally. Even as I was writing the treatment Do you think these obstacles were I had been planning to send it to the result of being relatively un her because she had expressed an tried as a writer-director? interest. But before I had the There were the problems of the opportunity to finish it the letter arrived. I posted off the half I had tax legislation during that time, already written and she sent back a but one of the factors was, cer telegram saying, “ Terrific, keep tainly, that I was an unknown writing.” She then started negotia quantity. I am sure that if Joan ting for funding through the Aus had had Bruce Beresford as a director, she would not have had tralian Film Commission (AFC).
as many difficulties in raising the money as she did with me. We also had problems develop ing the project because of the topic. This was when migrants still had a bad name and the subject was not yet fashionable. In the past couple of years there has been a change of attitude and people became interested in the theme of my film. We were getting a very positive reaction about it, but money raising problems were para mount. What were some of the other prob lems with “ Silver City” ? A major problem was ensuring that those cast as Europeans appeared authentic. My film was made for an English language audience; I didn’t want to make a sub-titled film as this would appeal only to a limited audience, so I had to be careful about choosing the
What is happening on our screens at the moment is not a true reflection of what is happening in our society. When you look at the number of people from European backgrounds who live in this country, they are just not up there on the screen. Things are changing — there have been films such as Moving Out — and it is heartening to see that at least those themes are starting to be dealt with. I noticed in a recent Australian Film Review production survey that there were six or seven major features or mini-series dealing with Euro peans. These people have been largely ignored until now so it is about time it happened. Also, if you look at it in a historical con text, this is the right time. America had its big wave of immigration 80 years ago. The next generation, the children of these migrants, then documented that experience in their movies; there seems to be a pattern. What do you think have been the changes in attitude to migrants? There has been a change for the better in the past 35 years, with much more tolerance, at least towards European migrants. A distinct change in attitude between now and the 1950s is apparent as migrants have found their voice; rather than being ashamed of being different in this culture they are suddenly rediscovering their pride in being different. They are asserting themselves and winning acceptance from the “ old” Aus tralians because of this assertion. Do you personally have a need to show what happened to your parents and their generation?
Mrs Bronowska (Ewa Brok) prays in the women’s dormitory of the migrant hostel. Silver City.
Now working in a country town, Nina returns to her room after a nasty encounter to find Bert (Jamie Higgins) waiting for her. Silver City.
Yes. It is a need of mine and it has to do with guilt, in a way. Merely observing my parents I saw the price they paid making the decision to come to a new country to live out the rest of their lives. I am aware of how many more opportunities I have had being first generation rather than those who had to pave the way for me. Because of what I have been able to achieve in my life, I feel I have an obligation to express their pain, knowing that by moving out of their culture and into one com pletely foreign to them there have been immense implications for the rest of their lives. If a group of people is put into a new context, it is arbitrary how those people will shape their lives in that culture. It depends on any Concluded on p. 287 CINEMA PAPERS August — 239
W:m mM
Melbourne Film Festival introduction Rod Bishop For the first time in its 33-year history, the films at this year’s Melbourne Film Festival were seriously challenged by the periodic streaks of bad blood dis played by patrons inside and outside the theatres. In 1984, the Festival hoped to give itself a fresh start in two brand new venues located in the Victorian Arts Centre. And, it is worth noting, new comer Paul Seto, in the role of execu tive director, was administering a Festival presided over by Erwin Rado for nearly 30 years. (Geoff Gardner held the position in 1981 and 1982.) This year, David Stratton acted as program consultant, thereby taking responsibility for the majority of the entries at the Melbourne event, in addition to his Network 0-28 commit ments and his correspondence work for U.S. Variety. Clearly, the division between admin istration and programming, together with the major undertaking posed by the new venues, created problems for the smooth running of this year’s event. In their coverage of this year’s Festival, many of Melbourne’s daily and weekly newspapers were critical (in various ways) of the standard of the films, the conditions under which they were screened and the administrative ‘gaffes’ that occurred throughout the fortnight. Two of the more spectacular prob lems were given prominence by Neil Jillett in The Age and Keith Connolly in The Herald. The first of these was the terminated screening, after only 10 minutes, of the major Swiss entry, La morte de Mario Ricci (The Death of Mario Ricci). There were no subtitles. It seemed incongruous, if not un believable, to come to the realization the print had not been checked before the screening. The second and perhaps more im portant ‘gaffe’ stemmed directly from the poor standard of projection Editor’s note: Due to limitations of space,
it became necessary, with odd exceptions, to review only once films shown at both Festivals. The allocation of reviews to certain sections is in no way a reflection on either Festival. Equally, the introductory remarks refer, as indicated, only to the Melbourne Festival.
Opposite, clockwise from top left: La balance; Friend or Foe; The Makioka Sisters; La vie est un roman; Tchaou pantin; Kim Novak and Alfred Hitchcock.
suffered by the opening night film, draw them. (David Stratton was a co dialogue with the audience. Alain Broadway Danny Rose. Given the signatory to this request.) At the con Vannier, who came to Australia with a Herculean task of outfitting the new clusion of one of these screenings (The special package of French films State Theatre with projection facilities Outcast), ex-Festival director Erwin (among them the ill-fated La balance), in less than 24 hours, it came as little Rado was quoted as having com was not given the opportunity to intro surprise to find the screening ruined by mented: “ There was absolutely no duce them to the audience. Likewise, bad sound and continuous light spills justification for showing that film.” James Stewart, visiting Melbourne to on to the screen. And there were other problems. Bob promote the commercial screenings of Although incensed by the conditions Swaim’s French thriller La balance the Hitchcock films, did not appear to under which Broadway Danny Rose was ruined by six breakdowns in pro introduce Rear Window. And, was screened, Roadshow Distributors jection; a lengthy trailer for The Hotel strangest of all, the very real possibility allowed executive director Seto to New Hampshire inexplicably pre of Orson Welles attending the Festival announce a late inclusion in the pro ceded the Broadway Danny Rose appears to have been rejected out of gram: this year’s Grand Prix winner at screening on opening night; latecomers hand by the Festival executive, which Cannes, Wim Wenders’ outstanding to screenings were locked out in ‘opera is reported to have felt the Festival style’; a Syrian feature was projected Paris, Texas. could not afford the costs of accom By the end of the first week, how with the reels in the wrong order; and, modating Welles. Certainly, these ever, a chalk and blackboard notice at $8.50, the official program was costs would not have been incon curtly informed patrons that Paris, annoyingly thin: apart from factual in sequential, but the executive appears Texas had been withdrawn. Dissatis accuracies, it also lacked detail of not to have even considered approach faction with the Broadway Danny casts, directors’ previous work and ing Melbourne hoteliers or late night Rose screening was cited by Road major awards given to the films. It television programs — two obvious show’s Alan Finney as the reason for would, for instance, have been valu sources which might have helped out the Wenders film no longer being able to know that Gian-Maria Volonte with such a prestigious and publicity available. won Best Actor at Cannes in 1983 for conscious guest. Deprived of Paris, This was more than disappointing. The Death of Mario Ricci. On the Texas, Melbourne was also deprived of After the aborted Mario Ricci screen other hand, it was upsetting to read Wim Wenders, who attended the ing, the Festival could only legiti Mike Leigh’s Meantime described as Sydney Festival. mately boast the revival of Luchino “ definitely a minority audience film” , Amongst all this, it was difficult to Visconti’s 20-year-old II gattopardo thereby dissuading many from seeing a develop a calm, detached approach to (The Leopard) as a film of major brilliant piece of British social realism. evaluating the films which were consequence. Although the effect on Had it been screened on ABC Tele screened. The general standard was the audience of both the Paris, Texas vision, it would have been acclaimed mediocre and, although there were and Mario Ricci debacles was equally by an audience far greater than the some very good films of their type, few disturbing, what was more upsetting Festival patrons. (Significantly, it was were worthy of the evening ‘showcase’ was the feeling that both events were voted the fourth most popular film at treatment. avoidable. the Sydney Festival.) However, the attendance is said to The teasing ‘in and out again’ carrot There was scant regard for festival have risen by as much as 35 per cent of Paris, Texas was made even more guests: British director Sally Potter from the previous year, reflecting enigmatic by executive director Seto’s was introduced to the audience and perhaps the greater choice of ticketing comment in Variety. “ . . . I would then left on stage alone, to conduct her arrangements and the convenience of have made a similar decision had I been in [Finney’s] place.” This may help placate Roadshow, but it did little to smooth the ruffled and disgruntled Festival audience. (Paris, Texas was voted most popular film at the Sydney Festival.) Connolly lashed out at Seto’s final press release which claimed this year’s Festival had attracted a “ wider and less elitist” audience, a statement that could only rub the wrong way with Festival stalwarts and Victoria’s huge film society movement. Connolly also alluded to his personal lack of effectiveness on the Festival’s features sub-committee, a body ostensibly created to advise the executive director on film selection and program placement. (Having been invited to attend only one of the sub committee meetings, it was clear to this author that the members were incensed by lack of effective consultation.) The features sub-committee was also angered by the late inclusion of two unseen South African films, and peti James Stewart, right, with Wendell Corey and Grace Kelly in Alfred Hitchcock’s Rear tioned the executive director to with Window. Stewart was a guest of the Sydney Festival but not Melbourne. CINEMA PAPERS August — 241
Melbourne and Sydney Festivals
the new venue. And, once the projec tion problems had been resolved, the State and Playhouse theatres provided an attractive, ‘up-market’ image for the Festival. Unlike the features, the short films maintained the standards they have reached in the past, although the announcement of the prizes for the shorts was greeted more uproariously than usual. With the generous support of Film Victoria and Ford, and the in creased attendance, the Festival reports that in financial terms the event has “ broken even’’. In the past, the Melbourne Festival has quite rightly claimed a position as an international film festival of conse quence; it is, after all, almost the same age as Cannes. But the bottom line for the future of the event lies with the Festival board of management which must provide both a financially suc cessful operation and an informed selection of films. What does seem strange, however, is that in a city as rich in film culture as Melbourne, this expertise is not being effectively harnessed by the board of manage ment and its president, Don Dunstan. If the Festival is to regain the cul tural and artistic standards of the past, it simply must provide an organiza tional structure capable not only of producing a more informed selection of feature films, but also a civilized program of ‘sideshow’ events based around notable guests and public forums. In 1984, too many facets of the event were below standard. In the end, the onus lies with the Festival board of management to provide the initiatives, and the solutions.
New York and fashion ‘glams’ at London’s Heaven discotheque. Bur roughs even climbs into an original Reichian ‘orgone box’ with Terry Southern for a bit of sex therapy. In Burroughs’ New York apartment, nicknamed The Bunker for obvious reasons, he takes us on a tour of his extensive weapon collection and one admires his private firing range. One listens to his drunken fantasy of a country peopled only by gays, equipped with Israeli-style commando squads whose task it is to track down and assassinate those who speak out against the gay paradise. About this, he is very serious, but almost every thing else Burroughs tells the audience is peppered with his dry, acerbic black humor. The father of the beat generation and the prince of the junkies appears to have survived them all. Stung decades ago by a friend, long since dead, who called him “ a walking corpse” , Burroughs now comments: “ Maybe I am a walking corpse, but at least I’m still walking.” Described in the program notes as “ . . . a remarkable thriller . . . exciting and mysterious . . .” , Flight to Berlin fails to deliver any of these promises. Written and directed by Chris Petit (Radio On, Unsuitable Job for a Woman), this film tells the story of an Englishwoman who comes to Berlin to escape her husband and the mysteries surrounding the death of a
woman friend. In Berlin, she meets her older sister again and falls in with the sister’s friends: a shady French hustler, an even shadier English conman and, for no apparent reason (save for a few self-referential in-jokes), Eddie Con stantine, who presides over an inter minable lunch lamenting the fact that he never made a film in the U.S. Petit is a consciously existential director, still too in awe of Wim Wenders to develop a significant and worthwhile personal style. Paul Verhoeven’s The Fourth Man tells the story of a gay, alcoholic writer, Gerard Reve, who travels from Amsterdam to Cologne to deliver a literary lecture. Attracted to a muscled youth on a railway station he eventu ally sleeps with the youth’s fiancee, ingratiating himself with her in the hope of meeting and seducing the real object of his desires. A plodding narra tive eventually reveals the ‘accidental’ death of her three previous husbands, thereby plunging the gay writer into hopeless paranoia: is he, or the youth, likely to become her fourth victim? The main problem with The Fourth Man is that nobody really cares. The male characters are despairingly and shallowly sketched, and Renee Soutendijk, handed the unenviable task of playing a quintessentially scheming femme fatale, struggles to establish even a hint of motivation for her grisly preoccupations. It is a film that makes you want to go home and take a bath.
Features Rod Bishop The seven separate camera and crew credits at the end of Burroughs testifies to the broken schedules and five-year production period of this documen tary. Director Howard Brookner has persevered with a project apparently begun by British director, Antony Balch. Surprisingly, the film shows few signs of these problems and gives a reasonably coherent picture of one of the most extraordinary literary survivors. William S. Burroughs, with ex-lover and fellow beat hero Allan Ginsberg, together with luminaries such as Terry Southern and Francis Bacon, all help piece together the writer’s contro Above: Christopher Petit's Flight to Berlin. Above right: Nils Malmros’ Beauty and the versial career: his early childhood in St Beast. Below: Mike Leigh’s Meantime. Below right: Paul Verhoeven’s The Fourth Man. Louis, his homosexuality, the bizarre ‘William Tell’ death of his wife Joan, his highly productive Tangiers years, his heroin addiction and the recent death of his son, William Burroughs Jr, from chronic amphetamine use. The material with William Bur roughs Jr, shot just before his death, is particularly painful. The son has nothing in common with the father, despite the son’s beat generation persona and an obvious desire to seek his father’s approval and affections. Burroughs Sr is not so much uncom fortable in these encounters with his doomed son as just plain cold. Likewise, Burroughs’ descriptions of his wife’s death (and his part in it) are just as chilling. For the rest of the film the writer, posturing but restrained, ruminates on his life and his books, engaging in rock style tours and performing to punks at The Ritz in 242 — August CINEMA PAPERS
Included in the screening schedule at the last minute, the British entry Meantime stood head and shoulders above most of this year’s program. A 102-minute social realist drama made for Central Independent Television and Channel 4, Meantime focuses on the chronically unemployed Pollock family which is scratching out its days on a Chigwell housing estate in the East End of London. The mother, father and two sons, cramped in their flat, or morosely killing time in the laundromat and the pub, are patron ized by relatives who live a comfort able, secure middle-class life some where at the other end of the Central Line. The superb acting complements Mike Leigh’s perfectly balanced script and his assured direction. Thematic ally and stylistically similar to Boys from the Blackstuff, Meantime is nevertheless a more exacting piece of social realism and, as an example of British “ kitchen sink” style, they don’t come much better than this. One of the best photographed films at the Festival was Nils Malmros’ Beauty and the Beast, a comedy of manners set in the depths of a crystalline Danish winter. The agoni zingly slight plot is about a 16-year-old daughter who is the object of parental protection from a sympathetic father during her mother’s prolonged hospi talization. As the father passively interferes in the daughter’s life, director Malmros develops contradictory tensions by set ting the father’s apparent protection of his daughter’s virginity against the possibility of incest. The hopelessly twee resolution reveals the daughter’s loss of innocence some 12 months before.
Melbourne and Sydney Festivals
Despite shortcomings of plot (and intelligence), Malmros has effortlessly accomplished everything required of him. But it isn’t enough to save this Truffaut-style film for the squeaky >clean Danes. In Videodrome, the owner of a small, cable television station, which specializes in soft-core sex and violence, becomes intrigued by illegal transmissions of a hard-core sex and torture program known as Video drome. Attracted by the commercial possibilities of the material, and its essential voyeurism, the cable director (neurotically played by James Woods) eventually discovers that Videodrome is clandestinely transmitted by his Right-wing competitors. The trans missions themselves create brain tumours in those who watch them, thus ridding the U.S. of its ‘scum’ population. Canadian director David Cronen berg skilfully pursues this extravagant plot line, creating a great deal of credi bility where, perhaps, there should be none at all. The extensive visual gore and special effects help disguise the thin characterizations, and both Woods and Deborah Harry (as an S & M-fixated television star) struggle to give the audience some character involvement. In the end, Videodrome must be admired for transforming VCRs and video cassettes in to objects of cred ible, hallucinatory fear, and for cunningly playing with the audience’s expectation of the ‘video nasties’. White Dog, a new film from legend ary American ‘primitive’ director Samuel Fuller, is based on a story by Romain Gary White about a white German shepherd which is tortured from birth and taught to attack (and kill) whenever it sees black skin. Most of the film is about the attempts of a black animal trainer to retrain the dog. White Dog is riddled with Fuller’s usual leaden dialogue and, with the exception of an honest performance from Kristy McNicol, the rest of the cast could do with some retraining themselves — especially Burl Ives, who stares vacantly off into space when he doesn’t have any dialogue. Usually, these little eccentricities of Fuller’s are excused for the strengths of his miseen-scene, but, once the director estab lishes his simplified racial message, White Dog degenerates in to a rather inconsequential and pedestrian affair. For clever and intelligent wit among the Festival offerings, it was difficult to go past Raul Ruiz’s The Hypothesis of the Stolen Painting. Jean Rougeul plays an art historian dedicated to evaluating the ‘tableaux vivants’ col lection of Tonneres, a fictional painter. He carefully constructs a parody of the thriller genre and de constructs’ the paintings by meticu lously staging three-dimensional enact ments of the works — through which he then can walk, reverse the lighting if he wants to, investigate the meaning of eyelines and search for clues to the mystery of the ‘narrative characters’ he creates from his own imagination. The final stolen painting ‘reveals’ a narrative which cross references with a cheap, scandalous novel. Further rumination (during which the art his torian is lulled to sleep by his own verbiage) produces a sub-text based on androgyny and the occult. But is the art historian employing the ‘right’ methodology? Is the mystery in the paintings created by the ‘narrative’, the dogma of art theory, or the imagination? It is a film which
Keith Connolly
manages to simultaneously present an affectionate, but satiric, look at semiotic theory, art theory, film theory and even psychoanalysis. Bette Gordon’s Variety threw up some interesting ideas in a Festival of films which seemed content to rehash old plot lines. More accessible and assured than her first film Empty Suit cases, Variety focuses on a New York woman who finds employment in a low-rent porn moviehouse, presum ably around 42nd Street. She becomes attracted to one of the customers, a clean-cut older man whom she follows and discovers is involved in heavy deals on the Hudson docks. This dis covery gives her some legitimacy with her boyfriend who, horrified by her job, is apparently investigating crime on the docks himself. The woman becomes increasingly more infatuated with her developing sexual fantasies — both those on the screen and those she creates in her own mind — than with the customer. Variety, carefully plotted and leisurely paced, builds into a climactic meeting between the woman and the crime boss customer; however, in the final frame, the audience is left in contemplation of the deserted rendezvous: a downtown intersection lit by a couple of solitary street lights. The man has probably sensed a set up or a plant, but the woman has achieved more: by con fronting the crime and porn industry, she has shifted the power of her rela tionship with men and achieved a degree of self-realization. Another low-budget feature set in New York came from Italian Massimo Mazzucco with his first film, Summer time, a charming story of a young Italian tourist’s first visit to the city. Luca Barbareschi, in a well-judged, self-effacing and sympathetic perform ance, plays the bewildered Marco as he searches out a former, New York girl friend who, much to Marco’s chagrin, has turned into a psychoblabbing New Yorker who now bores him to death. Summertime is really an excuse for Mazzucco to relive his discovery of New York, and some of the best moments in the film are little asides
and nuances of observation about the city. It is a remarkable achievement, not only for its minuscule $40,000 budget but also for the way Mazzucco draws his audience into a very thinly plotted film. The program notes for Seventeen claimed the previous De Mott and Kreines documentary Demon Lover Diary “ electrified” the Melbourne Festival audience in 1981. A unique, quirky but messy film, I remember Demon Lover Diary chiefly for the unusually large number of walk-outs. Seventeen is a lot tighter, but it is also a more conventional piece of cinema verite about a group of teenagers and their parents in Muncie, Indiana — the site of the famous sociological studies by the Lynds — referred to as ‘Middle town U.S.A.’. De Mott and Kreines achieve an im pressive intimacy with their subjects and capitalize on the innate ‘per former’ which rears whenever the aver age American has a camera stuck under his or her nose. Seventeen, more an emotional than a sociological study, is weighed down by its two-hour length and, while some material is repetitious, it provides a generous and lively insight into how middle American teenagers deal with alcohol, drugs, sex, violence and death. It would have been useful to com pare the achievements in cinema verite of Seventeen with those of the Mel bourne film I’ll Be Home for Christ mas, Brian McKenzie’s cinema verite study of the homeless men who frequent Royal Park. Unfortunately, the executive director of the Festival rejected the McKenzie film, despite its acceptance into the Sydney program. Again, this represented another tragic loss to this Festival, as I’ll Be Home for Christmas is clearly as worthwhile as the American entry Seventeen. There is an element of ‘cul tural cringe’ in the decision to reject this Melbourne film and, worthy as Seventeen is, any informed and experi enced observer of both films would be doing a gross injustice to the local industry by giving preference to the American documentary.
In a Festival containing few truly memorable or even controversial films, perhaps the most significant — apart from the revivals — was Sidney . Lumet’s Daniel, now in commercial release and reviewed elsewhere (p. 270). It had what might be called a com panion piece from East Germany: Frank Beyer’s Der aufenthat (Turning Point), meaning “ sojourn” or “ stop o v er’, which is similar to Lumet’s allusive film in that it, too, is about prisoners held in a malign environment by a hostile state. Tie prisoner in this case is a young German soldier (played by Sylvester Groth, an actor with a passing resem blance to the young Malcolm McDow;lI) charged with a war crime he knows nothing about. Based on the personal experience of author Hermann Kant (the screenplay is by Wolfgang Kohlhaase), it begins when 19-year-old conscript Mark is plucked from a trainload of POWs being moved across Poland and is accused of shooting a girl during a massacre of civilians in Lublin in the closing stages of the war. Coldly certain of his guilt, the Poles first keep Mark in bleak isolation. Then, when he sticks to his claim to be who and what he really is — an apprentice-printer drafted in the last months of the war and totally ignorant of crimes committed by the Wehr macht or anyone else — Mark is given a dangerous job clearing rubble. The implication is that the Poles expect him to close the case for them, but he breaks an arm, not his neck, in the inevitable fall from a wrecked building. Apparently, Polish objec tions to these sequences led to the film being withdrawn from the 1983 (West) Berlin Film Festival. And, although their sensitivity is understandable, the complaint is really misplaced, for Beyer then goes on to pin German war guilt very firmly — not just on the Nazis, but also upon the military pro fessionals, careerist officials, com plaisant time-servers and “ little people” who simply go along with pre vailing power. His arm in plaster, the young soldier is put in a large common cell with a motley crew of older Germans, mainly cynical Nazis, ramrod officers, dis sembling functionaries and the odd collaborator. Most, possibly all, of them are guilty of war crimes and the film contains interesting insights into their evasions and self-justifications. A private, the only one close to Mark in age, confides that he, too, is innocent . . . all he did was drive a truck. The truck turns out to have been an Auschwitz extermination vehicle. Another lowly minion, a civilian, tells an officer that he was responsible, as charged, for the death of a slave laborer. The officer (who privately confesses to far worse) asks whether the civilian acted under orders. Told that he did not, the officer icily observes that the civilian is in deep trouble. There is not much doubt about who these types represent. Similarly Mark, in his genuine protestations of inno cence (“ What happened at Auschwitz and Lublin?” , he ingenuously asks), strikes a familiar chord. Such ignor ance angers both captors and fellowprisoners, who also try to kill the young soldier. When the Poles finally tell Mark CINEMA PAPERS August — 243
blacker, in keeping with what, to the outsider, seems like fratricidal lunacy as two wings of the country’s largest political party tear each other apart. The Peronistas, however, are like the Australian Labor Party in one par ticular: they encompass a wide range of political, socio-economic thought and practice under the umbrella of what might loosely be called “ social justice” . So, when the Peronist Right sets out to crush the Left, represented by the town’s elected administrator (Federico Luppi, of Adolfo Aristarain’s Tempo de revancha [Time for Revenge] and Oliver a’s La Patagonia rebelde [Rebel lion in Patagonia]), what begins as a knockout farce ends in sickening violence and coldhearted bloodshed. This development, in what had seemed a conventionally-structured film, dismayed quite a few festival goers. It was as if the funeral scene of La meurte de un burocrata (Death of a Bureaucrat) had turned into the final shootout of the recent Scarface Above: Frank Beyer’s Turning Point: war guilt and its consequences. Below: Hector remake. It is fun for a start, as the admin Olivera’s Funny Dirty Little War, a black comedy that gets blacker. Bottom: Tomas istrator, aided only by his naive Gutierrez A lea’s To a Certain Point: machismo in revolutionary Cuba. Marxist town-clerk, a policeman pro moted to sergeant for the occasion and the town gardener and philosopherdrunk, does battle with the rest of the police under the command of the local Peronist Right. But Olivera warns us of the death’s-head beneath the jester’s cap. Those flying bullets are for real and, though it takes a while for some one to die, Funny Dirty Little War finally turns very nasty indeed. The regional mayor moves in, bring ing professional thugs to finish off the resisters, but loses his police chief to the Leftist Peronist youth — highminded kids whose guns leave the same sort of hole as anyone else’s, regardless of the idealism with which they are fired. Behind all this may be heard the rumble of the tanks. Real-life events which Funny Dirty Little War parodies, but doesn’t entirely falsify, gave the Argentine services ample excuse for another seizure of power, and everyone, from the families of untold thousands of “ disappeared per sons” to Mrs Thatcher, knows what that led to. When a prominent Rightist, newlyconverted to Peronism (“ since he became democratic” ), hears that the army is coming, he says triumphantly: that his identity, and innocence, have “ Then we are saved!” For the home been established, an officer coolly audience, the irony of this remark asks: “ You don’t expect us to apolo must have been well-nigh unbearable. That Olivera should have been able gize, do you?’’ And that sums up a very well-crafted, and acted, statement to make this film before the junta about war guilt and its consequences, relinquished power last year (and, for the most maturely thought-proVoking that matter, before centrist Alfonsin I have yet seen in a German film (but a defeated the Peronist candidate in the less-than-surprising one to come from subsequent presidential election) tells the director of Jacob the Liar, the one something valuable about today’s Warsaw ghetto drama that won an Argentina. Oscar nomination in 1975). Such insights always have been one Other films touched on similar of the most valuable features of the ground. Hector Olivera’s Funny Dirty Melbourne Festival’s internationalist Little War is about a people making outlook and a potent reason why the war on each other — and about to trend to a narrower focus (almost half plunge into a bloodbath of totalitarian this year’s features were in English, the repression. Significantly, the original majority coming from Hollywood) title, No habra mas penas ni olvido, should be resisted. The only other Spanish-language translates freely as “ They won’t feature in the 1984 program was also forgive or forget.” It is set in Argentina in 1974, when Latin American, the currently-vigorthe aged Juan Peron returned to be ous output of Spain being unrepre elected, more or less democratically, to sented. In Hasta cierto punto (To a Certain the presidency from which he had been Point), Cuba’s best-known director, ousted almost 20 years before. A small town out on the pampas is a Tomas Gutierrez Alea, takes a some microcosm of the Argentine nation in what cautious look at machismo, the this tragi-comedy that grows steadily cult of male assertiveness that owes its
name to the Spanish language, but is by no means the sole prerogative of Spanish-speaking peoples. But in a Latin American country such as Cuba, justifiably proud of its racial equality and elimination of class distinction, the very suggestion that any part of its society is discriminated against is a hot patata. However, as he has shown in films as varied as Me mo r i a s del s u bd e s a r r o l l o (Memories of Underdevelopment) and La ultima cena (The Last Supper), Gutierrez Alea is a nimble negotiator of difficulties, both in content and technique, and, although To a Certain Point doesn’t confront the topic headon, Gutierrez Alea gives it an interest ing airing. Nicely-paced and crisply-edited, his new work has much in common with two of the best Cuban features of the past decade: the late Sara Gomez’ De cierta manera (One Way Or Another) and Pastor Vega’s El retrato de Teresa (Portrait of Teresa). The former (with which Gutierrez Alea was associated) combines docu mentary techniques and fiction in a portrait of what Cubans call “ mar ginal” people striving to overcome old habits and live in the new way. The better-known Teresa is a fairly bold assault on machismo, although it stops short of a complete consideration of sexual equality. Both these themes are examined in To a Certain Point. A married m id d le-ag ed d ra m a tis t (O scar Alvarez), working on a film script about the problems of women in the workforce, zeroes in on Havana’s docks as a testing-ground. He chooses a young female tally-clerk (Is it sexist to observe that she is a vast improve ment on all the middle-aged, pudgy, Right-wing male Australian tally clerks one meets?) as a model for his leading character. And wouldn’t you know, he falls in love with the beauti ful dock-worker (Mirta Ibarra). She is more or less unattached, having left Santiago de Cuba with the child of an earlier, unhappy liaison, and takes this new situation in her stride. But he suffers torments of guilt and responsibility. It also begins to dawn on him that real life is not as clear-cut as his film and stage scripts (in one of which we see his wife, played by Omara Valdes, taking an assertively independent stance). Perhaps that is why the film’s uncertain ending — or, more precisely, the lack of one — is less than disastrous (other reviews are less tolerant). But if the film, scripted by Juan Carlos Tabio and Serafin Quinones, doesn’t attempt to resolve the ques tions raised, there is no doubt that machismo takes a pummelling. The heroine is raped by a “ provoked” fellow worker, while verbal assump tions of male “ rights” are heard in what appear to be real-life video clips — as well as views expressed by fic tional characters — that attest to a less-than-wholehearted acceptance of sexual equality on the part of male Cubans, black and white. Like Portrait Of Teresa, the film fails to grasp the nettle brandished at the straying husband by his angry wife: “ What if /behaved like that?” What, indeed? But that is a matter yet to be dealt with in more places than Cuba. John Davies’ Acceptable Levels was difficult to assess, because it was one of the films that suffered badly from technical failures. The soft accents and assonances of the Belfast brogue are
hard enough to catch at the best of times, but blurred amplification in the State theatre rendered whole passages of dialogue virtually unintelligible. One saw more than enough, how ever, to convince one that Acceptable Levels is an important film, a step for ward in style and accessibility from the excellent Maeve, which Davies co directed with Pat Murphy. Like Maeve, it deals with the British role in Northern Ireland, scrutinizing not only its dire effect upon the R om an C atholic w orking-class population, but the many-sided diffi culties faced by the media in reporting this to the British people. A sorry amalgam of prejudice, misunderstand ing and censorship of several kinds (outright, implied, self-imposed, insti tutional) scrambles the picture before it reaches them. Acceptable Levels employs filmwithin-film techniques to consider both aspects. A BBC television team goes to Belfast for a documentary report on children for whom street warfare, military occupation and sporadic killing have always been a part of everyday life. When a child at a working-class housing estate is killed by a rubber bullet while the crew is filming nearby, the documentary director . (Andrew Rashleigh) and his staff are bedevilled by official inter ference and cavilling, personal insecurities and self-censorship, as well as bland “ disinformation” practised by the army, which stops this dramatic and revealing footage going to air. In the end, everyone declines the hard option, a conclusion that is no less pessimistic and dispiriting for being realistic. The film’s title comes from a state ment made some years ago by the Tory minister Reginald Maudling that the best one could hope for in Northern Ireland was a return to “ acceptable levels” of violence. The point, of course, is that there are no such levels. While the Melbourne Festival was light this year in all foreign-language films, the most notable shortage was of features that have in the past pro vided one of its strengths: those of Eastern Europe. Hungary was represented only by Gyorgy Szomjas’ Konnyu testi sertes (Light Physical Injuries), a sardonic domestic comedy-drama, in the vein of Peter Gothar’s A Priceless Day, about the things people will do to acquire, and hang on to, a comfortable roof over their heads. Similarly, Szomjas isn’t afraid to look into the seedier side of Hungarian life. The leading characters are thor oughly ordinary, and not very nice, people — though some are more ordi nary, and nastier, than others. Szomjas plays around’with a fairly trite situation (but one that must occur a lot in a society with housing prob lems). A man just out of jail is forced to share an apartment with his wife and her new lover, putting up with, and inflicting his share of, slights, in conveniences and plain bloodymindedness between the co-tenants. Among the sardonic observations of contemporary Hungarian life are hints of continuing class distinctions be tween white- and blue-collar workers, an airy disregard for the political regime or “ socialist morality” and the revelation that Hungarian police, called in to handle a “ domestic” , behave like cops anywhere. There is also quite a deal of grubbily opportunistic sexual behaviour (all the more believable for that) and what one
is told is “ real gutter stuff” in the dialogue. Two films from China, Ling Zifeng’s Luotuo xiangz (Rickshaw Boy) and Wang Haowei’s Xizhao jie (Sunset Street), were typical of the wide-screen moralistic drama that the reviving Chinese film industry is making in the populist style of studioera Hollywood, graced with modern technical expertise. Rickshaw Boy is based on a famous pre-revolutionary novel by Lao She, a pessimistic account of a 1920s rick shaw-puller’s unavailing struggle to “ get on” and, ultimately, survive. In the film, he is a Jude the inscrutable who, like the Thomas Hardy hero, is thwarted by the malignancies of fate and the designs of a grasping woman (a notable performance by Mongolian actress Siqin Gaowa). It was the better of the two films from China, with a strong, if heavilymeasured, narrative line, an evocative score by Qui Xixian and what the Chinese filmmakers undoubtedly regard as “ good production values” . Sunset Street is much more of a contemporary ‘message’ film, full of maxims for the home audience, but containing enough witty, dramatic and non-political human-interest interludes to make the whole digestible. Wang Haowei rather skilfully inter weaves sub-plots about the families which live around a suburban court yard in present-day Beijing. Most of these characters, too, are very ordinary and apolitical, though life teaches them to recognize the best and, in some cases, the worst in themselves, as well as establishing the truth of current official Chinese lines — such as the value of small-scale private enterprises that mop up unemployment, redeem idle youth from delinquency and enrich the lives of the populace. They are all patriots, of course, as the ex-layabout youths are given a chance to demonstrate when they un mask a black-marketeer, posing as a visiting overseas Chinese who seduces backward elements with glittering materialist prizes.
Above: Mariann Erdos in Gyorgy Szomjas’ Light Physical Injuries. Below: Ling Zifeng’s Rickshaw Boy: wide-screen and moralistic. Bottom: Wang Haowei’s Sunset Street, a witty “message” film.
Melbourne and Sydney Festivals
Debi Enker On the closing night of the Melbourne Film Festival, Gil Brealey prefaced the screening of his first feature, Annie’s Coming Out, with the caution that it was “ a simple film” , shot in only four weeks and intended for a broad, com mercial market. While his apprehen sion about its reception in a festival environment was apparent, it proved u n n ec essary , as the audience responded appreciatively to the por trayal of two women’s struggle against the Victorian mental health system. Annie’s Coming Out presents a col lection of unambiguous characters, conflicts and conclusions, arising from the struggle by Jessica Hathaway (Angela Punch McGregor) to extricate Annie (Tina Arhondis) from a state hospital in which she believes her to be unjustifiably confined. Throughout the film, Annie and the other patients in Brentwood Hospital are depicted as prisoners: captives of the prevalent social prejudices that place them out of sight and out of mind. This analogy is emphasized by scenes in which patients are shown confined in metal cots in which they live a large part of their lives, subject to often brutal hospital routines and powerless in the hands of the staff. It is also used metaphorically to illustrate the plight of an active mind locked in an unresponsive body. The problem that this arguably accurate metaphor creates in a narrative sense is that any character functioning to remedy this injustice automatically assumes the role of a heroic liberator, working against the inhumanity of the bureau cracy to free the helpless patients. To a large extent, Jessica is cast into this mould, embodying many of the attributes commonly associated with a freedom fighter. She is imaginative, resourceful and compassionate, out raged by the workings of a corrupt and decaying institution, tireless in her quest for Annie’s freedom. This characterization of Jessica requires an equally stereotypical approach to the other characters, who function to con trast with and complement her quali ties. There is the Nurse Ratchett type of head nurse; the generally suppor tive, if occasionally disgruntled, lover; the incompetent head doctor; and the kindly, paternal judge. These charac ters are not allowed any real depth or subtlety; they simply exist to highlight Jessica’s commitment and the in adequacy of the institution. The film deals, equally fleetingly, with several key issues raised by the narrative, rele gating the dilemma of Annie’s parents, the motivations and actions of the hospital staff, and the problems created by Jessica in her private and professional lives, to side-issues. However, the strength of the screen play lies in its use of Annie’s voice overs, which periodically pierce the narrative with the reminder that Annie is a cognizant human being and not simply a puppet in Jessica’s eager hands. The Annie whom the viewer hears is a woman subject to pride and perversity, also outraged by the life she has been obliged to endure. The voice overs create a tangible distance be tween the two women, thereby under cutting a response that could readily classify Jessica as a heroine and Annie as a grateful recipient of her efforts. Through Annie, the viewer gains a per spective on Jessica that implies her myopia. This angle on her character, in conjunction with several other 246 — August CINEMA PAPERS
exchanges, suggests that Jessica’s obsession may, in part, be the product of her own fears and inhibitions. This information, at least, seeks to chal lenge the naivety of a view that un questioningly applauds her obsessive behaviour, or regards its recipient as an impotent pawn. As a result of the unsettling power and clarity of Annie’s narration, the film achieves a dimen sion that enhances its generally pedes trian style. Possibly because of its flamboyant play with traditional narrative conven tions, James Toback’s Exposed elicited a vocal and largely negative response from the audience. Seduc tively scored by Georges Delerue and shot by Henri Decae, the film is con structed with the invigorating assur ance of a writer-producer-director intent on honing and perfecting a dis tinctive cinematic style, and it poses an array of pointed questions about the creation of female identity. From the - moment that Elizabeth (Nastassja Kinski) decides to abandon student life and embark on a voyage of liberation in New York, she represents both the fairy-tale princess and an ironic rebuttal of that myth. In her odyssey from student to hopeful pianist, to waitress, to cover girl, she comes into contact with a string of men, all intent on fashioning her to fit the image that they desire. Her stern father, her vainly protesting lover, the photographer who makes her famous, the enigmatic Daniel (Rudolf Nureyev) intent on using her as an instrument for his revenge and, finally, Rivas (Harvey Keitel), the terrorist infatu ated by her glossy photographs, are all united by their insistence that she become what they wish her to be. The film continually toys with the process of creating illusions. From its euphoric opening sweep across the Parisian skyline, it sets up a mood of tranquil splendour that it quickly shatters with a bomb blast. In a similar way, Elizabeth presents two contrast ing surfaces: the glamourous cover girl and the slightly dishevelled teenager from the Mid-West. Appearances, whether they be of cities or bodies, are simply layers to be peeled back in order to expose the confusion, violence or brutality which lies beneath the veneer. During the first part of the film, Toback uses the male characters as manipulators. They appear to possess
the power to fashion the world in the style that they see fit. Gradually, how ever, the threads that have been methodically sewn into the narrative weave together an alternative scenario as Toback again ventures into the terri tory he attempted to explore, with less success, in Love and Money. The film becomes an elegy to a disintegrating world, a place rumbling with the sounds of chaos, rife with crime, broken dreams and male characters who are, in fact, impotent. Daniel and Rivas, the two men bent on redressing injustice in their own ways, engage in a fateful show-down and it becomes clear that none of the characters has any control in a crumbling world. With its constantly mobile camera and oblique use of characters, its Touch of Evil opening and A bout de souffle conclusion, Exposed is a tribute to the innovators of the cinema and to Toback’s vision and enterprise as a filmmaker. Equally intent on presenting and then undermining alluring images is Michael Blackwood’s documentary, Empire City. The film opens with a collage of glowing, postcard style shots of New York, reflecting the city’s
magnitude, magic and diversity: Central Park in its autumnal glory, snow-covered streets at Christmas and the Empire State Building gleaming red, white and blue through a winter mist. Blackwood, like Toback, shatters this deceptive tranquillity early in the film, using the sounds of a pulsating jackhammer to identify the recent building boom which is changing the face of the Manhattan sky-line and its population. The film attempts to explore and define the character of New York by xombining Jason Robards’ narration, comprising historical and contem porary data, with newsreel footage, shots of the city and interviews with prominent natives from a variety of areas, including politics, commerce, industry and culture. The interviews accumulate to produce the customary perspectives on a metropolis plagued by bankruptcy, racial tension, crime and wretched poverty. Equal time is allotted to celebrate the cultural and Financial mecca which the city has become. Finally, however, the tone of Empire City suggests a fascination with a marvellous monster that is out of control. Blackwood and scriptwriter Frances Fitzgerald emerge as under standably in love with New York and, no matter how many terrifying accounts of a city on the brink of disaster one hears, the dominant impression created by the film is of the seductive glitter of the Manhattan sky line at dusk. An urban landscape is also conjured up, to vastly different ends, in Francis Ford Coppola’s Rumblefish, a roman tic reflection on the youth films of the 1950s and ’60s. As with The Outsiders, also written by S. E. Hinton, a mood of poignant tragedy binds together a tale of rebellion, ill-fated love and desperate teenage lives. But unlike Coppola’s previous film, in which fraternity offered some solace, Rumblefish takes place in the post gang era, where male bonds can no longer provide a shield against a harsh and precarious existence. However, once again, the male family unit is at the heart of the drama, this time for three people locked into their own self destruction. While Father (Dennis Hopper) lum bers amiably through an alcoholic
Edited by Peter Beilby and Ross Lansell A U STR A LIA N
,,,,
M OTION PICTURE YEARBOOK
f)
Mm
The third edition of 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 of 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 have been contacted to check the accuracy of entries, and many new categories have been added. A new series of profiles has been compiled and will highlight the careers of 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 of Australian and international cinema, including film financing, special effects, censorship, and a survey of the impact our films are having on U.S. audiences.
Words and Images is the first Australian book to examine the relationship between literature and film. Taking nine major examples of recent films adapted from Australian novels — including The Getting of Wisdom, My Brilliant Career and The Year of Living Dangerously — it looks at some of the issues in transposing a narrative from one medium to the other. This lively book provides valuable and entertaining insight for all those interested in Australian films and novels. The author, Brian McFarlane, is Principal Lecturer in Literature at the Chisholm Institute of Technology and is a Contributing Editor to Cinema Papers, Australia’s leading film journal. He has published many articles on Australian and other literature and film. He is also the author of a book on Martin Boyd’s “ Langton” novels, is the editor of the annual collection of literary essays, Viewpoints, and is the co-editor of a forthcoming anthology of Australian verse. Published by Heinemann Publishers Australia in association with Cinema Papers, 210 pp 1
r
Take advantage o f our special offer and catch up on yo u r missing issues. M u ltip le copies less than half-price!
Number 1 January 1974
Number 2 April 1974
Number 3 July 1974
D a vid W illia m s o n . Ray H a rryh ausen Peter W eir Gillian A rm strong. Ken G. Hall. Tariff Board R eport A ntony I G m n ane. T he C a re T h a t A te Paris
V iolence in the C inem a. Alvin P u rp le Frank M o o rhou se S a n d y H a rb u tt. F ilm U n d e r A lle n d e . N icholas Roeg B e tw een Wans
John P a p a d o p o lo u s . W illis O 'Brien The M cDonagh Sisters. Richard B re n n a n L uis B u ñ u e l. The T ru e Story of E skim o Nell
Number 14 October 1977
Number 15 January 1978
Number 16 April-June 1978
Phil Noyce. Eric Rohm er. John Huston. B lue Fire Lady S u m m e r f ie ld C hinese C inem a.
T o m C o w a n , F ra n c o is Truffaut. D elph ine Seyrig. T h e Irish m an T h e C h ant of Jim m ie B lack sm ith Sri Lankan C in em a. T h e Last W ave
P a trick Sw edish C inem a. John D u ig a n . S te v e n S p ielb erg . Dawn! M outh to M outh. Film P e rio d icals
Number 22 July-August 1979 Bruce Petty. A lbie Thom s. N e w s fr o n t F ilm S tu d y R e s o u rc e s K o s ta s M oney M o vers The A u s t r a lia n F ilm a n d T e l e vision S c h o o l In d e x : V o lu m e 5
Number 33 Juiy-August
2
Number 24 December 1979 January 1980 Brian T ren c h ard S m ith. P a lm B e a c h B r a z ilia n C in em a Jerzy Toeplitz C o m m u n ity T e le v is io n . A rthur Hiller.
Number 36 January-February
Number 10 September-October 1976 Nagisa O shim a. Phillippe M ora. G ay C in em a. John Heyer. Krzysztof Zanussi. M a r c o F e r r e r i. M a r c o Bellocchio
Number 11 January 1977
Number 12 April 1977
Number 13 July 1977
Em ile de A ntonio. A u s tralian Film Censorship. Sam A rk o ff. R o m a n P o la n s k i T h e P ic tu r e Show M an Don'» Party S torm Boy
Kenneth Loach. Tom Haydon. Bert Deling Piero Tosi. Joh n S c o tt. Joh n Dankw orth The G etting o f W is d o m J o u rn e y A m ong W om en
Louise M alle Paul Cox John Pow er. P e ter Sykes. B e rn ardo Bertolucci. F.J. H o ld e n In S e a r c h of Anna In d e x : V o lu m e 3
Number 20 March-April 1979
Number 17 Auguat-September 1978
Number 18 October-November 1978
Number 19 January-February 1979
Bill Bain Isabelle H u p pert. Polish C in em a. The Night the Prow le r Pierre Rissient N ew sfront Film Study Resources. In d e x : V o lu m e 4
John Lam ond D im boola. In d ia n C in e m a . S o n ia B o rg A la in T a n n e r . C a th y ’s C h ild T h e Last T as m a n ian
A n to n y I G in n a n e Jerem y Tho m as. B lue Fin. A n d r e w S a r r is . A s ia n C in e m a S p o n s o re d D ocum entarie s
Number 25 February-March 1980
Number 26 April-May 1980
Number 27 June-July 1980
C h a in R e a c tio n D avid P u ttn a m C e n s o r s h ip S tir Everett de Roche. Tou ch and Go Film and Politics.
The Films of P e ter W eir. C h arles Joffe. H a rlequ in N ationalism in A ustralian C in em a T h e Little C o n vict In d ex: V o lu m e 6
T h e N e w Z e a la n d Film In d u s tr y T h e Z M en P e te r Y e ld h a m . M a y b e This T im e D onald Richie G r e n d e l, G re n d e l, G re ndel
Number 28 August-September 1980
Number 29 October-November 1980
The Films of Bruce Beresford S tir M e lb o u rn e and S y d n e y Film Festivals. B re a k e r M o ra n t S tacy K each Roadgam ea
Bob Ellis Actors Equity D e b a te U ri W in d t C r u is in g The Last O u tla w P hilippine C in em a T h e C lub
Number 37 March-April 1982
Number 38 June 1982
Number 39 August 1982
Number 40 October 1982
Number 41 December 1982
S t e p h e n M a c L e a n on S tarstru ck, Jacki W eaver P e ter Ustinov, W o m en in
G e o ff B u rro w e s and G eorge M iller on T h e Man F ro m Snowy R iv e r . Jam es Ivory, Phil Noyce, Joan Fontaine
Helen Morse on Far East, Norw egian Cinem a, T w o Law s, M e lb o u rn e and S y d n e y F ilm F e s tiv a l reports, M o n k e y G rip
Henri Safran, M o v in g O ut, M ichael Ritchie. Pauline Kael, W endy Hughes, Ray B a rre tt, R u n n in g on E m pty
ig o r A u z in s , L o n e ly H e a rts , Paul Schrader, P e te r T a m m e r, L ilia n a Cavani, We of th e N e v e r N e ver, Film Awards, E .T ..
1981
1982
John Duigan on W in te r o f O ur D rea m s G overnm ent and the Film Industry Tax and Film C hris Noonan R obert Altman G a llip o li R o a d g a m e s G re n d el
Kevin Dobson, Blow Out. W om en in D ra m a . M ich ael R ubbo, M a d M ax 2 P u berty Blues
Number 42 March 1983
Number 43 May-June 1983
Number 44-45 April 1984
Number 46 July 1984
Mel Gibson, M o v in g O ut, John W aters, Financing Films, L iv in g D a n g e ro u s ly, T h e P lains o f H e a v e n
Sydney Pollack, T h e D is m is s a l, M o v in g O u t, G raem e Clifford, D usty, G andhi, 3-D Supplem ent.
Special Tenth Anniversary Issue, History of C inem a Papers, David Stevens, Phar Lap, M in i-s e rie s ,
Paul Cox, Street Hero, Razorback, Jerem y Irons, Annie’s Coming Out,
D ram a. Reda. H e a tw a v e
Man of Flowers.
Alan J. Pakula, the NFA.
K e n C a m e r o n . F re n c h C in e m a . Jim S h a rm a n . M y B rillia n t C a re e r Film S tu d y R e s o u r c e s The Night the P row le r
1. Cinem a Papers S u b s c r ip tio n s
EH 12 issues ($42) EH 18 issues ($60) EH
Please enter a subscription for 6 issues ($23) Please start
ED renew ED my
subscription with the next issue. If a renewal,
please state Record No. (Details) Mr/Ms:
Delivered to your door post free
Given Name:
...
Surname: ■
Title: Company: Address:
Country:
Postcode:
Telephone:
O verseas ra te s
$
Telex:
Subscription s
Bound Volum es
Ezib in ders
(each )
(e a c h )
(to th e p rice of each c o p y , add th e fo llo w in g )
$ 8 0 .0 0 (Surface)
$ 3 3 .3 0 (Surface)
$ 1 9 .0 0 (Surface)
$ 1 .2 0 (Surface)
$ 8 6 .0 0 (Air)
$ 1 2 5 .0 0 (Air)
$ 3 6 .5 0 (Air)
5 1 9 .9 0 (Air)
$ 3 .3 5 (Air)
$ 3 0 .0 0 (Surface)
5 5 6 .0 0 (Surface)
$ 8 0 .0 0 (Srface)
$ 3 3 .3 0 (Surface)
$ 1 9 .0 0 (Surface)
5 1 .2 0 (Surface)
$ 4 5 .0 0 (Air)
$ 9 0 .0 0 (Air)
$ 1 3 5 .0 0 (Air)
$ 3 7 .1 0 (Air)
$ 2 0 .9 5 (Air)
$ 3 .3 5 (Air)
3. H o ng Kong India Jap an P h ilip p in e s Ch ina
$ 3 0 .0 0 (Surface)
$ 5 6 .0 0 (Surface)
$ 8 0 .0 0 (Srface)
$ 3 3 .3 0 (Surface)
5 1 9 .0 0 (Surface)
5 1 .2 0 (Surface)
5 5 3 .0 0 (Air)
5 1 0 5 .0 0 (Air)
5 1 6 0 .0 0 (Air)
$ 4 0 .0 0 (Air)
$ 2 2 .0 0 (Air)
$ 5 .1 5 (Air)
4. N o rth A m e ric a M id d le East C a nada
$ 3 1 .0 0 (Surface)
$ 6 2 .0 0 (Surface)
$ 9 0 .0 0 (Srface)
$ 3 3 .3 0 (Surface)
$ 1 9 .0 0 (Surface)
$ 1 .4 0 (Surface)
$ 6 0 .0 0 (Air)
5 1 2 0 .0 0 (Air)
5 1 7 5 .0 0 (Air)
5 4 3 .2 0 (Air)
$ 2 3 .9 5 (Air)
$ 6 .2 0 (Air)
S 3 1 .0 0 (Surface)
$ 6 2 .0 0 (Surface)
$ 9 0 .0 0 (Srface)
5 3 3 .3 0 (Surface)
$ 1 9 .0 0 (Surface)
5 1 .5 0 (Surface)
$ 6 5 .0 0 (Air)
$ 1 3 0 .0 0 (Air)
$ 1 9 5 .0 0 (Air)
$ 4 5 .0 0 (Air)
$ 2 5 .0 0 (Air)
$ 7 .2 0 (Air)
Z on e
1. N e w Z e a la n d N iugini
2. M alaysia S in g a p o re Fiji
5. B ritain E u ro pe S o uth A m erica
6 issues
12 issues
18 issues
5 3 0 .0 0 (Surface)
$ 5 6 .0 0 (Surface)
$ 4 3 .0 0 (Air)
B a ck Is s u e s
NO TE : A "S urfac e Air Lift (air speeded) service is available to B ritain, G e rm a n y , G re ece, Ita ly and N o rth A m e ric a . S u b s c rip tio n s : 6 issues — $43.80; 12 issues — $83 .60; 18 issues — $123.40. B o und V o lu m e s (each) — $ 3 5 .2 0 . E zib in d e rs (each) — $ 20 .75. B ack Issues — add $ 4 .3 0 per copy.
2.. B ack Issues 1 or 2 copies $4 each 3 or 4 copies $3.50 each (save $0.50 per copy) 5 or 6 copies $3 each (save $1 per copy) 7 or more copies $2.50 each (save $1.50 per copy) To order your copies place a cross in the box next to your m issing issues, and fill out the form below. If you w ould like m ultiple copies of any one issue, indicate the num ber you require in the appropriate box.
□
□
□
□
□
□
□
□
1
2
3
10
11
12
13
14
□ 15
□ 16
□
□
29
33
36
37
38
39
40
41
42
43 44-45 46
17
□ 18
□□□□□□□□□□□a
J.
19
□
□ 20
□ 22
□ 23
□ 25
□ 26
□ 27
28
$
B ou n d Volumes Please send me bound volum es of □
7 (issues 25-30)
□
ED1 (issues 1-4)
8 (issues 31-35)
□
□
4 (issues 13-16)
9 (issues 36-41)
at $40 per volume.
Volumes 2, 3, 5 and 6 out of print.
$
Sub-total Please turn o verleaf
$ 3
ORDER FORM 4.
E zih in d e rs Please send me
-
n
1983 1981/82 1980
-
Please send me
EE copies
Please send me
Please send me
C om plete Set: $45
EE
EE
O verseas ra te s p. 3
D '
copies of Cinem a P apers' Ezibinder at $1 5 a binder.
’
of the 1983 Yearbook at $25 a copy (Foreign: $35 surface; $45 airm ail). copies of the 1981/82 Y earbook at $15 a copy (Foreign: $30 surface; $40 airm ail).
copies of the 1980 Yearbook at $15 a copy (Foreign: $30 surface; $40 airm ail).
$
EE
4 W o rd s a n d Im a g e s Please send me
7*
EE
$
copies of W o rd s and Im ages at $12.95 a copy (Foreign: $18 surface; $24 airmail).
A u stra lia n TV : T h e F irst 2 5 Years
Please send me
I
copies of A u s tra lia n TV: The F irs t 25 Y ears at $14.95 a copy (Foreign: $20 surface; $26 airmail).
T he D o c u m e n ta r y F ilm in A u stra lia Please send me
EE
copies of The D o c u m e n ta ry Film in A u s tra lia at $12.95 a copy (Foreign: $18 surface; $24 airmail).
C a r r f fo r w a rd s y b -t© ta i fro m
p B3
T o ta l
%
A d d re s s ..................................................................................................................... .................................................Postcode..........................
All foreign orders should be accompanied by bank drafts in Australian dollars only. All quoted figures are in Australian dollars. Allow four weeks fo r processing. U |
Bankcard No.
E xpires
/
/
□□□ □□ □□□ □□□□□□ S ig n a tu re .....................................................
N B : P lease m ake a ll cheques to: North Melbourne, 3051 Telephone: (03) 329 5983 Telex: AA 30625 and quote “ Cinema Papers ME230”
_ 4
s
%
$ $ $ $
Melbourne and Sydney Festivals
haze, his eldest son, the Motor Cycle Boy (Mickey Rourke), literally lives in a world of his own, seeing only in black and white, hearing only snatches of conversation. Addressed exclusively by his title, the Boy survives as a ‘living legend’, a fragile and ravaged testi mony to a bygone era. Rourke plays his pivotal role with disquieting charm, evoking the enigmatic allure that befits a mythical hero. As his adoring brother Rusty-James, Matt Dillon completes the trio, playing out the role of the Rumblefish: a volatile creature bent on its own destruction. Pining for a lifestyle he can no longer enjoy, and destroying himself in the process, Rusty-James finally becomes the only character to escape the darkened con fines of the city, although his journey to the ocean is no guarantee of free dom. Drawing directly and unashamedly on the style of Orson Welles, Coppola has created an ode to brotherly love, embroidered around a tale of wasted lives. He evokes an atmosphere in which any sound could be a threat to a community where the only refuge is the bottle or the needle. The only hope offered by the film is that in taking his brother’s advice, Rusty-James, like the Rumblefish, may find a better life in a new environment. The quest for, and ultimate value of, gold provides the central motif for two stylistically contrasting films: Nicolas Roeg’s modernist melodrama Eureka and Sally Potter’s “ musical” The Gold Diggers. Eureka explores the emotionally stunted life of Jack McCann (Gene Hackman), a Midas who undertook years of torturous searching before stumbling upon the gold mine that would irrevocably alter his life. Having used the fruits of his obsessive labors to build an empire, McCann finds himself emotionally and geographically marooned, unable to recapture the euphoria of the moment of discovery. Like Scarface’s Tony Montana (A1 Pacino), McCann is a tragic figure, a man who pours his soul into a dream that necessarily destroys him and those he loves. Like Montana, he finds communication with people to be difficult; his generosity is received with sly amusement and his concern is interpreted as self-interest. As with Montana, the mansion he erects as a
m onument to his achievements becomes the battleground on which he is executed. Roeg uses World War 1, which takes place during the period of the film but remains unseen, as a metaphor for the tensions, rivalries and alliances which fracture the McCann family, culmina ting in the courtroom sequence after Jack’s murder. With his photograph dominating the proceedings, his daughter, Tracy (Theresa Russell), and her husband, Claude (Rutger Hauer), engage in a battle that will end their marriage, propelling each into the isolated existence that is Jack’s legacy. In Eureka, life is cyclical and one generation cannot escape the pain of its predecessors. The camera, which repeatedly tracks in semi-circles around the characters, literally encloses them in this fateful world, allowing no possibility for escape. Throughout the film, women are equated with gold and Jack’s discovery of it is an experience unambiguously sexual in its nature. It marks an end to a chapter of his life, a loss of inno cence. He declares that “ gold smells stronger than a woman” and early in the film it is clear that he has unknow ingly made his choice between the two. Both his wife and daughter are stamped with the mark of his psyche, adorned with glittering trinkets that label them forever as his property, valuable articles to be adored and pro tected but kept at a distance. The Gold Diggers also links women directly with gold, both classified as desired objects of male fantasy and pursuit. Taking the form of a riddle, the film is laced with clues that lead to the conclusion that women are pursued, placed on a pedestal and wor shipped from a safe distance. Existing alongside this thesis is an eloquent plea for a researching and re definition of history by women, to produce a different representation of women in the arts. The film poses a scenario around Ruby (Julie Christie), a beauty waltzing through the ball room of life like a prized jewel. She exudes passivity as she passes from partner to partner, gliding across the floor in a numbed but contented trance, until Celeste (Colette Laffont) literally hoists her away on horseback. With Celeste’s encouragement, Ruby
Sally Potter’s The Gold Diggers: women as fodder for repression and exploitation.
commences a process of education which will lead to new awareness, a remembrance of the past which will alter the present. Ruby’s memories become the basis for an exploration of the representation of women in art, particularly cinema, and they expose the gulf between a recollected personal history and the sense of history manu factured on celluloid. Essentially, the film directs attention to the belief that ignorance or apathy about history can make women easy fodder for repression and exploitation. The Gold Diggers is a valuable addi tion to an increasing number of films by female directors, whose works are thematically united by a desire to sift through personal and cultural history as a key step towards self-awareness and liberation. Interesting by comparison is Maud Linder’s The Man in the Silk Hat, another voyage through family history, in this instance designed to enable a new generation of film-goers to experience the joy and genius of Max Linder, the director-narrator’s father. Combining photographs with excerpts from his films, The Man in the Silk Hat chronologically traces the progression of the comic’s career. The portrait that emerges is one of an urbane and innovative performer, a comedian with impeccable timing who drew directly on incidents in his life as inspiration for his work. As the film devotes only minimal attention to his personal life, the viewer comes to know Max exclusively through his films and the abrupt news of his suicide, at the conclusion of the film, comes as a rude and dramatic shock. In adopting this approach, Maud Linder encourages the viewer to know and appreciate her father as she does, through the legacy of his work, and is able to convey the overpowering sense of sadness at his premature death. Choosing a humorous, ironic and loving tone that recalls Francois Truffaut’s La nuit Américaine (Day For Night), Chantal Akerman has created an equally pleasurable, though stylistically different, homage to the process of filmmaking with The Eighties. Divided into three parts, the film takes a genial journey through the energy, emotion, exasperation and repetition that are ingredients of the final product. The unobtrusive camera passively hangs back, absorbing the rehearsals and taking on the impres sion of a window in a moving car, allowing a passenger glimpses of an ever-changing landscape. The first section of the film, the audition, depicts the laying down of foundations for a construction that gradually develops, layer by exacting layer, to form a glossy musical. As the actors rehearse their dialogue, literally stepping in and out of their characters’ shoes, the director’s presence is felt from out of frame, issuing instructions and encouragement, experimenting with camera positions. Akerman’s almost mathematical construction of rhythm makes the journey through music, choreography, props and performance a jaunty one, culminating in an elated burst into vivid color that signals the transition from the sombre rehearsal rooms to the final dress rehearsal. With the last line of the film, “ next year in Jeru salem” , taken from the Jewish Pass over festival readings, she suggests the value and necessity of dreams and goals. It is as though the filmmaker must continually keep in mind new ambitions and destinations.
Tom Ryan One of the major strengths of Fred erick Wiseman’s documentaries — or “ reality fictions” , as he would prefer them to be called — is their refusal to pretend to be offering an unmediated reality. His collection of films about American institutions over the past 17 years provides an account of the work ings of American life which offers, amongst other things, a devastating critique of one of the great con-tricks of the 20th Century: the news. Instead of the formulaic fetishization of events according to their surfaces and to the pronouncements of prominent figures, Wiseman’s films are always concerned to explore. Indeed, Wiseman sees his work as the construction of a point of view on the places, the people and the incidents that appear in his films: Cutting a documentary is like put ting together a ‘reality dream’, because the events in it are all true, except really they have no meaning, except insofar as you impose a form on them, and that form is imposed in large measure, of course, in the editing. This observation about his working practice is the antithesis of the catchcry of all too many journalists, one which some of them even seem to believe: “ We don’t make the news, we just report it” , a variation of which is, “ We don’t take sides, we just take pic tures.” Wiseman’s most recent film is The Store, the second film of the 1980s to take as its subject the Neiman-Marcus department store in Dallas, Texas. A shorter documentary from Britain, Dallas, The Big Store, directed by Jana Bokova, was made in 1981 and pre cedes Wiseman’s film by a couple of years, though it is yet to be seen in Australia. The particular department store in question has a reputation in the U.S. for is exclusivity, but is prob ably best known in this country as the place where Miss Ellie (Barbara Bel Geddes), J.R .’s mother in Dallas, buys her finery. The Store patiently details the work ings of the place, juxtaposing its public face with behind-the-scenes activity, a Inside Neiman-Marcus in Dallas, Texas: Frederick Wiseman’s The Store.
Melbourne and Sydney Festivals
method of construction that echoes that of the backstage musical. But whereas the work put into the prepara tion of the show is almost always an unambiguously endorsed endeavour in that form of musical, in Wiseman’s film the perspective is a more analy tical and problematical one. The analysis, however, will not be found in the use of the familiar voice over narration, an approach that Wise man has consistently rejected over the years. Instead, it lies in the arrange ment and the accumulation of sequences and it demands an intellec tual effort from its viewer. This documentary allows the indivi duals on the staff of the store to reveal themselves as they go about their work under the gaze of the camera. There are no direct-to-camera interviews, another technique largely absent from Wiseman’s work, with the result that, instead of people explaining what they do and how they think, the viewer is required to impose interpretative work on their activities. Of course, the film does not present such activities in a vacuum, and the context Wiseman creates for them does dictate to a degree the way in which one reads them. That context includes not simply the relationship between sequences but also the viewer’s knowledge that the people in the film are fully aware they are being watched by a camera. The result is a performance that may or may not be how they would act out of camera range, but which suggests the
way in which they feel they should act in such circumstances. From the film’s collection of these performances, it is possible to glean the ideological frame work in which these ‘actors’ are pursuing their lives. Whether or not this framework includes the way in which they ‘really’ think, it still gives one an access to the rules that lie beneath the surface of the activities conducted within the store. Not only does the film show the facade of life in this store, then, but it also makes it possible for the audience to identify the values and assumptions which lie at its centre, which no one ever articulates precisely, but which are everywhere implicit. All of those employed by NeimanMarcus are shown to be committed to their roles within the professional hierarchy. From the craftsmen and women in their workshop to the mana gerial staff around their conference tables, there is an impression of a team at work, the various individuals and sections all slotted into a large machine functioning at peak efficiency. There is no sense that these people encounter in any way any feeling of alienation from what they are doing, nor is there any demand from the film that they should. In showing the people at work, the film presents a number of sequences that are both engaging and illumina ting. There are the sales assistants’ preparations for the day’s work of sell ing: the absurd exercising of fingers, for the working of tills, and facial
muscles, for smiling at customers. There is the supervisor’s direction to his department about the arrangement of items to appeal to a particular aesthetic sense: “ You can’t sell Blue Roses next to Kiwi Tarts. It just won’t work.” There is the wooing of customers with personal endorsements of products, with flattery, with the jargon of the advertising world (“ This is your hop-in-a-plane-and-go-somewhere sort of dress” ), or with an abundance of politeness and obliging good humor. There is the pleasant enough personnel officer who inter views a prospective employee, a black woman who proclaims her pride in what Stanley Marcus has done for the U.S., and then bids her farewell with the memorable, “ Have a good day for the balance of the day.” And there is the department head’s round-table talk with his buyers about the cultural prestige that comes to those who can say they are working for NeimanMarcus, one woman even going so far as to claim she became the centre of attention at a party after she had made that revelation. These sequences, taken together, create patterns of meaning which may be perceived in at least two ways. According to the slogan, cited early in the film, “ We are an institution to make sales” , they become an indica tion of ‘business as usual’. But they can also lead one to another kind of understanding of this institution and its social place. Throughout the film, all those connected with the store seem
to have constructed their lives around a language that is entirely at odds with any personal contact between people. No one ever speaks to anyone else except in a language of fantasy, a language alienated from any human experience other than that which is connected with buying and selling. And though everything that is said seems to be based upon a belief in the moral rightness of it all, the result is a world in which anything at odds with the smooth functioning of the store begins to appear as if it were an act of treason. There is no questioning of the way things are by anyone working at Neiman-Marcus. From this perspec tive, the notion of ‘business as usual’ takes on a more sinister connotation. Yet, whilst The Store may be seen to produce a critical point of view on this institution and on the wider forms of institutionalized behaviour that it implies, at no point does the film pass judgment on those whom it observes, even if it does gain some amusement from them. Its portrait of their work ing lives, in fact, is one in which they are all perceived as victims. In this light, The Store becomes an immensely moving film about the wastage of human beings, isolated in cages of their own choosing, having sur rendered any independent sense of themselves to a power that recognizes no reality beyond the business it con ducts. They are afflicted by a disease that they have yet to recognize and for which there appears to be no known cure.
llllllllllllBIIIIIIIBIIIIIIIllllllllHHIBIIBIIIBIimilllllllllfllllHBIIB
Features at the Sydney Film Festival Featuring the Family Penny Davies An important focus of many of the films at this year’s Festival was the family. Its power and form have changed radically since the 1950s, making it a multifaceted subject, sur rounded, as it is, with the politics of ownership (of people and property). The word family comes from the Latin fam ulus (domestic slave); familia (family) is the number of slaves belonging to one man. The modern, ‘nuclear’ family is quite a recent development, yet it is still a patriarchal model, passing name and property down a male line. All the films dis cussed comment on, or attempt actively to promote, changing concepts of the family. While nuclear arms, pollution and other environmental dilemmas may threaten one from with out, the rigors of the family construct tear apart from within. These films show that the birth of children must and will continue, but the manner of their upbringing — the very nature of the family itself — is going through a radical m eta morphosis. In the Italian-French co-production Gli occhi, la bocca (The Eyes, The Mouth), the family, a wealthy one, is a suffocating cocoon around Giovanni (Lou Castel). He strives to escape it, yet he also craves its comfort. Gio vanni’s twin brother, Pippo, has com mitted suicide because he couldn’t create a family; Giovanni tries to make Pippo’s girlfriend, Wanda (Angela Molina), go into mourning, but she 248 — August CINEMA PAPERS
resists, to the horror of the bereaved relatives. Meanwhile, Giovanni begins to fall in love with Wanda, though he feels guilty because he knows it will hurt his mother (Emanuelle Riva), whom he loves with an angry protec tiveness. The director of The Eyes, The Mouth, Marco Bellocchio, says that the film is concerned with “ detach ment from the past” . He maintains that one must pay a certain debt to the past “ . . .in order to separate from it . . .” In this film, “ the debt is the gratitude one owes to one’s mother . . . and the debt establishes a per manent dependence.” Giovanni has to choose between his ties with his family and his duty to his mother, or his love for Wanda. He chooses Wanda, but makes touching recompense to his mother: he visits her in the night, dis guised as Pippo (complete with bullet hole), to ask her to forgive him (them both), and thanking her for life. Family violence is another thread of this film: it erupts at the funeral, the memorial service and subsequent family meetings. Wanda’s father (Antonio Diovanelli) tries to “ beat some sense” into her, and keeps her wedding dress on a dummy in his living room as a reminder of her failure — and his own. He had hoped that she would marry into a “ good” family such as Giovanni’s and hypocritically encourages her to pursue him during the contested mourning period. Giovanni does not ultimately escape the family, though he has remained a wanderer for years. His complex feel ings about Pippo’s death, his discovery that Wanda is pregnant with Pippo’s child and the feeling that at least one
debt to his mother is discharged lure him into a new family circle. It is an open circle, however, due to the stub born, vital character of Wanda, who refuses to adopt the roles chosen for her. There is a feeling of freedom in the final shots of the film which even the looming family motif cannot dispel. Kazoku game (The Family Game) features a middle-class, upwardly mobile Japanese family whose main aim is to get their younger son, Shigeyuki (Ichirota Miyagawa), into a prestigious high school. The family engages a tutor, who is promised large sums of money for every position
Shigeyuki moves up in his classt The tutor succeeds, but baulks at the family’s self-involved, almost eccen tric, complacency. He throws all the dinner around, breaks the dishes, karate chops the family, bows politely and leaves. The Family Game is an amusing film with no punchline. The vaguely slap stick mode it adopts leads one to expect a final, huge custard pie (Japan ese style) at the end. The understated final scene is somehow unsatisfying, but possibly can be explained by the fact that the director, Yoshimitsu Morita, intended the film to be
Concluded on p. 282
Yoshimitsu Morita’s The Family Game: “I never expected people to laugh as much as they did. ”
rT
¡i
—
©fST LHJ rv ~ \
—
Films examined in terms of the Customs (Cinematograph Films) Regulations as States’ film censorship legislation are listed below. An explanatory key to reasons for classifying non-“ G” films appears hereunder:
V id e o
Frequence
Week Ending March 2, 1984 S (S e x ) .......................... V (V io le n c e ) ................... L (L a n g u a g e )............... O (O th e r) .......................
G A n astasia: 20th C entury-Fox, U .S ., 99 mins, C B S-Fox Video D o c to r D o little : 20th C entury-Fox, U .S ., 141 mins, C B S-Fox Video F a e rie T a le T h e a tre : J a c k a n d th e B e a n s ta lk : J. Taplin, U .S ., 56 mins, C B S -Fox V ideo (South Pacific) F a e rie T a le T h e a tre : R a p u n ze l: J. Taplin, U .S ., 56 mins, C B S -Fox V ideo (South Pacific) G o in ’ C o co n u ts: O sm ond Film s, U .S ., 110 mins, Sym e H om e Video G ’ole: D. C hallis-M . Sam uelson, Britain, 100 mins, V C L C om m unications I M a rrie d W y a tt Earp: R. Lyons, U .S ., 96 mins, Sym e Hom e Video K e n n y L o g g in s A live!: Kenny Loggins Prods, U .S ., 60 mins, C B S -Fox V ideo T h e M a k in g o f S ta r W ars: R. Q uenette, U .S ., 4 8 mins, C B S-Fox V ideo M ira c le on 3 4 th S tre e t: 20th Century-Fox, U .S ., 92 mins, C B S -Fox V ideo (South Pacific) O k la h o m a !: M agna-R K O , U .S ., 138 mins, C B S-Fox Video (South Pacific) P la y g ro u n d in P a ra d is e : A. Rich, U .S ., 81 mins, CB SFox Video (South Pacific) R e tu rn to B o g g y C ree k: B. G ates, U .S ., 80 mins, CB SFox V ideo T h o s e M a g n ific e n t M en in T h e ir F ly in g M ach in es: 20th C entury-Fox, U .S ., 126 mins, C B S -Fox Video (South Pacific)
PG B la c k ie , T h e P irate: G . Silvestre, Italy, 9 0 mins, Filmways A ’asian Dist., V (f-l-j) Bus S top: B. Adler, U .S ., 89 mins, C B S -Fox V ideo T h e D a y T im e E n ded: W . Schm idt, U .S ., 7 7 mins, S ym e H om e V ideo, V (i-l-g) D e m e triu s a n d th e G la d ia to rs : 20th C entury-Fox, U .S ., 99 mins, C B S -Fox V ideo D e s p e ra te In tru d e r: J. G antm a n, Not shown, 96 mins, Sym e H om e V ideo, V(i-l-j) E m e rg e n c y Room : R. Justm an, U .S ., 9 4 mins, Sym e H om e V ideo, O fe m o tio n a l c o n c e p ts ) E n d o f th e W orld : C. Band, U .S ., 85 mins, Sym e Hom e Video, V(i-l-j) T h e F ire c h a s e rs : J. W intle, U .S ., 98 mins, C B S-Fox Video, V (i-l-g) G irl G ra p p le rs D o w n U n der: M odern Tim es Prods, Australia, 4 0 mins, Modern Tim es Prods, O fa d u lt c o n c e p ts )
H it a n d Run: C. B raverm an, U .S ., 9 6 mins, Sym e H om e Video, V(i-l-j) T h e In v a s io n o f C a ro l E n ders: D. Curtis, U .S ., 68 mins, Sym e H o m e V ideo, O fa d u lt c o n c e p ts ) L o v e a n d B u llets: P. Kohner, U S ., 9 9 mins, C B S-Fox Video, V ff-l-j) M a d a m e Sin: J. W intle-L. M orheim , U .S ., 7 7 mins, C B S-Fox Video, V (f-l-j) M an Friday: D. Korda, U .S ., 111 mins, C B S-Fox Video,
Title
.......... .......... .......... ..........
Producer
Explicitness/lntensity
Purpose
Infrequent
Frequent
Low
Medium
High
Justified
Gratuitous
/ ;
f f f f
/ / / /
m m m m
h h h h
i i i j
g
i
/ Country
R a ce w ith th e Devil: W . Bishop, U .S ., 8 4 mins, CB SFox V ideo (South Pacific), V fi-m -g ) S im o n K ing of th e W itc h e s : Fanfare Corp., U .S ., 97 mins, Blake Films, V fi-m -g ) O fs ex , d ru g a llu s io n s) S q u e e ze Play: L. Kaufm an-M . Hertz, U .S ., 9 4 mins, Blake Films, L fi-m -g ) S fi-m -g ) T h e T a m a rin d S e ed: K. W ales, Britain, 121 mins, CB SFox V ideo (South Pacific), O fs e x u a l a llu s io n s) V fi-l-g) T h e C h a m p io n s h ip S e aso n : Cannon Int’l, U .S ., 111 mins, Sym e Hom e Video, O fa d u lt c o n c e p ts , s e x u a l allu s io n s)
T o u ris t Trap: J. Carroll, U .S ., 88 mins, Sym e Hom e Video, V fi-m -g) T h e U ltim a te W arrior: W a rn e r Bros, U .S ., 94 mins, W arner Hom e Video, Vff-m -j) W illie and Phil: P. M azursky-T. Ray, U .S ., 111 mins, CB S-Fox V ideo (South Pacific), S fi-l-j) L fi-m -j) T h e W in d o w C le a n e r: Negus-Fancey, Britain, 3 4 mins, Thorn EM I Video Australia, S fi-m -j)
R A lien T error: S. Crom w ell, Italy-U .S., 102 mins, Filmways A ’asian Dist., O fh o rro r) A n g ie Baby: Cal Vista Video, U .S ., 81 mins, Blake Films, S ff-m -g ) B a n an es M é c a n iq u e s : S N D , France, 86 mins, Sym e Hom e Video, S ff-m -g ) B e d ro o m M a z u rk a : P alladium Prods, D enm ark, 88 mins, Blake Films, S ff-l-g ) O fn u d ity ) B e d sid e H e a d m a s te r: Palladium Prods, Denm ark, 98 mins, Blake Films, S fi-m -g ) B e d s id e R o m a n c e : P alladium Prods, D enm ark, 104 mins, Blake Films, S fi-m -g ) B e yo n d th e D o o r II: J. Vasile, Italy-U .S ., 90 mins, Sym e Hom e Video, V ff-m -g ) B ody an d S oul: C annon Int’l, U .S ., 95 mins, Sym e Hom e Video, S fi-m -g ) T h e B o o g e y m a n : U. Lom m el, U .S ., 80 mins, Sym e Hom e Video, V ff-m -g ) C h a m p a g n e fo r B rea kfa st: Lim a Prods, U .S ., 82 mins, Blake Films, S fl-l-g ) L fi-m -g ) D anish E scort Girls: Palladium Prods, Denm ark, 94 mins, Blake Films, S ff-m -g ) D a rk Eyes: J. Poiakoff, U .S ., 89 mins, Sym e Hom e Video, V fi-m -g ) S fl-l-g ) E ast End H u stle: F. Vitale, U .S ., 90 mins, Blake Films, Vfi-m -j) S fi-m -j)
E d u catio n o f B aro ness: La Persane Prods, France, 81 mins, Blake Films, S ff-m -g )
Submitted length (m)
Applicant
E x o tic S e x G am es: Albatross Films, France, 84 mins, Blake Films, S ff-m -g ) F: D. Frazer, U .S ., 63 mins, Thorn EM I V ideo Australia, S ff-m -g )
T he Fru it is Ripe: Lisa-Film, W . G erm any, 93 mins, Blake Films, S ff-m -g ) G ra d u a tio n Day: Cannon Int’l, U .S ., 93 mins, Sym e Hom e Video, V ff-m -g ) H o rro r H o spital: R. Gordon, Britain, 90 mins, Blake Films, Vff-m -g) H um an E x p e rim e n ts : S. Brown-G. Goodell, U .S ., 79 mins, Sym e Hom e Video, V fi-m -g ) O fe m o tio n a l s tres s )
II V izo Di Fam iglia: Flora Films, Italy, 88 mins, Italvideo, S ff-l-g)
In itia tio n at C o lleg e: J. Kikoine, France, 90 mins, Blake Films, S ff-m -g ) in satiab le: Miracle Films, U .S ., 69 mins, Blake Films, S ff-m -g )
Jouir!: La Persane Prods, France, 82 mins, Blake Films, S ff-m -g ) Julia: Lisa-Film, W . G erm any, 84 mins, Blake Films, S ff-m -g )
T h e Losers: Fanfare Films, U .S ., 96 mins, Blake Films, V ff-m -g)
M yriani: Bagherra Film, W . G erm any, 85 mins, Blake Films, S ff-m -g ) N a u g h ty Girls: Border Films, Britain, 82 mins, Thorn EMI Video Australia, S fi-m -g ) N o t T o n ig h t D a rling!: J. Taylor, Britain, 82 mins, Thorn EM I Video Australia, S fi-m -g ) P laybo y V id e o N o. 4: M. Trikitis, U .S ., 85 mins, CB SFox Video (South Pacific), S ff-m -g ) S tu ck on You: L. Kaufm an-M . Hertz, U .S ., 8 4 mins, Blake Films, S fi-m -g ) O fa d u lt c o n c e p ts ) S w e d is h W ife E x c h a n g e Club: Lisa-Film , W . G erm any, 92 mins, Blake Films, S ff-m -g ) T o w e r o f Evil: G renadier Film, U .S ., 90 mins, V ff-m -g ) S fi-m -g )
V anessa: H. Frank, W . G erm any, 88 mins, Blake Films, S ff-m -g )
X-Ray: Golan-G lobus, Video, Vff-m -g)
U .S .,
78 mins,
Sym e
Hom e
X All th e S w e e t Places: Not shown, U .S ., 62 mins, Four teenth M andolin, S ff-h -g ) C hina Cat: C. Adam s, U .S ., 75 mins, Fourteenth M an dolin, S ff-h -g )
V(i-l-j) O fa d u lt c o n c e p ts )
O n G o ld e n P o nd: B. Gilbert, U .S ., 106 mins, C B S-Fox V ideo, Lff-l-j) R e m e m b ra n c e o f Love: D. Q uinlan, U .S ., 96 mins, Sym e H om e Video, O fe m o tio n a l c o n c e p ts ) Taps: S. Jaffe, U .S ., 121 mins, C B S -Fox Video, Vfi-m -j) W h e n E v e ry D a y w a s th e F o u rth o f July: D. Curtis, U .S ., 98 mins, Sym e H om e V ideo, O fa d u lt th e m e )
9 9 9
Reason for Decision
C o n fe s s io n s o f M elissa: Pink V ideo, U .S ., 62 mins, Fourteenth M andolin, S ff-h -g ) C o n s e n tin g A d ults: C. V incent, U .S ., 78 mins, Show Tim e Video, S ff-h -g ) D e b b ie D o es D allas: J. Clark, U .S ., 82 mins, Joyfrey Nom inees, S ff-h -g ) T h e D ing D o ng Lady: Pink Video, U .S ., 74 mins, Four teenth M andolin, S ff-h -g ) D irty Lilly: Platinum Pictures, U .S ., 96 mins, Show Tim e Video, S ff-h -g ) D isco Lady: Freew ay Films, U .S ., 68 mins, Fourteenth Mandolin, S ff-h -g ) D rea m s o f P le a s u re : Not shown, U .S ., 60 mins, V enus Video (Vic.), S ff-h -g ) A F e m a le A ffair: D. M asergale, U .S ., 72 mins, Four teenth M andolin, S ff-h -g ) T h e First Bite: Pink V ideo, U .S ., 68 mins, Fourteenth M andolin, S ff-h -g ) Flesh E n co u n ter: Not shown, U .S ., 61 mins, Four teenth M andolin, S ff-h -g ) Fo rb id d e n W ays: Not shown, U .S ., 60 mins, Venus ' Video (Vic.), S ff-h -g ) From S to X W ith 4 Aces: Pink Video, U .S ., 62 mins, Fourteenth M andolin, S ff-h -g ) H ard S o a p , H a rd S o ap: G reat Am erican Soap O pera Co., U .S ., 78 mins, Fourteenth M andolin, S ff-h -g ) H itle r ’s Harlot: A. Robins, U .S ., 60 mins, V enus Video (Vic.), S ff-h -g ) Insid e D aisy Lay: Not shown, U .S ., 62 mins, Four teenth Mandolin, S ff-h -g ) M acho W o m an : Not shown, U .S ., 6 0 mins, Variety Video, S ff-h -g ) N u rs es of 407: J. Orynski, U .S ., 75 mins, Blake Films, S ff-h -g )
Sex and D esire: Not shown, U .S ., 62 mins, Fourteenth Mandolin, S ff-h -g ) Sex. T h e In Th in g : Not shown, U .S ., 83 mins, Four teenth M andolin, S ff-h -g ) Sex W ith o u t Fear: Pink Video, U .S ., 78 mins, Four teenth M andolin, S ff-h -g ) S o Y o ung S o W et: D. Christian, U .S ., 62 mins, Four teenth M andolin, S ff-h -g ) S w e e t D o m in a n c e : G ourm et V ideo Collection, U .S ., 60 mins, V enus V ideo (Vic.), S ff-h -g ) T h e S w in g in g G enie : Not shown, U .S ., 58 mins, Four teenth Mandolin, S ff-h -g ) S w in g lin e : Not shown, U .S ., 60 mins, Fourteenth M a n dolin, S ff-h -g ) T h e T a k in g of S u zie: Freew ay Films, U .S ., 71 mins, Show Tim e Video, S ff-h -g ) U n c lo th e d E n c o u n te rs : Not shown, U .S ., 7 mins, Four teenth M andolin, S ff-h -g ) Y o u th fu l S e x u a l M ad n es s: T. Taylor, U .S ., 59 mins, Fourteenth Mandolin, S ff-h -g )
M
Week Ending March 9, 1984
T h e A r r a n g e m e n t: W a r n e r B ro s -A th e n a , U .S ., 127 mins, W a rn e r H om e Video A u d re y Rose: J. W iza n-F . D e Felitta, U .S ., 113 mins, W a rn e r H om e Video, O fa d u lt th e m e ) (V fi-m -j) B a re K n u ckles: D. Edm onds, U .S ., 9 0 mins, S ym e H om e V ideo, V (f-m -g ) O fn u d ity ) B lin d Rage: C annon Int’l, U .S ., 8 2 mins, Sy m e Hom e Video, V (f-m -g ) B lu e T h u n d e r: G. C arroll, U .S ., 105 mins, Fox C olum bia Dist., V ff-m -j) L fi-m -j) D o n ’t G o in th e W o o d s : J. Bryan, U .S ., 79 mins, Sym e H o m e Video, V (f-m -g ) D rac ula : D. Curtis, Britain, 9 8 mins, Sym e H om e Video,
G
V (i-m -j)
E s c a p e to A th e n a : D. Niven Jr-J. W ie ner, U .S ., 115 mins, C B S -Fox V ideo (South Pacific), V (f-m -g ) F e e lin ’ Up: Total Im pact, U .S ., 8 2 mins, Blake Film s, O fa d u lt c o n c e p ts )
F ire p o w e r: M. W in ner, U .S ., 104 mins, C B S -Fox V ideo (South Pacific), V fi-m -g ) G o ld ru n n e r: R. Losee, U .S ., 93 mins, S ym e H om e V ideo, V fi-m -g ) K iss o f th e T a ra n tu la : M anson Int'l, U .S ., 86 mins, Blake Film s, V ff-m -g ) O fh o rro r) M a d a m e W a n g ’s: J. Sim m ons, U .S ., 85 m ins, Blake Films, L ff-m -g ) O fa d u lt c o n c e p ts ) M a k in g L ov e: A. Adler-D. M elnick, U .S ., 109 mins, C B S -Fox V ideo (South Pacific), O fa d u lt c o n c e p ts ) T h e M ain W ith T w o B rains: W a rn e r Bros-Aspen Film Soc., U .S ., 86 mins, W a rn e r H o m e V ideo, O fs e x u a l
PG Cry of th e In n o c e n t: M. O ’Herlihy, U .S ., 93 mins, Video Classics, V ff-l-g) Dial M fo r M u rd er: P. Katz, U .S ., 93 mins, V ideo Classics, V fi-m -j) D o u b le M cG u ffin : M ulberry S q uare Prod., U .S ., 100 mins, O fa d u lt c o n c e p ts ) 11 H a rro w h o u s e : E. Kasiner, U .S ., 91 mins, C B S -Fox Video, V fi-m -g ), O fa d u lt c o n c e p ts )
a llu s io n s )
O n e M a n Jury: M anson Int’l, U .S ., 100 mins, Sym e H om e V ideo, V ff-l-g) T h e Pack: W a rn e r Bros, U .S ., 9 9 m ins, W a rn e r Hom e V ideo, V fi-m -j)
'
D e stin atio n M o o n b a s e A lpha : F. Freiberger, U .S ., 93 mins, C B S-Fox Video _ A D o ll’s H o use: J. Losey, Britain, 106 mins, V C L C o m munications D o t and th e Bunny: Y. Gross, Australia, 75 mins, V ideo Classics T h e G am es: L. Linsk, U .S ., 95 mins, C B S -Fox Video T h e L o n g e s t D ay: D. Zan uck, U .S ., 171 mins, C B S-Fox Video L ov e is a M a n y S p le n d o re d Th in g : B. Adler, U .S ., 101 mins, C B S -Fox V ideo T h e M an in th e Iro n M ask: N. Rosem ont, U .S ., 101 mins, C B S -Fox Video S k y P irates: C h ild ren ’s Film Foundation, Britain, 60 mins, Australian Council for C h ild ren ’s Films and Television S torm O v e r th e N ile: Z. Korda, Britain, 107 mins, V ideo Classics T o R ussia w ith Elton: A. M cKoew n-l. La Frenais, Britain, 74 mins, C B S -Fox V ideo
Deborah Kerr and Kirk Douglas in Elia Kazan’s The Arrangement: rated “M” on video.
Concluded on p. 290 CINEMA PAPERS August — 249
IIÌSS
mm
* Æ
Ë Ë M
: g§rairasgl& i*l i .‘.i . fra
§ö£&
,
Tom Ryan interviews the director o f Chariots o f Fire and Greystoke: the Legend o f Tarzan Lord o f the A pes
In this country, two major exhibi tors have largely eliminated the short film from their program ming. Given that your roots can be found in that form, do you feel a sense of loss at such a policy? Talking as a businessman, if I owned a cinema I would not run shorts. I would run ads for revenue purposes: it is difficult to resist that. But the feature is what people want to see and what they pay for, apart from popcorn. On the other hand, shorts have been a vital factor in the education of film makers, a forum in which they have been able to develop their talents. It would be sad to see shorts disappear, but now there are alternative forums: even if tele vision generally does not show traditional shorts, it will devour music video clips and there is room for development there. And then, of course, there is advertising, another forum that ought not to be ignored. I might well go back and make a short film next year. I would very much like to. I was asked recently to do a short film on a tight-rope walk between the Sydney Harbour Bridge and the Opera House. It is planned for this summer and it is an interesting idea, though I haven’t committed myself. I assume they would let me in to do it — or would they demand Aus tralian parity?
To what extent could Britain’s Channel 4 help the short film maker? It could, and it did, help film making in general in England. But then it got bogged down because it was producing films for a double purpose. Something like The Ploughman’s Lunch is really a tele vision film out of place in the cinema. I am not decrying the film for not being a cinema film, and Richard Eyre is a good director, but I think that film would be better shown on television. As a filmmaker you compose differently for television. It is a different medium, with a different feeling, a different image size and a different attention span. Every thing is different about it, you might say.
I came out of television commer cials and, though I still mix tele vision and cinema, I certainly feel more relaxed working in the cinema medium. If you are work ing for television, though, you have to consciously adapt yourself and use different techniques. The perfect example of someone who has managed that is John Schle singer, a really good filmmaker with impressive credentials. He began in television and has made a film for television recently, An Englishman Abroad, with Alan Bates as Guy Burgess and Coral Browne as herself. It is based on her account of their meeting and is only a little anecdote. But it is a lovely short story. If Channel 4 had made it, it would have been an hour-and-a-half long and gone out in the cinemas. The BBC made it
and it lasts one hour: an absolute gem of television filmmaking. To what extent do you feel a kin ship to that documentary/social realist tradition of British cinema, a tradition that includes people such as Schlesinger? And Lindsay Anderson, Harry Watt, Basil Wright, Paul Rotha and the whole Grierson school of filmmaking. I don’t really feel a kinship, though many of the films in that tradition were sponsored shorts, as were my early films. The Tortoise and the Hare, which was a pretty “ free” documentary, was sponsored by the Pirelli Tyre Com pany. Sponsorship such as that is where the great tradition of British shorts came from: British Transport, the Coal Board, the Ford Motor Company and so on. But, even though I am British, I don’t really feel part of the British cinema. If the work I do is success ful and is liked, and it enhances the British film industry, then that is great, which is not to say that I hold any brief on behalf of British cinema. ■ How would you Identify your cine matic roots, then?
You would probably have to take out citizenship . . . Well, I don’t mind. Anything for a movie. And that would be a great subject. You could turn that into a 50-minute television docu mentary and I am sure you would sell it all over the world.
.
Hugh Hudson’s two features as director: Chariots of Fire (Ben Cross as Harold Abrahams) and Greystoke: the Legend of Tarzan, Lord of the Apes (with Christopher Lambert as John Clayton and Andie McDowell as Miss Jane Porter).
We are all influenced in differ ent ways: Lindsay Anderson is influenced by John Ford and Ford is influenced by Sergei Eisenstein, and Eisenstein is influenced by Eisenstein. The film I value above all others is Orson Welles’ The Magnificent Ambersons; it really is a film I could watch every day. But I think my roots lie in Italian cinema. In a way, I was brought up by the Italians, and by Luchino Visconti, in particular. I like his sensuality, CINEMA PAPERS August — 251
Hugh Hudson
his sense of theatre, of opera, and his duality. He was an aristocrat; he lived in the most palatial places and his was a most incredible way of life. Yet, he professed to be a card-holding member of the Com munist Party. It is an odd dicho tomy, but you can see it in his films. The Leopard was really a meditation on his own demise. So, is the Sixth Earl of Grey stoke (Sir Ralph Richardson) your image of a Visconti aristocrat? , No, he is an English aristocrat. Generally speaking, it would seem to be very difficult to raise money in Britain now to make a film. Alan Parker claims that there is “ no financial courage” there and that people such as yourself have to fi nd money el sewhere. “ Chariots of Fire” was fifty per cent Egyptian money and fifty per cent U.S. money, and Warner Brothers is behind “ Greystoke” Well, it was Warners’ project to start with, so it is a case apart. It is an American film and Tarzan is an American hero, even if he is British by birth. In general, though, I really don’t mind where I work. I will go anywhere that the story tells me to go, though I do want to finish any film I do in the country where I live. I think that is vital. But where the money comes from is immaterial, as far as I am con cerned. To want to have British money to make “ a British film” is neither here nor there. I guess what I am trying to say is that the world shouldn’t be considered in terms of boundaries, especially in relation to creative work. Everything else is internationalized and, while there is an argument that says that is a shame, it is a fact of modern life.
That is his supreme talent: the ability to put unlikely combina tions together. Do you share the interest in sport which is central to much of Welland’s work? Not really, though I can see its power, the way it can bring people together. At one stage, I had planned a film for television about the black and white unemployed in Liverpool, where the central unify ing force was football. It was based on a book called The New Savages, but I couldn’t get the money for it and now it is too late. In “ Chariots of Fire” , then, it becomes clear that whilst you are telling the story of the sporting achievements of Eric Liddell and Harold Abrahams, you are also telling another kind of story . . . Yes. It is not the sport that is im portant. It is there because it is the truth; that was the story, that was the reality. And I think that run ning also happens to be a wonder ful, individual sport. It is not a team sport at all. And, strangely enough, even the relay is more about individuals than it is about a team. Running is a brilliant way of illustrating the heights of indivi dual endeavour. Yet, the film has a very strong sense of loss about it: its story is, essentially, framed by a funeral
sense of achievement. But the film doesn’t seem to see this . . .
Yes, it is. But the loss is indivi dual loss only. I don’t think it is about the loss of Victorian or Edw ardian values, which is T hatcher’s great cry at the moment. Those are the values that are held up by the Cambridge dons and the Olympic Committee, headed by the Prince of Wales and Lord Birkenhead, and they are all the dinosaurs that Abrahams and Liddell are fighting against. So, the loss that you are talking about has to do with individuals. The funeral, like all funerals, is about individual loss, not about collec tive loss. Some people have grabbed the film to their bosoms and said, “ This is a film that mourns the loss of our values, conservative, reactionary values.” That was what Thatcher and her band of merry men saw. A lot of the Left wing, not so much in Britain but in Europe, saw the film as flagwaving for Thatcherite policies. I was accused of that in Cannes where the intellectual Left-wing press descended on it, attacking it in droves. Those policies and the values we are talking about probably created the Falklands, and they are cer tainly not supported by the film.
When Abrahams goes to Univer sity, there is, in fact, a sequence in which he specifically turns his back on public politics . . .
W h a t t r o u b l e d me a b o u t “ Chariots of Fire” in this area is the implication of the ending. The two athletes are in a no-win situa tion: if they run and win, their country will take the glory; if they don’t, then they lose even a private
Yes, but politics still invades the University in the guise of the antiSemites telling Abrahams that he doesn’t belong and that his ideas don’t belong: “ It’s not the way to behave, Abrahams. You don’t run for yourself. You run for your
It is all about personal glory. The country might want to claim credit for the athletes’ victories, but the Olympic Games has always been about personal glory, indivi dual achievement. And it still is. It is only the politicians and the organs of the politicians, the press, who come out and say, “ Well done, England. We got two gold medals” , or whatever. But isn’t the individual the loser if those with power see things in national rather than individualist terms? The individual standing up against the world and winning is an appealing image, but it seems out of touch with political realities . . . You all want to be so bloody political about the film. It is about a band of men, people running. It is about the University days, if you like. It is about youth, about a time of camaraderie. There is nothing wrong with that.
Did the success of “ Chariots of Fire” surprise you, or did you have a sense when you were actually making the film that you really had something? I had a sense of it to start with, but as soon as we got the music on it I knew it was going to go beyond just parochial movie fare. You and Colin, Welland [the script writer of “ Chariots of Fire” ] seem to be very different kinds of people. What was your working relationship? I think Colin would like to have experienced my background just as I would like to have his. So, even though we are different, in a way we are alike in wanting to share each other’s past. He comes from a Manchester working-class back ground and I come from the reverse. He wants to be a Labour member of the House of Lords . . . that is, after he makes his name for the MCC. Puttnam was U fa Abrahams and Sybil (Alice Krige). Right: Abrahams and Lord Lindsay (Nigel Havers) race each other at Cambridge• individual clever to have married us together. achievement and glory. Chariots of Fire. s ‘',u,v,uuul 252 — August CINEMA PAPERS
Hugh Hudson country. You run for your team. You run for your College.” And then the Olympic Commit tee introduces its own brand of politics, trying to direct Liddell’s values, accusing him: “ Where’s your patriotism?” But by the end it is “ a different mountain top” . A different moun tain top!
loss. He comes up to Abrahams, who is kissing his girl-friend in the bleachers, and he says, “ I can find you another two yards, Mr Abra hams.” Ian and I worked to sug gest, ever so subtly, the jealousy the teacher was feeling about his pupil having this girl. There was a love affair between Abrahams and Mussabini, a love affair of the teacher and the taught.
Both “Chariots of Fire” and “Greystoke” seem to exhibit an ambivalence to the British Empire. Though you clearly parody the manners of the aristocracy in “Greystoke” , you also make the Earl an immensely appealing and sympathetic character, and you give weight to his “ never sell” line to John Clayton/Tarzan . . .
Will your concern with these kinds of relationships continue into future projects? I don’t know. It depends what story catches one’s fancy or one’s ideas. Greystoke certainly allowed me to explore some things about myself. I would like to make a film about my father’s relationship with his father one day. My grand father was pleased to have an elder son, but as soon as he was born he was jealous of him. It is a frighten ing thought, but he did everything he could to destroy his own son, because he became a threat to him. It is an extraordinary story.
I am not sure that he is saying what you think he is saying about the Empire there. It is not a simple speech. First, he refers to the wall: keep them out, keep us in. What does that really mean? And then he says, “ Never sell yourself, Johnny.” Don’t sell yourself, don’t compromise yourself, don’t give away little bits of yourself to other people. Burroughs’ Tarzan grew from an admiration of the life style of the British upper classes. I think that is evident in the fact that he made his hero the son of an Eng lish peer. I have changed some of the rules in that I made Greystoke about something else, about the fading world of the British aristo cracy. If you think of all the •Tarzan’ films, though there is a couple of good ones, they never attempted to do that. They just dealt with a handsome hulk of a man, free, true to himself, and a beautiful woman living with him in a paradise regained. That is all. I did Greystoke because I thought there was more to the myth than that.
It is an Oedipal story . . . It is a classic Oedipal story and a very common one. When the son comes of age, the father’s sexuality is threatened. It would be a challenging project and it would take me back again to the way of life at the turn of the century. I don’t think I should do that now because I have already made two features set around that period. And, in some ways, as you can see, that story has found its way into my films already. At least, they have scratched its sur face. To what extent have you managed to acquire control over the final cut of your film?
The story is mythically very rich, and its structure has echoes of so many fairy-tales: a displaced child is forced to make his way in a new world, moving through a succes sion of adventures and/or parent figures on his way to maturity . . . Yes, it is a true fairy-tale. Even the parents at the start are babes in the wood. It is a fairy-tale which, like all fairy-tales, has a number of morals to it. Yet, it is also like a dream within which there are flashes of reality. It wasn’t con structed with that in mind, but I have come to see it that way. There is also a strong sense of loss in “Greystoke” : not only does Tarzan lose his way of life, but he is also constantly being separated from parental figures . . . I identify very heavily with that. It is certainly my imprint on the film. It wasn’t in the original script that I read by Robert Towne at all. I think you have to come to terms
Top: John Clayton, or “Tarzan". Centre: six-month-old John (TaliMcGregor) andKala: mother and adopted son. Above: returned to ‘civilization’, John visits his grandfather, Lord Greystoke (Ralph Richardson). Greystoke: the Legend of Tarzan, Lord of the Apes.
with loss in life in order to win your maturity. When you suffer loss, usually you bury it and you refuse to confront it, whatever it is. Psychoanalysis or some kind of self-analysis can help you come to terms with the whole sequence of losses which you experience. The first one, of course, is the loss of parents, of the singular love you have had from them. Fairy-tales are often preoccupied by that sense of isolation, of betrayal . . . Yes, exactly, because it happens all our lives. It happens to Tarzan
before he is taken out of his Utopia, it happens after he is taken out, and it happens because he is taken out: he is persuaded that he is not part of it, that he is really a mere mortal, that he has to go back to his human family. And isolation and betrayal is what he finds there. D’Arnot is like the teacher who replaces the parent in our lives. He represents a surrogate father for Tarzan. Ian [Holm] plays the same kind of character in Chariots of Fire, if you remember: Sam Mussabini, a teacher, a surro gate father. But there the sense of betrayal is reversed, and the father is the one who feels the pain of
Nobody has ever come into the cutting room and cut a film over my head. It is all done by discus sion and agreement. To put it a different way: if you have a budget of more than $20 million, you are never going to have complete control of anything. You have to work in France to get that. If anybody touches your work there, you can-take them to court and you will win. It is the result of the French respect for film as an art-form as well as a business. We come from a world in which it is only a business, really, and you have to work to get round that. There are ways of dealing with it — with banks, financiers, studios — and you learn from experience. I think Michelangelo probably provided us with the best example here. He let the Pope go up the ladder for an occasional look and he would talk about various things with him in the corner, but he would also splash a bit of paint on him so he wouldn’t want to come up too often, -k CINEMA PAPERS August — 253
AATON 8-35 The Aaton 8-35 is the smallest hand-held silent-running 35mm camera with instant 120m magazines. Designed for mobility, the 8-35 is ideal for hand holding on location in any outdoor situation, as well as for the studio. The overall size of the 8-35 is virtually the same as the Aaton LTR 16mm camera. When you enquire about the 8-35, you’ll soon discover for yourself just why it really is the latest and best from Aaton.
CNM The latest Super 16mm technology comes together perfectly with the Aaton CNM. Lighter than you thought possible the CNM is ideally suited to trekking, mountaineering and all those hard to get to situations. The perfect companion to the LTR as a second camera, the CNM will get you out of those difficult situations you get yourself into. Find out how inexpensive the CNM can be for you. For further details contact:
s FILMWEST Sole importer of the Aaton 8-35 throughout Australia.
SYDNEY:
MELBOURNE:
PERTH:
SINGAPORE:
Percy Jones Motion Picture Services, 1st Floor, 29 College St. GladesVille. N.S.W. 2111. Telephone:' (02) 816 3371
John Bowring - Lemac Films (Aust) Pty. Ltd. 279 Highett St. Richmond. Victoria. 3121. Tel: (03) 428 3336/429 2992
Filmwest Equipment Sales Pty. Ltd. 75 Bennett St. East Perth. W.A. 6000. Telex: AA94150 Tel: (09) 325 1177/325 1423
Filmwest Pte. Ltd. Suite 157 Raffles Hotel 1 1-3 Beach Rd. Singapore. 0718 Telex: RS36389 V y . . Tel: 337 8041/336 1509
Fred Harden Exhibition Report: Sound and Vision 1984 The first international conference and exhibition staged by the Australian section of the Society of Motion Pictures and Tele vision Engineers (SMPTE, pronounced Simp-tee) was held in Sydney from June 7 to 9. The usual program is for the presenta tion of technical papers to take place over the three days along with an exhibition of the latest equipment for film and television. Although there was a number of interesting presentations (such as Garrett Brown’s Skycam and from Peter Parks of Oxford Scientific Films), these are available on audio cassette from the SMPTE, so this will be a report on the trade exhibition and new equipment.1 Filmwest from Perth demonstrated a unique tracking rail called Cam-Rail. It consists of light-weight, straight and curved sections of track that mount on tripods with levelling heads, and a trolley with tripod bowl that can be moved smoothly by hand or by a remote con trolled motor. The rail can be mounted so that the camera hangs underneath and tracks close to the ground or over table tops, etc. I was impressed by the con struction and simplicity, and the possibility
of using it with a video camera or video split. It would hardly replace an Elemack with a crane arm for flexibility but for remote and table-top applications it should have a place in one of the hire companies or in a grip truck or two. Prices for the basic kit, with two rails, a 1.5 metres long trolley and two tripods start at $4500. Curved track lengths are about $850 each; the remote motorized head is $ 2000 . Also on show at the Filmwest stand was the amazing Aaton 8-35 camera. I remem ber reading how Jean-Luc Godard had asked Aaton to design for him a small
35 mm camera, the same size as a Super 8, hence the 8-35 name. (Sydney director John Clarke had just purchased the model on display.) Contact: Filmwest Equipment Sales, 75 Bennett St, East Perth, WA, 6000. Continental Mounts showed a revised, helicopter door camera mount, a new heli copter ‘belly’ mount and the new CM35 Feathercam 35 mm camera. The belly mount is designed to be used on the 206 Bell Jet Ranger, accepts most 16 mm, 35 mm and video cameras, and takes the video feed and all camera functions
through a single cable to the cockpit control box. The tilt (from level to 90 degrees straight down) is controlled with a small joystick. The Feathercam CM35 demo model on display had been used by cameraman Fred Waugh for a recent American feature Courage to film hand-held motorbike shots and was chosen because of its
45 kg weight. It has a double pin, two-claw pulldown movement and the body is machined from magnesium; there is a 500 ft co-axial magazine which is 4.5 inches wide, 8 inches high and 12 inches long with the magazine. It accepts BNCR, Arri and Nikon lenses and is variable in speed from 4 to 48 fps and is 24/25 crystal controlled. Contact: Christine Seckold, Continental Mounts Australia, 45 Grafton Ave, Naremburn, NSW, 2065. The single most exciting piece of video equipment at the show was the Fairlight Computer Video Instrument (CVI). The display and promotional literature kept using the word “ revolutionary” and, al though the features of this digital effects are not new, it is the price (about $4500) that will make the CVI revolutionary. Designed around a microprocessor-con trolled digital frame store and operated from a keyboard with a small built-in graphics tablet and a system of on-screen menus, it has amazing real-time capabili ties; there are 10 fader controls for hue, saturation, value, horizontal and vertical pan, zoom, stretch, line width of the graphics input, color depth and rate; there is a chroma-key and matte facility, strobe and pixellation capability, and a wide graphics menu with cut and paste, stencil wipes, paint with various brush sizes and the ability to store the digital images on to tape. The resolution looked to be too coarse for broadcast other than as an effects source (the digitizing frequency is 4.4 MHz and the video resolution is 256 x 256) but, for small-format video studios, the device will be of great value. I believe that the CVI will lead to a growth in video art in schools and colleges, and will be used by video artists as a personal image syn thesizer, something that has been mooted for years. I want one! Contact: Fairlight Instruments, 15 Boun dary St, Rushcutters Bay, NSW, 2011. Filmtronics had a range of its products on display at the show but only a few items were new. The Marusho tape splicers are known for their accuracy and are used by a number of television stations for editing material going straight to tele-cine. A new, light-weight version of the 16 mm, the 16 TK, is available for $205 and a Super 8
model for $214. The 16 TK is available with a magnetic diagonal cutter and as a 16 mm magnetic only model. There was a Neilson-Hordell JS-25 ‘Junior’ animation stand on display that had just been sold to one of the technical colleges. At approximately $80,000, it was a good expandable system. NeilsonHordell makes a range of computer con trol systems which includes a studio special effects-model camera stand for motion control work. It also makes a computerized video animation stand, one of the growth areas for the company. The other item on the Filmtronics stand was the Frezzotini Mini Fill 12 volt, oncamera fill light. The 250W quartz lamp and holder is ultra light-weight and would be a good lamp for other small lighting applications in a confined space. Contact: Filmtronics, 33 Higginbottom Rd, Gladesville, NSW, 2111. A.G.E.S. was showing its Oxberry com puter controlled aerial image with zoom control. It uses the color variable Modukrome light source. One of the speakers at the conference, Bruce Lyon, talked about video animation techniques for small format VCRs. The Lyon Lamp Video animation system is being distributed by Andrew Gibson. As far as I can tell, the VAS 4 allows frame-accurate, single frame record and insert replacement, automatic search to a particular frame and a frame-grab. Added to a graphics device, such as the Quantel Paint Box, highquality video animation would be possible. On the stand also was the Eclair Super 16, ‘Panoram’ camera. Contact: A.G.E.S., 113 Willoughby Rd, Crows Nest, NSW, 2065. Nac Inc. had a display with its Quick Action Recorder for animation line tests, and a high-speed VHS video recorder. The Quick Action Recorder is in use at Yoram Gross’ studio and at the Perth Technical College and, in a market in which four-year-old technology is old hat, it is still an impressive device. The
éà
7. T h e p r ic e s g iv e n a r e th o s e q u o te d a t the e xh ib itio n a n d a r e to b e ta k e n a s a g u id e lin e only.
7
7
CINEMA PAPERS August — 255
New Products and Processes
HSV-200 records 200 fields a second with a very short exposure time per picture. Coupled with a high output strobe with a 1/50,000 of a second duration, it will pro vide a replacement for a number of film camera applications, especially in situa tions where repetitive tests are needed. And there is the instant playback. The image quality was good and one can get a com plete system FOB Tokyo for U.S.$37,430. A number of other attach ments are available. Contact: Nac Incorporated, 17 Kowa Building, 2-7 Nishi-Azabu l-Chome, Minato-ku, Tokyo, Japan.
release tilt plate that allows six different degrees of additional tilt, giving the head up to 92 deg. tilt from the horizontal. There are the standard handwheels and a three speed gear box with a quick disengage lever for whip pans. The cable drive allows 185 deg. moves in either direction and has a slip ring that allows the operator to set a neutral reference point. Using Worrall type handwheels on its control box was the remote control panand-tilt head, the CP MINI-MOTE. For about $29,000 one gets a pan and tilt head system with silent motor drives, 360 deg. operation in both, a camera mount ing platform with a sliding rail for easy
Rank Electronics stand dwarfed its light ing and film exhibit with new video releases. The industry standard telecine the Cintel Mk IIIC is now available as a digital model but there was considerable interest in a new digital telecine de signed for broadcast station use, the ADS 1. At about $130,000 and without the sophisticated scene by scene grading of
the Mk III, it is a sign that stations must still be handling a quantity of film-to-air situatinos. The other digital device was the Rank Cintel Slide File. A digital stills store using an 8-inch Winchester disc driver, it
balance adjustment, the Transducer with the operating wheels, 100 ft of cable and cases. The operation was faultlessly smooth and with a video split would pro vide the business end of a poor man’s Louma. The transducer operating control had adjustment for adding apparent resistance to the handwheels and was also available as a joystick option. Still on the Rank stand were the Steen beck editing tables. The 16 mm 8 plate with twin picture heads, ST 921, seems value for money at about $23,000 and the 16 mm pictures were very bright and sharp. The machine is available with a number of options such as Super 16 pic ture and picture splitter for adding a video camera. The Steenbeck machines all seemed to have their video options much better integrated than some of the other tables at the show. Most obvious in that regard was a machine that, according to your choice of audio tracks, is called the ST 941 V, 6401 V, 9601 V, or 6601 V. The V stands for video and the other options are the num ber of audio tracks (2 or 3) and 16 mm or 17.5. With a built-in U-matic that is
has a capacity of up to 173 PAL pictures that can be cut, dissolved and cross-faded — all for about $60,000. The Cinema Products equipment on the Rank stand included a new Mini-Worrall head. With a 60 deg. arc tilt it has a quick
price, depending on options, was about $25,000 overseas. There is an add-on video splitter kit with a custom ordered camera mount available for the 16 mm tables, such as the ST 1651, for about $4,500 plus monitor. There was no doubt, by the number of units that allow video pictures to be inter locked or displayed at the show, that the film-video mix is healthy. Contact: Rank Electronics, 16 Suakin St, Pymble, NSW, 2073. The other high-speed video tape system of note was on the Kodak stand. Along with the release of their electronic imaging products (that is what one has to call them), there was a display of the Kodak company Spin Physics, SP-2000 motion analysis system. This gives a display that can reach 2000 frames a second and, though black and white, allows a multiple camera record on a split, high-quality screen. The range of professional video tapes with the Eastman label, which is produced by TDK for Kodak, brings them slowly into video. There are a number of Kodak products such as Datakode backing and the 5294 negative stock which will be covered in a special look at the yellow giant in a later issue. Contact: Kodak, 173 Elizabeth St, Coburg, Vic., 3058. Filmlab Engineering had a large display of its processing machines, a Peterson printer, a range of silver recovery units and the Lipsner-Smith ultrasonic cleaner. The item that attracted me though was the Geyer-Peterson wet gate for the Rank Cintel Mk3 telecine. Available in both
16 mm and 35 mm, the head can be changed as quickly as the standard heads. The results on the demonstration tape were nothing short of amazing. Base scratches which looked as if they were made with a nail disappeared completely, along with cinch marks and other handling abrasions. There also seemed to be an increase in picture sharpness and steadi ness. It should be a standard option in at least one of the tape houses in each city. Omnicon in Sydney has purchased the first one. Contact: Filmlab Engineering, 201 Port Hacking Rd, Miranda, NSW, 2228. There were a number of camera prompt systems available, most of which utilize the advantages of a computer to supply the text, and a monitor and beam splitter to display it. The Cinema Products Camrapromter is a conventional, scrolling mechanical model, with matte plastic rolls 7 ins wide which would be suited to loca tion work because of its size. It was about $3200.
mechanically interlocked to the transport, it provides a cheaper or at least more familiar way to produce audio tracks for video post-production. With the option being systems such as EECO interlock and multi-track recorders many editors will prefer to cut effects and dialogue tracks this way. The VCR can be low or high band U-matic or 1/2 -inch VHS and the
256 — August CINEMA PAPERS
The more sophisticated model was the Compu-Prompt which uses an Atari 800XL home computer to do all the word processing functions, such as last-minute changes, and gives a color display so that different sections or additional presenters can be read from the same screen. It can be fed to several monitors or, with an un gainly looking mount and beam splitter, be used on the camera tripod. The unit was about $13,900 with disk drive storage and remote hand heid speed controller. The output was NTSC but the system could surely be modified for PAL or a local varia tion made. Contact: Compu-Prompt, 940 North Orange Dve, Suite 209, Los Angeles, Ca., 90038, U.S. Miller Fluid Heads had a range of its products and a new, quick-release plate, which slides for counterbalancing after the camera is mounted. A lever handle gives it a positive lock. There was also a new
adapter that added a column lift to a standard tripod, with ball levelling built in. It allows 300 mm extension which would save time with small leg adjustments. Contact: Miller Fluid Heads, 30 Hotham Pde, Artarmon, NSW, 2064. MediaVision displayed a range of Color irán lights, including the new 2kW, 8-inch, focusing Fresnel that Channel 7 in Mel bourne has installed in its new studio, and an arc followspot, the Color Arc 2000 with a 2000 watt Xenon lamp and a throw of 350 ft. Contact: MediaVision, 22 Yertchuk Ave, Ashwood, Vic., 3147. 3 Arts had several new small items on display, and the new Harlequin floor material. It is stocking the full range of Chris James lighting control filters and was demonstrating a computer controlled lighting panel, the AVAB 201. It seemed to provide considerable flexibility for its $5000 price and was another sign of the cost reductions taking place with micro processor-based devices from small com panies. The AVAB 201 can be 12 or 24 channels and provides a computer control system for small theatres, audio visual presentations or television studio use. It is worth a look. Contact: 3 Arts Services, 109 York St, South Melbourne, Vic., 3205. John Barry had a remote pan-tilt head called the Kaleidescope Hot Head that seemed to match the Cinema Products Mini-mote in functions. The Hot Head and the Snorkel Lens from Kaleidescope are new products from three young American special effects designers and look well thought out. Steven Spielberg used the Hot Head on Indiana Jones and the Temple of Doom. Contact: John Barry Group, 27 Hotham Pde, Artarmon, NSW, 2064.
There were of course many other notable releases at the exhibition. I have made no mention of a number of audio develop ments and interlock systems, and there was a large range of small videotape editing controllers, switchers and effects. A number of the stands had no press material and have been late sending photos, etc. These will be held over to the next issue. ★
)l
O P T IC A L & G R A P H IC [1 9 8 2 ] PTY. LIMITED 1 1 0 -1 1 2 W est Street, [C orner Hayberry S treet)
M O T I O N P IC T U R E
Crows Nest, NSW , 2 0 6 5 , Australia,
. Shooting in —
AIMAMQRPHIC WIDE SCREEN TELEVISION
Phone Telex Fax
(02)
922-3144
AA 2 5 4 6 8 4 3 9 -2 7 3 8
and all
M il le r
A/V FORMATS
Cine Service l& __compact video__ MILLER
SUPER 8MM & 16MM FILM DUPLICATING & SUPER 8MM REDUCTION PRINTING ® SOUND RECORDING ® STANDARD 8MM, SUPER 8MM, 9.5MM, 16MM & 35MM TO EITHER BETA, OR VHS TAPE ® VIDEO TAPE TO FILM TRANSFERS © VICTORIAN AGENTS TUSCAN REELS & CANS
FLUID HEADS PROFESSIONAL
CAMERA
SUPPORT
235 moray st. sth. melbourne 3205 p.o. box 328 phone (0 3 ) 699 6999
SYSTEMS
30 HOTHAM PDE. ARTARMON 2064 AUSTRALIA TELEPHONE: (02) 439 6377 ■ TELEX: A A 2 3 6 5 5
pros... Judge us by the companies we keep Arnold & Richter Arriflex cameras, Arrilite. Zeiss High speed lenses, lee Filters, Manfrotto Stands & Tripods. Sachtler Fiuidheads & Tripods. Stronghold Custom-made transit cases. Trffen Camera filters. Brawmer Audio products. Lexicon Reverberation Units. Sonifex NAB Cartridge Machines. Tannoy Loudspeakers & Monitors.
Zonal Audio & Magnetic film tape. NTPStereo phasing monitors. Kaleidoscope Remote Control Hotheads. Photo Research Spectra Light Meters. Lemo Connectors. Acmade Picture Synchronisers.. Cinema Products Steadicam and Cameraprompter. Cine 60 Power Packs. CIRSplicers. Elemack Dollies. Miller Heads & Tripods.
We’re also into the rental business in a big way
C in e jib -o u r rental product of the month
Our Rental organisation provides a service to the Film and TV production industry 6 days a week. Our staff are thoroughly trained with handson experience. They have a genuine interest IP V U fe l R A R R V
in ensuring that our equipment is reliable. Make sure your next production is backed up by Australia’s most professional Motion Picture/ TV product supplier.
group
PTY LTD
Fine-tuned for product excellence in sales, servicing & rentals
Rental Division, Head Office: 27 Hotham Parade, Artarmon NSW 2064. Ph: (02) 439 6955.Telex ÂÂ24482
wÆm
what next?
...course!
Open Program Everyone needs professional advice sometimes. You can’t go past the Australian Film and Television School’s Open Program for courses and training material prepared and delivered by top professionals actively working in film and television production. Think about it and do yourself a favour. Contact us immediately for details on our resources and upcoming activities all around Australia: Carmen Coutts Sydney (02) 887 1666
Jenny Sabine OR
■
Studio 75' x 4 6 ' with 14' to lighting grid.
■
Large three sided paintable fixed eye.
■
Good access to studio for cars and trucks.
■
Design and set construction service available.
■
Dressing rooms, wardrobe, and make-up facilities.
Melbourne (03) 328 2683
Australian Film and Television School Open Program
FOR S T U D IO BOOKINGS, PHONE:
Alex Simpson,
(03) 568 0058, (03) 568 2948
RED MATILDA’S-T H E WRONG WORLD
Film Victoria
EAST MEETS WEST • A THOUSAND SKIES
MY FIRST WIFE ■ ■ NOT SUITABLE FOR ADULTS
Prod, m a n a g e r..........................A drienne Read Prod, s e c re ta ry ..............................M illie Com fort Prod, accountants............................Lea Collins, C andy Du Bois 1st asst d ire c to r........................... Colin Fletcher C o n tin u ity...................................... P a m e la W illis C a s tin g ......................................................... Forcast Lighting c a m e ra m a n ...................... John S e ale Key g rip ....................................... Paul Thom pson G a ff e r ............................................... Reg G arside Art director..................................Larry Eastwood B u dget..................................................$ 1 .8 million Len gth........................................................ 100 mins G a u g e .......................................................... 35 mm Shooting s to c k ................ Kodak E astm ancolor C ast: Bryan Brown (Cliff Hardy). S y nopsis: Cliff Hardy m eets organized crim e in Bondi.
Dist. c o m p a n y ............................ Hoyts Theatres Assoc, p ro d u c e r........................................ S a ndra Gross P ro d u c e r................................................................ Gil Brealey Length..........................................................80 mins D ire c to r.................................................................. Ian Jones G a u g e ............................................................. 35m m S criptw riter............................................................Ian Jones S y nopsis: Dot shrinks to insect-size and Based on the original idea b y ...........Ian Jones battles her w ay through the spider kingdom . Exec, p rodu cer..............................................Sim on W incer DOT AND THE KOALA Assoc, p ro d u c e rs ..................................... M ichael Edgley, Jonathan Chissick Prod, c o m p a n y ............................................ Yoram Gross Prod, s u p e rv is o r....................P a m e la Vanneck Film Studio Prod, m a n a g e r....................................Phillip Corr P rod ucer........................................................ Yoram Gross Special e ffe c ts ................................Chris M urray D irector...........................................................Yoram Gross Stunts co-ordinator........................... G rant Page To ensure the acc uracy of your Scriptw riters.....................................................G reg Flynn, entry, please con tact the editor of W ra n g le rs .........................................G erald Egan, Yoram Gross this colum n and ask for copies of R ay W inslade, Based on the original idea Bill W illoughby b y ................................................................. Yoram Gross our P roduction Survey blank, on w hich the details of your p ro d u c Publicity..............M ichael E dgley International P h o to g rap h y............................ G raham Sharpe tion can be en tered . All details Budget.......................................................$ 8 million Assoc, p ro d u c e r........................................ S andra Gross m ust be typ ed In up p er and low er Len gth......................................................... 120 mins Anim ation d ire c to r................................... G airden Cooke case. G a u g e ...................................35 mm anam orphic Length..........................................................80 mins FAIR GAME E d ito r’s note: All entries are Shooting s to c k ............................................ 35 mm G a u g e .............................................................35m m supplied by p ro d u c e rs /p ro d u c Scheduled r e le a s e ................... Christm as 1985 Prod, c o m p a n y ...........................Southern Films Synopsis: Dot and Bruce the Koala fight to tion com pa nies , or by their agents. S y nopsis: A young recruit tries to prove him International Limited stop a dam destroying the bush. C in e m a P a p e r s cannot, therefore, self am ong three seasoned Australian LightDist. c o m p a n y...............................................C .E .L. a c c e p t r e s p o n s ib ility fo r th e horsemen — all destined to ride in history's Producers..................................... Ron S aunders, MESMERIZED ARMANDINE co rrectness of any entry. last, great, cavalry charge. H arley M anners Prod, c o m p a n y ......................O rinw ard Limited P ro d u c e rs ....................................... P e ter Beilby, D ire c to r..................................Mario Andreacchio for R K O /C h allenge Tim othy W hite NIEL LYNNE S c rip tw riter......................................... Rob G eorge Focus p uller............................... A n drew M cLean Dist. c om pa ny......................Tho rn -E M I Screen Scriptw riter.................................... G len Craw ford B u d g e t................................................ $ 1 .2 6 million P ro d u c e rs .........................................Tom Burstall, C lapp er/loader......................................Chris Cole E ntertainm ent Based on the original idea S ynopsis: A young w om an, alone on an G ilda Barrachi Steadicam o p e ra to r......................Toby Phillips P rod ucer................................Antony I. G innane b y ...................................................................... G len Craw ford isolated farm , becom es unwillingly involved D ire c to r.............................................................David Baker Key grip............................................. Ross Erikson D ire c to r.................................... M ichael Laughlin Exec, p ro d u c e r.............................R obert Le T et in a series of vicious gam es with a group of S criptw riter...................................................... David Baker Asst g r ip ........................................... Phil S h apeira Scriptw riter..............................M ichael Laughlin Assoc, p rodu cer..................................Trish Foley kangaroo shooters w hich invades her Exec, p ro d u c e r.............................................. David Baker G a ffe r................................................................... M ick Morris Based on the story b y ....... Jerzy Skolim owski Le n g th .........................................................110 mins property. B u dget.................................................................. $2.1 million Boom o p e ra to r...........................Jack Friedm an P h o to g ra p h y ................................. Louis Horvath G a u g e .............................................................35m m S ynopsis: T h e story of two boyhood friends Art d ire c to r................................................ Igor Nay Sound re c o rd is t.................................... Tim Lloyd Shooting s to c k .............................................Kodak FIRESTORM tracing their fates and loves from the Asst art director............ M ichael Scott-Mitchell Editor......................................... Petra von Oelffen S y n o p sis: T h e story of a beautiful, young turbulent e ra of the late 1960s to 1980. Prod, c o m p a n y .................................... De RocheArt departm ent Visual co n s u lta n t..................... S u sanna Moore Frenchw om an em broiled in the 1920s Phelan Film Prods co-ordinator..............................................Sa ndra A lexander Exec, p ro d u cers...............................M ark Seiler, scandal of the “ w hite slave tra d e ” In TERRA AUSTRALIS P rod ucer............................................ Tom Burstall Costum e d e s ig n e r....................................... Roger Kirk C hristopher J. Kirkham Australia. D ire c to r.................................... E verett De Roche Prod, c o m p a n y ............................................ Yoram Gross M a k e -u p ............................................ Viv M epham , Assoc, p ro d u c e rs ......................................Howard Grigsby, Sc riptw riter..............................E verett De Roche Film Studio Robern Pickering AUSSIFIED Richard Moore Based on the original idea P rod ucer........................................................ Yoram Gross H a irdress er..................................Jan Zeigenbein Post-prod, supervisor...S ylvia W alker-W ilson Prod, c o m p a n y ................... S creencrafts Prods b y ........................................................M ax Phelan D irector...........................................................Yoram Gross W ardrobe sup erviso r....................................... Jan Hurley Unit m a n a g e r................................ M ichael Fuller P ro d u c e r...........................................................Ralph M arsden P h o to g ra p h y ............................... David Connell S criptw riters.................................................... G reg Flynn, W ard, a s s is ta n t.............................................. Kerry Thom pson Prod, s e c re ta ry ................................. Jenny Barty D irector............................................................. Ralph M arsden Sound re c o rd is t......................... Terry Rodm an Yoram Gross P ro p s ....................................................................N ick M cC allum Prod, accountant................................Shirley Gill S c rip tw rite r..................................................... Ralph M arsden Editor................................................................ Adrian C arrP h oto graphy............................. G raham Sharpe Props b u y e r......................................................Lissa Coote, Prod, ass istants........................................... P enny G arland, C asting adv iser............................ M arcel Cugola Prod, d e s ig n e r...............................................Leslie Binns Assoc, p ro d u c e r........................................ Sandra Gross S u e Hoyle C atherine M adigan Casting consultants........ T he A ctor’s Agency, C o m p o s e r........................................................Bruce Rowland Consultant zoologist..................... Dr M. Archer Standby p ro p s ............................Nick M cCallum 1st asst d ire c to r............................................. Terry N eedham Frog Prom otions, Exec, p ro d u c e r.................................. M ax Phelan Director of model d e s ig n ....... N orm an Yeend C h o re o g ra p h y ............................Ross Colem an 2nd asst director............................................ Jonty Barraud Alex S a scha M a nage m e nt Assoc, p ro d u cer.............................G eorge Miller Length...........................................................80 mins Set d ec orato r................................................... Lissa Coote 3rd asst director.............................. G eoffrey Hill 2nd unit pho tog ra phy..................... W ilf W alters (M elbourne) G a u g e ............................................................. 35m m Scenic a rtis t..................................................... Pe ter Harris C o ntinuity................................................... The re se O ’Leary (Britain) Prod, co-ordinator................................. M eredyth JuddS y nopsis: Based on scientific findings, Construction m a n a g e r................ Alan Flem ing Producer’s a s s is ta n t.........................Ann Lyons Len gth........................................................... 9 0 mins C a s tin g ...................................Mitch Consultancy T e r r a A u s tr a lis is set in prehistoric M usical d ire c to r.................................................R ay Cook C a m e ra o p e ra to r................................David Burr Shooting s to c k .............................................. Kodak Additional cas ting.............................................. Lee Larner Australia. Music co-ordinator....................Bruce Rowland Focus p u llers...................................................Barry H elleren, Cast: Chris W aters (David), A m a n d a M c Art d irector........................................Leslie Binns S tu n ts ..................................................... M ax Aspin John M ahaffie N a m a ra (W endy), Bronwyn G ibbs (Chrissie), YOUNG EINSTEIN W a rd ro b e ..........................................Jan e Hyland C la p p e r/lo a d e r........................... Rex Nicholson R u n n er....................................................G rant Lee Christine Andrew (Claire), P e te r Tabor Scenic a r tis t................................R obert Mancini P ublicity...................................................Roadshow Prod, c o m p a n y........................................... Serious Prods Key g rip ................................ G ra ham e Litchfield (G eorge), S usan M antell (S tephanie). Musical director.............................................Bruce Rowland P ro d u cers...................................................... Y ahoo Serious, C a te rin g ........................................ Kaos Katering Asst g rip ............................................. Evan W oods S y n o p sis: C ontem porary dram a set in M e l Sound e d ito r.................................................... Terry Rodm an David Roach G a ffe r............................................................. W arren M earns Laboratory......................................................... Atlab bourne and London. Still ph o to g ra p h y.......................................... Sterio StillsD irector............................................................ Y ahoo Serious E lectricians...........................................................Ian Philp, Lab. lia is o n .......................................P e ter W illard (David and Lorelei Sim m onds) Brendon M une, Budget.....................................................$5 million Scriptw riters.................................................. Y ahoo Serious, AVENGERS OF THE CHINA SEAS P ublicity....................................B urson-M arsteller David Roach Len gth.................................................................... 105 mins Jam es N ew m an Budget......................................................................$5 million Prod, c o m p a n y ........................ Nilsen Prem iere P h o to g rap h y.......................................................Jeff Darling Boom o p e ra to r ................................ Phil Tipene G a u g e .............................................................3 5 mm Len gth....................................................................120 minsSound recordist........................................G eoffrey Grist P rod ucer.............................................................. Tom Broadbridge Art d ire c to r.......................................................... Dan Hennah Shooting sto c k ...............................................Kodak G a u g e ...................................35 mm anam orphic D ire c to r......................... Brian Trenchard-Sm ith C o m p o s e r...................................................... Robert Dickson Costum e d e s ig n e r.................................... Patricia Norris Cast: M att Dillon (R ebel), D ebbie Bym e S y n o p sis: T he story of a m a n ’s rise to S criptw riter.................................................... Patrick Edgeworth Location m a n a g e r.........................................Bryan Young (Kathy), Bryan Brown (Tiger), Ray Barrett M ak e -u p ............................................................. Judy Lovell leadership in an em ergen cy, w hen a B ased on the original idea (Bubbles), Bill Hunter (D et. S g t Browning), Prod, a s s is ta n t.....................................Paul Fogo H a ird re s s e r.......................................................Judy Lovell Dunkirk-style evacuation is used to rescue b y ................................................................. P atrick Edgeworth 1st asst director................................David Roach W ardrobe m is tre s s ....................Julia Mansford Julie Nihill (Joycie), Kim D eakin (H azel). thousands of holiday-m akers from a bushfire E d ito r.........................................................Alan Lake Com ic a s s o c ia te ................................. Ian J. Taite W ard, a s s is ta n ts ..................G len Christensen, S y nopsis: T h e story of an A m erican m arine on the M ornington Peninsula. P rod ucer’s a s s is ta n t............. V irginia Bernard Lighting assistants..................M ark Freed m an, who, w hile recuperating from injuries in Philippa Kerruish, Lab orato ry.................................................Colorfilm John Lee, Cheryl W oods Sydney during W orld W a r 2, m eets and falls B u d g e t................................................... $ 4 .6 million G len Pead I OWN THE RACECOURSE in love with a singer in an all-girl band. Props b u y er...............................Sandy W ingrove L en gth........................................................... 9 4 mins C a m e ra as s is ta n t............ Robert M acD onald Standby p ro p s ..........................Trevor Haysom , Prod, com pa ny................................ Barron Films G a u g e ................................... 35 m m anam orphic Boom o p e ra to r.................. Jacqueline Lawson Tim Sm ith THE WRONG WORLD P rod ucers.....................................John Edwards, S y n o p s is :A contem porary action-adventure Art d irector..................................................... S teven M arr Set con struc tion.......................................... Trevor M ajor Tim othy Read Prod, c o m p a n y .........................Seon Film Prods story set on the South C h ina Sea. Asst art d irecto r................ Christine Robertson Asst ed ito r..................................... David Coulson D irector......................................Stephen R am sey P rod ucers.................................... Bryce M enzies, C ostum e des ig n e r..........................................M ishi W atts Sound editor................................. David Coulson Sc riptw riter.................................... John Edw ards Ian Pringle BLOWING HOT AND COLD M ake-up..............................K larenz von Deusing Best b o y ........................................ Alleyn M earns Based on the original idea Director.................................................. Ian Pringle H a ird ress er.......................Klarenz von Deusing Lab orato ry.................................................Colorfilm b y ..........................................Patricia W rightson Prod, c o m p a n y ..............................Celsius Prods Scriptwriters........................................Ian Pringle, W a r d r o b e ..........................................................Mishi W atts B u d g e t........................................ U .S .$ 4 .2 million Exec, p ro d u c e r................................Paul Barron P ro d u c e r......................................... Basil Appleby Doug Ling M ake-up assistant.............................................S u e Burns Length........................................................... 95 mins Prod, m a n a g e r............................Adrienne Read D irector...........................Brian Trenchard Sm ith Photography........................................ R ay Argali Set construction.......................................... S teven M arr G a u g e ....................................35 mm Panavision B u dget....................................................... $ 7 0 0 ,0 0 0 Scriptw riters...........................Rosa Colosim o, Sound re c o rd is t.............................................Bruce E m ery Still photography...................... Brian G allaghe r Shooting stock................................Eastm ancolor Length........................................................... 7 3 mins Reg M cLean E d ito r......................................................R ay Argali Horse m a s te r.......................................M ax Foster S cheduled re le a s e ..................... February 1985 G a u g e ................................................S uper 16 mm Script editor............................ E verett de Roche Prod, d e s ig n e r..................... Christine Johnson C a te rin g ................................................ Linda Pead C ast: Jodie Foster (Victoria), John Lithgow Shooting s to c k ................ Kodak Eastm ancolor Exec, p ro d u c e rs ........................... Reg M cLean, C o m p o s e r............................................................Eric G radm an Lab orato ry.................................. C ine Film Labs (Thom pson), M ichael M urphy (W ilson), Dan S y nopsis: T h e story of Andy Hoddell who R osa Colosim o Exec, p ro d u c e r............................ Basia Pushka Len gth........................................................... 90 mins Shor (Edw ard), Harry Andrew s (Old Tho m p com es to believe he owns Harold Park R a ce S cheduled re le a s e ...........................E aster 1985 Assoc, producer.............................................. John Cruthers Cast: Yahoo Serious (Albert), P e ew ee son), Reg Evans, Beryl Ti W iata, Phillip course. C a st: G ianc arlo G iannini (Nino), Arkie Prod, m a n a g e r......................Andrew W isem an Wilson (M r Einstein), Su Cruickshank (Mrs Holder. W hiteley (Sally). Unit m a n a g e r................................ Daniel Scharf Einstein), Roxanne W ilson (Honey), Antoin S y n o p sis: A colonial rom ance set in New S y nopsis: The story of a friendship betw een LEONSKI: THE BROWN-OUT Prod, acc ountant......................... C aroline Fyfe ette Byron (French nurse), Ian J. Taite (T as Zealand at the turn of the century. two m en who struggle to conquer differences Prod, a s s is ta n t....................................Judi Joske MURDERS manian Devil), Robert Dickson (W alt), Ray of culture, tem peram ent and values in order 1st asst director............................................... Lucy M aclaren Fogo (clerk), W arw ick T e e c e (boss), Don Prod, c o m p a n y .....................Flying T ig er Films REBEL to survive the dangers of their adventures 2nd asst d ire c to r....................................... C ristina P ozzan C a rs o n , W a lte r B lu n d e l (n e ig h b o u rs ), Dist. c o m p a n y ......... P eregrine Entertainm ent (form erly N o N a m e s N o P a c k d rill) and ach ieve their goal. T h e action m oves W arren C olem an, Stephen Abbott, G len P roducer...................................................Bill N agle from the vast expanses of the Australian W a rd ro b e ........................................................... Ja n e H ow at Prod, c o m pa ny..............Phillip Em anuel Prods Butcher, Russel C heek, A ngela M oore D irecto r............................................ Philippe M ora desert to the peaks of treacherous, snow M usical d irecto r................................................. Eric G ra dm an Dist. c o m p a n y ...................................... Roadshow (asylum characters). S c rip tw riter............................................. Bill N agle cap ped m ountain ranges. Still pho tog ra phy.............. Franc ine M cD ougall P ro d u c e r....................................Phillip Em anuel nopsis: T h e incredible, untold story of Exec, p ro d u c e r.......................................... Richard TanSnyer Best b o y ..............................................................John C um m ings D ire c to r...................................... M ichael Jenkins Australia's most unsung hero, the T a s Prod, m a n a g e r ............................................... G eoff Pollack R u n n e r............................................................ O dette S nellen EMOH RUO S c rip tw rite rs ............................................... M ichael Jenkins, m anian genius, Albert Einstein. A com edy Art director.............................. G eoff Richardson C a te rin g ..................................................... C hristina Frolich that reveals his birth to a Tas m a nian apple Bob Herbert P ro d u c e r..............................................David Elfick B u dget................................................... $ 2 .9 million L en gth........................................................ 100 mins Based on the play b y .......................................Bob Herbert farm er, the prem ature discovery of rock and D ire c to r............................................................D enny LawLrence en gth....................................................... 100 mins P hotography.....................................................Pe ter JamG esa u g e ................................................S u per 16 mm roll, and the joys of the birth of relativity. It is Scriptw riters.................................David Poltorak, G a u g e .............................................................3 5 mm Shooting s tock........................................ Fuji 8521 Sound recordist............................................... M ark Lewis also the saga of his love affair with a beauti Paul Leadon Shooting s to c k ................................................... Fuji Cast: Richard M oir (Truem an), Jo Kennedy Editor..............................................................M ichael Lewis ful but, sadly, highly intelligent w om an. Len gth....................................................................... 90 mins Cast: Jam es C oburn (Provost M arshal (M ary), Esben Storm (Laurenc e), Robbie Prod, des igne r....................... Brian Thom pson G a u g e .............................................................35 mm Patrick D annenberg), M aurie Fields (Det. M cG regor (Robbie). Exec, producer...................... V illage-R oadshow S y n o p s is : A c o n te m p o ra ry A u s tra lia n Sgt Ray Martin), Bill Hunter (Det. Sgt Fred S y nopsis: A contem porary dram a. C o -prod ucer......................................................Ross M athew s com edy. ‘ B lu e y ’ A d a m ), Jon S id n e y (D o u g la s Prod, co-o rd in ato r.................................. S u zanne Donnelly MacArthur). EMPTY BEACH Prod, m a n a g e r........................................ Sue W ild S y nopsis: The violent crim es of Private Unit m a n a g e r...................................... Chris Jones Prod, c o m p a n y .............................................Jethro Films Edward Leonski of the A m erican arm y in Prod, s e c re ta ry ...........................................Belinda W est P rod ucers.......................................................... John Edwards, M elbourne during M ay of 1942 and his Prod, accountant..........M oneypenny Services Tim othy Read subsequent apprehension and the political 1 st asst d ire c to r..............................................David Evans D irecto r...............................................................Chris Thom son ram ifications of his trial and execution. DOT AND KEETO 2nd asst d irector................ H am ish M cSporran S criptw riters...................................... Pe ter Corris, Prod, c o m p a n y .............................................Y oram Gross 3rd asst director............................................. Henry Osborne Keith Dewhurst THE LIGHTHORSEMEN THE Film Studio Continuity................................................................Jo W e eke s BOY WHO HAD EVERYTHING B ased on the novel b y .....................P e ter Corris Prod, c o m p a n y ..........................Hoyts TheatresP ro d u c e r.........................................................Y oram Gross C a s tin g ........................M ichael Lynch (Forcast) Photography....................................... John S e a le Prod, c o m p a n y ......................Alfred Road R im s M ich ael E dgley International D irecto r............................................................Y oram Gross Extras c a s tin g ..........................................Jo Hardy E d ito r ............................................. Lindsay F razer Dist. com pa ny................................................ Hoyts in association with S c rip tw rite r....................................... John P alm er Lighting c a m e ra m a n ......................P e ter Jam es Prod, d e s ig n e r.................................................Larry Eastw ood P ro d u c e rs ...................................Richard M ason, P egasus Productions P h o to g ra p h y ..............................G ra ham S h arpe C a m e ra o p e ra to r.................. D anny B atterham E xec, p rodu cer................................................... Bob W eis Julia O verton
As the Production Survey went to press only days after the June 30 cut off for the financial year, Cinema Papers has listed only those film and television projects known definitely to be in pre-production.
FEATURES
PR O D UCER S AND P R O D U C TIO N CO M P AN IES
PRE-PRODUCTION
PRODUCTION
POST-PRODUCTION
CINEMA PAPERS August - 259
Production Survey
Asst set fin is h e r......................... R ichard A dam s W ard, ass istants..........................P a u la Ekerick, D ire c to r...................................... Stephen W allace Prod, d e s ig n e r..........................Josephine Ford B u dget................................................ $ 1 .2 5 million C a rp en ters................................... F rank Burney, P e ter Bevan S criptw riter................................Stephen W a llace C o m p o s e r.................................................. Gil M elle L en gth...................................................... L ..8 0 mins P e ter Burney, Props buyers..................Christopher W ebster, Based on the original idea Prod, m a n a g e r............................................Howard G rigsby (live action and anim ation) G ordon Scouler M arta Statescu b y .............................................................. Steph en W allace Prod, supervisor.........................................H ow ard G rigsby G a u g e ..............................................................35m m S tandby c a rp e n te r........................ H e nry W ilcox Standby p ro p s ................................John Daniell Script consultant..............................S a n d ra Levy Unit m a n a g e r..................................................... Dan Hennah S ynopsis: An exciting and m agical journey Set co n stru c tio n ............................ Trevo r M ajor Asst standby props........................... Liam Liddle P h oto graphy..................................... G eoff Burton Prod, s e c re ta ry ..............................Jennifer Barty in search of the secret of life. This is the story Asst e d ito r......................................David Coulson Special e ffe c ts ....................................... Brian Cox Sound re c o rd is t.................................... Tim Lloyd Prod, accountant.................... Keith M acK e nzie of a journey of battle with the spirit of earth, Unit d riv e r s ..................................Robin Hosking, Set an d e c o ra to r............................... Barry Kennedy Ed itor................................................................. Henry Dangar Asst acc o u n tan t...............................................Tony W hym fire and wind. R andi Neill, Asst set d ress er................................................Nicki Roberts Prod, d es igne r....................................Ross M ajor Prod, assistant.............................................. P enny G arland R o ger Preston, S cenic a rtis ts ........................................................Ian Richter, C o m p o ser.........................................................Ralph S chneider 1st asst d ire c to r........................ Terry N e edham THE GREAT GOLD SWINDLE T ho m a s Lowe P e ter Harris Prod, m a n a g e r................................................... Rod Allan 2nd asst director.................. Jonothan Barraud Prod, com pa ny................... Indian Pacific Films F ib re -g la s s e r................... A drian Landon-Lane Prod, s e c re ta ry .............................................. C athy Flannery 3rd asst d irecto r....................................... G eoffrey HillArt dept ru n n e r......................... Daniel M orphett P ro d u c e r...................................................... Barbara G ibbs Prop m a k e r s ................................. Alistair M adill, Art dept co-ordinator.......................... Jan et Hay Prod, a c c ountants...............................................JillCoverdale, C o n tin u ity ............................................... Linda Ray D irecto r............................................................... John Power John M iles, Set construction Howard W heatley Producer’s a ss istant..............................Rose Lai S c rip tw riter......................................................David W hite M aurice Quin sup erviso r........................................Derek Mills 1st asst d ire c to r............................................... M ark Turnbull C a stin g ...................O norato and Franks (U .S .), Based on an original idea M ix e r ...................................................................... Don Connolly Set construction 2nd asst d ire c to r.................................................Ian Page M & L C asting (Aust.) b y .....................................................................David W hite S tu n ts .......................................................... Tim Lee, m a n a g e r .................................Keith M cAloney 3rd asst director............................................... Julie Forster Focus p u llers................................................... Barry H elleren, P h o to g ra p h y ..........................David Sanderson G rant Price, Asst e d ito r.................................. D enise Haratzis Ian Turtill C o ntinuity.................................................... D a phne Paris Sound recordist............................................... M ark Lewis Karl Bradley, Edgesn u m b e re r....................................................Pip Karm el Casting consultants........................M & L Casting C la p p e r/lo a d e r........................................ V a ughan M athew E d ito r................................................................... S a ra Bennett M ich ael Baxter-Lax M u s ic ....................................................... Starsound Lighting c a m e r a m a n ................................... G eoff Burton Key g rip ........................................G eoff Jam ieson Art d ire c to r..................................................Bernard Hides Still p h o to g ra p h y ..............................Ken G eorge Sound e d ito r s .................................Craig Carter, Asst g r ip ..........................Rourke C raw ford-Flett C a m e ra o p e ra to r............................................G eoff Burton Exec, p ro d u cer...........................................M ichael Thornhill Post-production Frank Lipson, G a ffe r ........................................... W arren M earns Focus p uller........................................ Derry Field Assoc, p ro d u c e r............................................ David W hite su p e rv is o r.................... Sylvia W a lk e r W ilson R obert G rant Electrician.......................................................... Brett Mills C la p p e r/lo a d e rs ................................G ill Leahy, Prod, c o -o rd in a to r.....................................Pa m e la Borain Best b oy...................................................... Ian Philp Editing a s s is ta n t............................................... FtexW atts G enny o p e ra to r................................................... Ian Beale C onrad Slack Location m a n a g e r.......................................... Tony Barrett Unit n u r s e ........................................................... Toni O kkerse Post sync, e d ito r ............................................ P e ter Burgess Key g rip ............................................................Lester Bishop Boom o p e ra to r................................................. M ark W asiutak Prod, s ec re tary........................................... M aggie H egarty C a te rin g .......................................................Location C atering Post sync, a s s is ta n t.....................................Lau ra Alcock Asst g r ip ................................................... G eoff Full Art director....................................Kirsten Shouler Prod, accountant......... M oneypenny Services and Serv ices (N Z) M ix e r ................................................................Jam es Currie G a ffe r .................................................. Ian Plum m er C ostum e d e s ig n e r........................ Patrick Steel 1 st asst d ire c to r............................. M ark Turnball S tu d io s........... N orthern Television, Auckland Asst m ix e r .........................................................Pe ter Sm ith E le c tric ia n ..................................................... Patrick O ’Farrell M a k e -u p ......................................A nne Pospischil 2nd asst d ire c to r...................... S u e P em berton Mixed a t ............................................................ SA FC Stunts co-ordinators...........................................BillStacey, Boom o p e ra to r.......................................Phil Kuros H a ird re s s e r................................. Francia S m eets C o n tin u ity ...................................Chris O ’Connell Lab orato ry................................................. Colorfilm G len Boswell, Costum e d e s ig n e r..........................................Ross M ajor W a rd ro b e ............................................................Julia M ansford C a stin g ..............................................................M & L Lab. lia is o n ..........................................Bill G ooley Dennis Hunt M a k e -u p ..................................................... M argaret Lingham W ard, a s s is ta n ts ..................G len Christensen, Focus p u lle r ......................................................John Brock B u dget................................................... $ 5 .5 million A rm o u rer.............................................................. Rob M ousley W a rd ro b e ........................................................ Jenny Miles Sally Hennah C la p p e r/lo a d e r................................................G eoff M cKell Len gth............................................................9 5 mins S tu n ts .............................................................. C s a b a Szigeti, W ard, assistant................................................. M eg Hunt Props buyers......................................Paul Dulieu, Key g r ip .......................................Karel Akkerm an G a u g e ............. 35m m P anavision Anam orphic G len Boswell, W arren Hoy Props b u y e r.......................................................P e ta Lawson G a ff e r .................................................................Craig Bryant Shooting stock................................ E astm ancolor Beni Ballint, Standby p ro p s ...........................Trevor Haysom , Standby p ro p s .................................................... Igor Lazareff Boom o p e ra to r............................ Jack Friedm an Scheduled re le a s e ................ J un e 198 4 (U .S .), G erald Egan, A m an da Lane Asst editor.....................................................P a m e la B arnetta M a k e -u p ................................................ Jan Stokes D e c e m b e r 1 98 4 (Australia) Bill W illoughby, Sound e d ito r.....................................................D ean G aw en S cenic a r tis t.................................... Paul Radford H a ird re s s e r..........................................Jan Stokes Cast: D iane Franklin, Roger W ilson, Sir Ric Boue, S tandby c a rp e n te r........................ Henry W ilcox Editing a ss istant.......................................A m an da Sheldon W a rd ro b e ................................ Lesley M cLennan Robert H elpm ann, John G adsby, JohnJam ie Hunt, M ixe r..................................................................Julian Ellingworth Set c o n struc tion.............................Trevo r Major W ard, a s s is ta n t................................................Stev Riches M ichael Howson. Billy Dean, C a rp e n te rs ...................................................Gordon Scouler, Asst m ix e r....................................................M ichael Thom as Props b u y e r............................Philip M onaghan S y nopsis: For a bet, G od and the Devil D ee Jones Still photography........................................Carolyn Johns Frank Burney, Standby p rops........................M ichael Tolerton plunge a contem porary couple back into the Still pho tog ra phy................................ Bliss Swift, Peter Burney Dialogue c o a c h .............................................. Claire Crow ther Special effe c ts ......................................Brian Cox, G arden of Eden, Ancient R om e, W orld W a r 1 ' G reg Noakes, T r a in e r ................................................................ Jack Pros Asst e d ito r..............................................Rex Potier M ichael Sim pson and the R oaring Tw enties. C orrie Ancone Neg. m atching.......Negative Cutting Services R u n n e r ................................................................ Kate Ingham C a rp e n te r ..............................................Alex Dixon Safety o ffic e r............................... Z ev Eleftheriou M usical d ire c to r.............................D a ve Fraser Consultant pub licis t......................................... R e a Francis Asst e d ito r............................................ Em m a Hay H o rs em asters............................... Ray W inslade, Sound e d ito r....................................John M cKay C a te r in g .............................................................John Faithfull SKY PIRATES Still photography........................... Skip W atkins Bill W illoughby Editing a ss istan ts...................Ross C ham bers, Mixed a t ............................................................. Atlab Story consultant.......................................... Shirley W indham Prod, c o m p a n y ..............................John Lam ond W ra n g le rs ....................................... G erald Egan, Tony Johnston Laboratory.........................................................Atlab Best b o y ................................Guy Bessell-Brown M otion Pictures Jim W illoughby, M ix e r...........................Les M cK enzie (Colorfilm) Lab. lia is o n .......................................................Peter W illard R u n n e r..............................................Kelvin Sexton Dist. com pa ny............ Roadshow International M alcolm Pritchard, Unit d riv e r s ..................................................... Robin Hosking, Length...................................................................... 9 3 mins C a te rin g ........................................... Big Belly Bus P ro d u c e rs .................................John D. Lam ond, Tony Jablonski, Roger Preston G a u g e .............................................................. 35m m Lab orato ry.................................................Colorfilm M ich ael Hirsh BJ Elliott, C am p c o m m a n d a n t....................... Tony Forster Shooting sto c k ................................................ 3 2 4 7 , 3 29 4Lab. lia is o n ...........................................Bill G ooley D irecto r...............................................................Colin Eggleston G reg Luke Flight c o -o rd in a to r......................... Robert Bruce Cast: Jason C onnery (John Aspinall), Diane B u d g e t....................................................... $ 7 5 0 ,0 0 0 Scriptw riter.................................John D. Lam ond Best b o y .....................................G ra em e Shelton Still p h o to g ra p h y .............................. Ken G eorge Cilento (Mrs Aspinall). Length...........................................................96 mins Based on the original idea R u n n e rs ........................................... M ason Curtis, Best boy................................................Don Jow sey Synopsis: The story of a young m an at G a u g e .............................................................. 16m m b y .............................................. John D. Lam ond David Field Lighting dept ru n n e r.......................................Brett Jarm en university in 1965. He is a sporting cha m Scheduled re lease................................ M id-1984 P h oto graphy......................................................G ary W apshott N urse........................ Patsy B u chan-H earnshaw P ublicity.............................................Tony Noble, pion, academ ically brilliant and from a Cast: John H argreaves, Tony Rickards, Sound recordist................................................G ary W ilkins P u b lic ity .......................... Su zie How ie Publicity Consultus (NZ) wealthy family and is searching for a Robert Hughes, Chris Haywood. Brian Editor.................................................................. P ippa Anderson C a tes,r in g .......................................... Frank M anley C a tering.............................................................David W illiam meaning for his life. Marshall, Barbara Llewellyn, Barrie Barkla. Prod, d e s ig n e r.................... Kristian Fredrikson S tu d io s ..........................SA FC Hendon Studios Location Catering S y n o p sis: D ram atized account of the C o m p o s e r.......................................................... Brian M ay THE COCA-COLA KID Mixed a t .........................S A FC Hendon Studios Unit n u r s e ........................................ Toni O kkerse swindling of the Perth Mint of m ore than $1 Prod, co-ordinator..................................... M ilanka Com fort Lab orato ry................................................Colorfilm M ixed a t ................................. Colorfilm (Sydney) Prod, c o m pa ny................ G rand Bay Films Inc. million in gold, in 1982. Second unit co-ordinator............M ich ael Davis Lab. lia is o n ............................................................BillG ooley Laboratory....................................... Colorfilm (NZ) P ro d u c e r.................................................David Roe Prod, m a n a g e r................................................ Kevin Powell B u dget..................................................................$ 7 .3 million Lab. liaison......................................................... Rick Shields, MELVIN, SON OF ALVIN D ire c to r.................................... Dusan M akavejev Unit m a n a g e r.................................................. Phillip M cC arthy Len gth................................... 6 x 60 mins (series), G rant Miller S c rip tw riter.............................Frank Moorhouse Prod, c o m p a n y .................. M cElroy & McElroy 145 mins (feature) Assistant unit m a n a g e r....................................Jeff G ale Length........................................................... 90 mins Based on the short stories Dist. c o m p a n y ...................................... Roadshow Location s c o u ts .................................................Bob Kewley, G a u g e ...............................................................35m m G a u g e ..............................................................35m m b y .......................................... Frank Moorhouse P ro d u c e r...............................................................Jim McElroy Shooting s tock.............................................. Kodak 5 29 4, R ay H enness ey Shooting stock............................... Eastm ancolor P h oto graphy..................................................... D ean SemDler irector............................................................... John Eastw ay Sim one Griffeth (Christine W eber), A gfa 682 Prod, sec re tary................................................... Ann M udie Cast: Sound recordist...................................M ark Lewis S criptw riter......................................................Morris G leitzm an Prod, acc o u n tan t.................. G ra em e H. W right Cast: Sam Neill (Captain Starlight), Steven Steve M arachuk (G reg Sandford), Bryan E d ito r....................................................................John Scott P h o to g rap h y.....................................................Ross Berrym an Vidler (Dick), Christopher C um m ins (Jim), Asst prod, a c c o u n ta n t.......Pauline M ontagna M arshall (Clive W eber), Elizabeth H a w Prod, d e s ig n e r........................... G ra ham W alker E d ito r...................................................................G reg Ropert Prod, assistant.......................................... Vivienne Sc hw arcz Liz New m an (G racey), D eborah Coulls thorne (S uzan ne M axw ell), Ray Henwood C o m p o ser...............................................................BillMotzing Prod, d e s ig n e r................................................. John Downing 1st asst d irecto r...........................John Powditch (Kate), Susan Lindem an (Jeannie), Tom m y (Douglas M axw ell), Peter M cC au ley (D etec Additional co m p o s itio n ................................... Tim FinnC o m p o ser.......................................................... Colin Stead 2nd unit 1st asst director.............. Euan Keddie Lewis (W arrigal), Ed D e vereaux (8 e n ), Jane tive-Inspector Nolan). Exec, p ro d u c e r..................C in em a Enterprises Assoc, p ro d u c e rs ........................ Tim Sanders, 2nd asst d ire c to r........................................... S tuart W ood M enelaus (Aileen), Elaine Cusick (M ary), S ynopsis: A passionate thriller. C o -p ro d u c e r..............................S ylvie Le Clezio W ilm a Schinella 3rd asst d ire c to r............. M atthew R ees Jones Andy Anderson (G eorge). Lab orato ry.........................................................Atlab Prod, m a n a g e r ................................................... Tim S anders ROBBERY UNDER ARMS 2nd unit d ire c to r......................... Ross H am ilton S ynopsis: Based on Rolf B oldrew ood’s Lab. lia is o n ....................................................... Peter W illard Unit m a n a g e r .................................................. Leigh Am m itzboll C o n tin u ity..........................................................Jenni Tosi fam ous novel about two bushranging Prod, c o m p a n y ............................... S A FC Prods G a u g e ............................................................. 35m m Location m a n a g e r .......................................... M ark Canny 2nd unit c o n tin u ity ........................Briony Behets brothers and their legendary leader, C aptain Dist. com pany.......................ITC E ntertainm ent Scheduled re le a s e ..........................................Early 1985Prod, s e c re ta ry ................................................Sally Blaxland C a s tin g ...................................................................Lee Larner Starlight. P ro d u c e r................................................. Jock Blair Cast: Eric Roberts (B ecker), G reta Scacchi Prod, a c c o u n ta n t.....................................K athleen Rushton C a m e ra o p e ra to r...................................... M alcolm Burrows Directors.................................... Donald Crom bie, (Terri). Bill Kerr (M acD ow ell), M ax Gillies Financial controller......................... Kevin W right SECOND TIME LUCKY Focus p u lle rs ................................Barry H elleren, Ken Hannam (Frank), Kris M cQ u ad e (Juliana), Tim Finn 1st asst director................................David C larke Clive D uncan Prod, c o m pa ny..................................... Eadenrock S criptw riters................................ Tony Morphett, (Phillip), Chris Hayw ood (Kim), Paul C hubb 2nd asst d ire c to r............................................. John Titley 2nd unit focus p u lle r...........Peter V a n Santen G raem e Koetsveld P ro d u c e rs ............................. Antony I. G innane, (Fred). Tony Barry (the Bushm an), Colleen 3rd asst d irecto r............................................... Brett Popplewell C la p p e r/lo a d e r............................Rex Nicholson Brian W . Cook Story e d ito r....................................................... Peter G aw ler Clifford (Mrs H aversham ), R e b e c c a Sm art C a s tin g ................................. Mitch Consultancy 2nd unit c la p p e r/lo a d e rs ......... Kattina Bowell, D irector.................................... M ichael Anderson Based on the novel b y ...........Rolf Boldrewood ( D M Z ) , E s b e n S to rm (c o u n tr y ho tel Additional c as ting.................................................Jo Larner M andy W a lk e r S c riptw riters................................. Ross Dim sey, Photography..................................... Ernest Clark m anager). C a m e ra o p e ra to r....................S teph en Dobson Key g r i p ............................................................... Noel M udie How ard Grigsby Sound recordist.............................................. Lloyd Carrick Focus p u lle r..............................Brian B reheney Asst g rip s............................................................... Ian Hobson, Based on the story b y .................................... Alan Byrns, E d itors.......................Andrew Prowse (feature), THE COOLANGATTA GOLD C la p p e r/lo a d e r.......................... Felicity Surtees J am ie Leckie David Sigm und Cliff Hayes (series) Key g rip ............................................ Barry Hanson Prod, c o m p a n y ........................................Angoloro 2nd unit g r i p .....................................................Barry Brown P h o to g rap h y..................................................... John M cLean Prod, d e s ig n e r............................................G eorge Liddle G rip ................................................. Joel W itherden Producer.............................................................John W eiley 2nd unit director of E d ito r................................................Tony Paterson Exec, p ro d u c e r................................................ Jock Blair Asst g rip ................................................ Ken C onner D irector................................................................. Igor Auzins p h o to g ra p h y .................................................John W h e e le r Prod, d e s ig n e r ............................. David Copping Assoc, producers............Pa m e la H. V anneck, Scriptw riter....................................................... Peter Shreck G a ffe r ................................................ Lindsay Foote Special fx C o m p o s e rs .......................................Laurie Stone, Bruce Moir Best b o y ............................................................. Peter Moloney Based on the original idea pho tog ra phy..................... Dennis Nicholson, G arry M cDonald Prod, co-ordinator.................................... B arbara Ring R u n n e r......................................... M arcus Lam bert b y .................................................................... Peter Shreck Ken Arlidge Assoc, p ro d u c e r....................................Jon Turtle Location m a n a g e r.............................................Ron Stigwood E le c tric ia n ......................................................... G ary Sholes P h o to g ra p h y .............................. Keith W agstaff Underw ater Prod, s u p e rv is o r.........................Brian W . Cook Prod, acc ountant............................................ John Burke Art dept sup erviso r...................................... Paddy Reardon Sound recordist...................................... Phil Judd pho tog ra phy.................... Ron and Val Taylor Unit m a n a g e r................................ M ichael Fuller Accountant tr a in e e ................................... Brenda Sharrad C ostum e d e s ig n e r..................................... S andra Tynan Editor......................................................................Tim W elburn G a ffe r.................................................................. Brian A dam s Location m a n a g e r........................Dan Hennah 1st asst directors.................. Philip Hearnshaw , M a k e -u p ........................................Kirsten Vessey Prod, d e s ig n e r............................................Bob Hill 2nd unit g a f f e r ....................................John Irving Prod, s ec re tary............................. Jennifer Barty Brian Giddens H a ird re s s e r...................................................Felicity Schoeffel Assoc, p rodu cer..................... Brian D. Burgess Electricians.......................................... Jim Hunt, Prod, a c c o u n ta n t.................... Keith M acken zie 2nd asst d ire c to r.............C hristopher W illiam s W ardrobe c o n s u lta n t.................................. M arta Statescu Prod, co-ordinator............. Rosslyn A bernathy Jack W ight Asst a c c o u n ta n t............................................ Bruce Rankine 3rd asst d ire c to r.........................................Lindsay Smith W ardrobe s u p e rv is o r...................................... G ail M ayes Unit m a n a g e r................................Keith H eygate Boom o p e ra to r................................................. M ark W asuitak Prod, a s s is ta n t.................. D eborah Lancaster 2nd unit d ire c to r............................................ David Eggby Props b u y e r......................... Keith H andscom be Prod, a c c o u n ta n t...............................................Lea Collins Art d ire c to r....................................................... O w en Paterson 1st asst director.......................................... H ow ard Grigsby 2nd unit prod, m anag er/ Standby p ro p s .................................................. John Stabb 1st asst d irecto r............................Colin Fletcher Art dept co-ordinator........................ D e b ra C ole 2nd asst director.....................................Jonathan Barraud 1st asst d ire c to r............................................ G us Howard Set d ec o rato r.........................................................JillEden Producer's a s s is ta n t............R osem ary Probyn D ra u g h ts m a n ..................................... Scott Bird 3rd asst d irecto r............................... G eoffrey Hill C o n tin u ity............................................................ Ann W alton Set con struction............................................... Keni H azelw ood C a s tin g ......................................................... Forcast, M a k e -u p .............................................................. Jose P e re z C o n tin u ity....................................... D aphne Paris 2nd unit c o n tin u ity .....................................M aggie Boyd Stunts c o -o rd in a to r.......................................Denis Hunt M ichael Lynch H a ird re s s e r..................................................A n drew Sim on Producer's a s s is ta n t........................................Ann Lyons unit prod. Still p h o tog ra phy........................................... G eo ff M cG2nd eachin Key g r ip ............................................................. P e ter M ardell W ardrobe supervisor........................... A phrodite a s tin g .............................. O norato-Frank (U S ), a s s is ta n t.....................................................M argo TamCblyn R u n n e r................................................................Leigh Am m itzboll G a ffe r................................................................... M ick Morris S tandby w a rd ro b e ..................................... Frank ie Hogan M &L (Aust.) Producer’s s e c re ta ry ................. Chris Howard P u b lic ity ...................................................G ary Daly Art director................................... O w en Paterson Props m a s te r..................................................... M ike Fow lie C a m e ra o pe ra tor........................................M ichael Roberts C a s tin g ....................................Audine Leith (S.A.) C a te r in g ...................................................... Catering About Costum e d e s ig n e r...................................Lea Haig Props buy ers............................... A leth ea D e ane, Focus C a m e ra o p e ra to r........................................... David Forem an p u lle r........................ David W ynn-Jones S tudios........................................C a m b ridge Films Construction m a n a g e r .................................... Ray Pattison Leigh Cu nningham C la p p e r/lo a d e r...................Vaughan M atthew s Focus p u lle r.................................................... M artin Turner Laboratory.........................................................Atlab L en gth.......................................................... 120 mins S tandby p r o p s ................................................ H a rry Zettel, Key g rip ................................. G ra ham e Litchfield C la p p e r/lo a d e r................................................D avid W olfe-Barry B u d g e t.................................................................. $ 2 .3 million G a u g e .................................... 35m m anam orphic C h ris Jam es G rip ................................... R ourke C raw ford-Flett Key g r ip .......................................... Robin Morgan L en gth....................................................................... 91tnins pecial e ffe c ts ............................Alan M axw ell, G a ffe r .................................................................... Don JowSsey Shooting 2nd unit g rip ...........................................................Ian Park G a u g e .............................................................35 mm stock........ Kodak Eastm ancolor 5 2 4 7, 5 29 3 Pe ter D. Evans Electricians................................................ Brendon M une, Asst g rip ................................................................ Jon Goldney C ast: G ra em e Blundell (Alvin Purple), G erry Special effects Tim othy Rose Cast: Joss M cW illiam (S teve Lucas), Nick 2nd unit photography................................... David Eggby, Sont (M elvin S im pson), Lenita Sillakis G enny o p e ra to r................................................ Tom W iltona s s is ta n ts ........................... J a m ie Thom pson, T ate (Joe Lucas), Colin Fuels (Adam Lucas), David G raham (Gloria Giannis), T ina Bursill (D ee Tanner), Boom o p e ra to r........................................... Andrew D uncan Pe ter Stubbs Josephine Sm ulders (Kerry D ean), Robyn 2nd unit focus p u lle rs ........................................Ian Jones, Jon Finlayson (B urnbaum ), David Argue S pecialized Art director...................................... Ron Highfield Nevin (Robyn Lucas). John Foster (C am eram an), Abigail (Mrs Sim pson), Col p ro p s ......................John Cox (m odel m aker), C ostum e d e s ig n e r........................................ Bruce Finlayson S y n o p sis: A young athlete 's conflict with his 2nd unit c la p p e r/lo a d e r..............................Darryl W ood M cEw an (Col Sim pson). P e ter O ’Brien (sculptor), M a k e -u p ........................................................... Robyn Austin, am bitious father. G a ffe r ...............................................................Trevor Toune S y nopsis: A young m an, with a problem , S u e M aybury (asst m odel m aker) Anne Pospischil 2nd unit g a ffe r.............................. Keith Johnson finds he has inherited it not from King Kong EPIC S tage h a n d .......................................Alistair Reilly H a ird re s s e rs ................................................Sh ayne Radford, Boom o p e ra to rs .................... Chris G oldsm ith, or Frankenstein but from Alvin Purple. S cenic a r tis t.................................... Billy M alcolm Patricia Cohen Eric Briggs Prod, c o m p a n y .............................. Y oram Gross Set p a in te rs .........................................Rick Doyer, W a rd ro b e ............................................................Julia Mansford 2nd unit sound recordist.............Toivo Lem ber Film Studio RESTLESS S tandby w a rd ro b e ........................ M ichael Kane Kerry Leonard Asst art d ire c to r............................................... Vicki Niehus P ro d u c e r......................................... Y oram Gross W ard, a s s is ta n ts ............................................Kirsty C amCearo rpn, e n te rs ............................... G ordon M cIntyre, Prod, c o m p a n y ................................... W yndcross C ostum e de s ig n e r.......................................... A nna Senior D irector............................................ Y oram Gross Elizabeth Jow sey G erry P ow derley, Dist. c o m p a n y ........................ Endeavour Prods Principal m ake-up a rtis t.............Karla O ’K eefe S criptw riters................................... John Palm er, W a lte r S p ed, Props b u y e r ........................................................Paul Dulieu P ro d u cers.........................................John Barnett, M ake-up artists.................................................Ja n e Surrich, Yoram Gross Robert H e m , Standby p r o p s ........................................... Al Ford, Brian W . Cook Egon Dahn Based on the original idea Jan elle Aston Hugh Bateup, D ire c to r......................................... D enis Lewiston Principal h a ird re s s e r.............................C hristine Ehlert b y ................................................... Y oram Gross Frank Savage, Special e ffe c ts ................................................ Kevin Chisnall, Scriptw riter.................................. Denis Lewiston H airdress ers..................................................... Sash Lam ey, Assoc, p ro d u c e r...........................S a n d ra Gross Selw yn A nderson, Rod H a yw a rd , Based on the story b y .................................. G erry O ’H a ra B everley Freem an Prod, supervisor............................J an ette Tom s Ralph G ardiner Frank N oble, P h o to g ra p h y ........................................... Alec Mills C ostum e sup erviso r................................ G ra ham Purcell Anim ation d ir e c to r ........................Athol Henry C h o re o g ra p h y ........................................C a th e rin e C ardiff M artin Kellock Sound recordist................................................G ary W ilkins W ardrobe s ta n d b y ................H e a th e r W illiam s Studios.......................Y oram G ross Film Studio Set fin is h e r...................................... Paul Radford Construction m a n a g e r ..............D a nny Burnett E d ito r..............................................................M ich ael Horton W ard, m is tre s s ...................... Louise W akefield Lab orato ry................................................ Colorfilm
260 — August CINEMA PAPERS
Production Survey
F a b ric a to rs ....................................... Brad Cram p, Photography.................................................... Ernie ClarkS ynopsis: Love story set against the epic P a inter...........................................Len Arm strong D irector......................................................... W erner Herzog Ross Greig, Sound recordist..............................................Lloyd Carrick C arp enters......................................................... John R ann, b a c kground of pos t-w a r m ig ration to Scriptwriter...................................................W e rn e r Herzog E d ito r............................................................Andrew Prowse Keron Stevens, Ton y Downie, Australia. Additional d ialo gue................................ Bob Ellis Prod, d e s ig n e r....................Alistair Livingstone Bob M cLeod, Alan Ginn Based on the original idea THE SLIM DUSTY MOVIE Asst e d ito r.....................................................Jill Holt Exec, p ro d u cer................................................ Jock Blair Brian Childs b y ................................................................W erner Herzog Assoc, producer...........................Ron Saunders Neg. m a tc h in g ........................................ Colorfilm P h oto graphy................ Jorg Schm idt-Reitw ein Set con struction..........................................D ennis Sm ith, Prod, c o m p a n y ............. T h e Slim Dusty Movie Prod, co-ordinator....................M argo Tam blyn Story board artists............................... Fil Barlow, Bill How e Sound recordist.............................Klaus Langer P ro d u c e r..................................... Kent Chadw ick Prod, m anager..................................... Jan Tyrrell Asst e d ito r....................................................... Lynne W illiam s Allister Hardim an Editor...................... Beatte M ainka-Jellinghaus D irector................................................................Rob Stew art M usic conducted b y............................Brian M ay Prod, acc ountant................. >......... Frank Evans Edge n u m b e re r..............................................Kathy Cook Exec, producer.............................. Lucki Stipetic P h oto graphy.................................................. David Eggby, 1st asst d irecto r.......................... Robert Kewley Musical d ire c to r........................ Bruce Sm eaton Sound ed ito r............................... Bruce Lam shed Prod, co-ordinator....... Tony Llewellyn-Jones Dan Burstall 2nd asst d irector............................................. John Rooke Sound editor.......................................................Paul M axw ell M ix e r................................................................. Roger Savage Financial controller...............................S anth ana Naidu Location sound supervisor.............Paul C larke 3rd asst d ire c to r........................................Lindsay SmithE d ito r....................................................................Ken Sallows Stunts co -o rd in ato r............................ M ax Aspin Prod, assistant........................... M aria Stratford Dubbing e d ito r................................................ Peter Foster C o ntinuity.......................Christine E benberger Continuity........................................................... Ann W alton S tu n ts ................................................................... M ax Aspin, Editing ass istants.......................................... Anne Breslin, C om p oser............................................. Slim Dusty C a s tin g ..............................................Audine Leith Cam era o pe ra tor............................................. JS R E m m a Hay Alan O berholzer, Assoc, producer............................................. Brian Douglas Cam era o p e ra to r.................... David Forem an Focus p u lle r......................... Rainer Klausm ann Stunts co -o rd in a to r....................................... Peter W est Fiona M cConichie, Prod, supervisor............................................. John C hase Focus puller..................................Martin Turner Still photography.............................................. Chic Stringer C la p p e r......................................................... W e rn e r Herzog R obert Sim per, Prod, co-ordinator................................... M elanka Comfort C lapp er/loader..................... David W olfe-Barry Anim al w ra n g le r.............................................Steve Phillips L o a d e r.......................................................... M ichael Edols Ian Lind, Prod, m a n a g e r............................... Juliet Grimm Best b o y ...............................................................Ken Moffatt Key grip..........................................Lester Bishop Cam era assistant................Rainer Klausm ann W a y n e Pleace Location m a n a g e r.......................Phil M cCarthy Asst g r ip ........................................... G eoffrey Full Key g r ip ..................................................................Vit M artinek R u n n e rs ............................................................ Peter Brown, Safety officers.................................................. Jad e Clayton, Prod, sec re tary.......................... C athy Flannery G a ffe r..............................................................T revor Toune Sh ane W a lk e r 2nd unit photography.............................. M ichael Edols Archie Roberts, Prod, accountant...................... G ra em e W right E lectrician .................................... Keith Johnson Electrician.................................................. M anfred KleinC a te rin g .......................Tak e O ne Film Catering Frank Lennon 1st asst director................................................. Ray Brown Boom o p e ra to r.........................Chris Goldsmith Mixed a t ..................................................... Colorfilm Boom operator................................................Peter Rappel Still pho tog raphy............................David Parker 2nd asst d irector....................................... Michael M cIntyre Art director....................................Herbert Pinter Art d ire c to r..................................... Uli Bergfelder Lab orato ry.................................................Colorfilm Aerial co-ordinator........................ Don Pollock 3rd asst director.............................................. Brian Gilm our Lab. lia is o n ........................................................... BillG ooley Asst art d irecto r..............................Stew art W ay Asst art director..............................Trevor Orford M e c h a n ic ......................................................... David Thom as C ontinuity.................................................... Andrea Jordan L en gth....................................................................100 mins. M ake-up............................................ Helen Evans W ardrobe..................................................... Frankie Hogan Best boy.............................................................. G ary Scholes Producer’s assistant..................................Jennie Crow ley G a u g e .................................... 35m m anam orphic H a ird re s s e r..................................... Sash Lam ey (M elbourne sequences) G enerator o p e ra to r.......................................... Jon Leaver C a sting................................................................. Lee Larner Shooting s to c k .............................................. Kodak W a rd ro b e ................................. Louise W akefield Special e ffe c ts ................................................Brian P earce R u n n e rs ..........................................................Robert W ood, Lighting c am eram an.................................... David Eggby Cast: T eren ce Donovan, Susan Lyons, Props b uy ers.........................................Barry Hall, Music perform ed in part M ark Abicht, Cam era o p e ra to rs ........................................David Connelf, Harold H opkins, S te v e Bisley, M artin Ken Jam es b y ............................................................ W andjuk M arika Clive Duncan, Jim Mavridis, V a u g h a n , Is a b e lle A n d e rs o n , D o ro thy Standby p rops................................ Igor Lazareff Still photography....................................Paul Cox Nino G aetano M artinetti Bruce Thom pson Alison, Steven Grives, Emil M inty, Nikki Special e ffe c ts ................................Brian Pearce C a te rin g .......... Sergio Albrigo (Coober Pedy), Unit pub licis t....................................... W en d y Day Focus p u llers.......................................Ian Jones, G em m ell, M ark Kounnas. Set construction..................................Derek Mills Early Morning Risers (M elbourne) C a te rin g ........................................... H elen W right, G reg Ryan S y nopsis: A young Englishw om an finds Senior desert wood collector Asst e d ito r................................. Denise Haratzis A nnabelle Brown C lap p er/lo ad er.......................Leigh M acK enzie herself in Australia at the end of W orld W a r Sound ed ito r................................................... Frank Lipson and w ater c a rrie r.........................................Alfie Keszler 2nd unit c a te rin g ......................... W olfgang G raf C a m era assistant..............................................Rex Nicholson 2. A rom antic dram a unfolds as she takes Editing a s s is ta n t.............................................. Rex W atts Asst desert wood collector S tu d io s ..............................Film V ictoria Studios, Key g rip............................................................... Joel W itherdon work as a governess to the children of a Stunts co-ordinator................................... Dennis HuntHelicopter a e ria ls ............................... Kerry Lee and w ater carrier.......Tony Llewellyn-Jones Port M elbourne tim ber baron in NS W . Still photography........................ Corrie Ancone Laboratory..................... Cinevex (Rushes only) Mixed a t ........................................... Film Australia Louma crane op e ra to r.............G eoffrey Brown M echanic............................................................. Eric BattyG affer................................................................Stuart Sorby Lab. liaison........................................Bruce Braun Lab orato ry................................................ Colorfilm Best b o y ........................................Keith Johnson G a u g e ............................................................. 35m m Lab. lia is o n ..........................................Bill G ooley, E lectrician................................. David Parkinson See previous issue for details of Abra R u nner............................................................ Mason Curtis Post-production........Munich, W est G erm any Richard Piorkowski Boom op e ra to r...............................................Steve Haggerty P u blicity........................................................... Su zie Howie Cast: Bruce S pence (Hackett), Ray Barrett Cadabra and Strikebound. G a u g e ......................35 mm anam orphic Dolby Art director...................................................... Leslie Binns (Cole), W andjuk M arika (Milidjbi), Roy Unit publicist................................................... Su zie Howie Shooting s to c k ..... Eastm ancolor 5 2 4 7 , 5 2 5 7 Asst art director.............................. Peter Kendall C a te rin g .......Frank M anley (South Australia), M arika (Dayipu), Colleen Clifford (Miss Cast: John Hargreaves, M eredith Phillips, Art dept assistant..........................................Derek Wyness “ John W elch (Sydney) Strehlow), Norm an Kaye (Ferguson), Basil Costume d e s ig n e r........................ Jane Hyland M ax Phipps, Sim on Chilvers, Bill Hunter. Laboratory.!..............................................Colorfilm Clarke (Blackwell), Ray M arshall (Coulthard), Costume m a k e r............................................ Sandi Cichello S y nopsis: An action adventure set in the Lab. lia is o n .......................................................... BillGooley Ralph Cotterill (Fletcher), G ary W illiam s M a k e -u p ........................................................ Kirsten Veysey 1940s. Bu dget.............................................................. $ 1 .6 5 million (Watson). H a irdress er..................................................Felicity Schoeffl Length...................................................................... 98 mins S ynopsis: “ You have ravaged the earth with W ardrobe s upervisor............... M argot Lindsay G a u g e ............................................................ 35 mm your mines; don’t you see that you have Props m aster....................................................John Moore BOMB THREAT ravaged my body?A (Sam W oolagoodjah). Shooting s to c k ..............................................Kodak Standby props................................................. Barry Kennedy Cast: Carm en Duncan (Eve), M ichael e belong to the world of song w here people Prod, c o m p a n y......................... Tas m a nian Film Set d ec o rato r..................................................David O ’GW rady Aitkens (Riley), S hane Briant (Terrier), share everything. Corporation Assoc, e d ito r ....................................... Rob Scott Redm ond Symons (Pitt), Nicholas Eadie Dist. c o m p a n y ..................................... Tas m a nian Film Neg. m atching....................................... Colorfilm (Toe), Annie Jones (Chrissie). FANTASY MAN Corporation Music production.................................. Rod Coe THE WINDS OF JARRAH S ynopsis: Eve and Riley w ere lovers. Now, P rod ucer........................................Dam ian Brown Music perform ed b y ........................................Slim Dusty Producers...................................... Basil Appleby, 17 years later, Riley wants to pick up the D irector.......................................... Dam ian Brown Sound e d ito rs ................................................. Dean G awProd, en, co m p a n y ........................Film Corporation Darrell Lass threads. But there was m ore to their past S criptw riter.................................... John Ellsmore Ken Sallows, of W estern Australia D ire c to r...........................................John M eagher than is first evident. Photography............................ Russell G allow ay Rob Scott Prod ucers........................................M ark Egerton, S criptw riter.................................... John M eaghe r Sound re c o rd is t................................Julian Scott Asst film and Marj Pearson P h oto graphy................................. Andrew Lesnie SILVER CITY E ditor........................................ M ike W oolveridge sound editor........................................... Virginia Murray D ire c to r........................................... M ark Egerton Sound reco rd ist.............................. Ross Lindon Prod, co-ordinator............................Peter Cass M ix e r ...............................................................Gethin Creagh Prod, c o m p a n y .......................................Limelight Prods Scriptw riters............................................. Bob Ellis, E d itor............................................... Rodd Hibberd Prod, m a n a g e r.............................W ayne Cow en Still photography........................................... David Parker Anne Brooksbank Prod, des igne r.............................................. Darrell LassDist. com pany................................................ Hoyts P ro d u cer................................................Joan Long Prod, ass istant.......................M ichael H am pton Titles anim ation................................................M ax Bannah Director of pho tog raphy...............G eoff Burton C o m p o s e r........................................ Adrian Payne D irector................................... Sophia T urkiewicz O pticals......................................................Colorfilm C o n tin u ity ............................................................ Kay Alty Sound recordist...............................G ary W ilkins Prod, supervisor......................................Su e W ild Scriptw riters........................Sophia Turkiew icz, Key g rip ......................................... G ary C lem ents Title designer.................. Optical and Graphics E d ito r................................................S a ra Bennett 1st asst director.................... M ichael Bourchier Thom as Keneally G affer............................................. Jam es Griffiths M e c h a n ic s .......................................................Kevin Bryant, Prod, d e s ig n e r...........................G raham W alker C o ntinuity.......................................Jenny Quigley Sound a s s is ta n t.......................M ark Tom linson Based on the original idea M erv Ellis C o m p oser....................................Bruce Sm eaton G a ffe r...............................................Alleyn M earns b y ................................................................ Sophia Turkiew M a k e -u p ..................................... M argaret Pierce R u nicz n e r............................................................Katina Bowell Assoc, producer.............................. C a ra F am es Art director...................................Loualla Hatfield Photography..................................................... John Seale Set construction............................. Jon Bowling P u blicity............................................................. PattiMostyn Prod, su p e rv is o r.......................... Su Armstrong M ixed a t ..............................................Phil Tipene Editing a s s is ta n t...................Ross Thom pson Sound recordist.............................................. M ark Lewis Unit publicist..................................................... PattiMostyn Loc. m a n a g e r............................................Phil Rich Laboratory.........................................................Atlab M ixer...............................................Peter M cKinley E d ito r................................................................... Don Saunders C a te rin g ....................................Beeb Fleetwood, Unit m a n a g e r................................... Peter G ailey Len gth...................................................................... 80 mins M ixed a t ............. Tasm anian Film Corporation C o m p o ser.................................................... W illiam Motzing Catherine Calvert Prod, s e c re ta ry .............................Carol Hughes G a u g e ...............................................................16m m Lab orato ry................................................. Cinevex Prod, m a n a g e r.................................. Susan Wild Unit n u rs e ................................................. Liz Kerin Prod, acc ountant..........................Peter Sjoquist Shooting s to c k ...............Kodak Eastm ancolor Lab. liaison........................................Bruce Braun Location unit m a n a g e r................................ Chris Jones Studios.......................... Spotswood, M elbourne 1st asst d ire c to r........................ M ichael Falloon S cheduled re le a s e ............................................ Mid 1984 Length.......................................................... 25 mins Asst unit m a n a g e r...................................M atthew Binge Mixed a t .................................................... Colorfilm 2nd asst d ire c to r.....................................Phil Rich Cast: Harold Hopkins (Nick Bailey), Jeanie G a u g e ...................................................................... 16 mm Laboratory................................................ Colorfilm Prod, s e c re ta ry ....................................... S u zanne Donnelly 3rd asst director.......................... M ark Lamprell Drynan (Liz Bailey), Kate Fitzpatrick (Betty), Shooting s to c k .......Eastm ancolor 7 2 9 3, 7291 Lab. lia is o n .........................................Bill Gooley Prod, a c c ountants..........................................Alan M arco, C o ntinuity....................................... D aphne Paris Kerry M ack (Donna). Cast: Phillip Ross (Brian G reaves), Charles Deborah Eastwood B udget..................................................$2 .3 million Extras ca s tin g ................................Klay Lamprell S y nopsis: Hum an com edy about a m an who (M oneypenny Services) Parkinson (the Bom ber), John Ellsmore Length....................................................... 105 mins Casting consultants.....................Alison Barrett has a fantasy love affair with a w aitress as he (George), Karen W eldrick (Jill), Rex Gofton 1st asst d irecto r........................Michael Falloon G a u g e ............................................................. 35m m C a m e ra o p e ra to r...................David W illiam son is approaching 40 and a m id-life crisis. (Police Inspector), Philip G reen (Senior 2nd asst director.................................Philip Rich Shooting s to c k ......... Panavision anam orphic, Focus p u lle r............................... David Forem an Constable), Carol Field (editorial secretary). Dolby stereo soundtrack 3rd asst d ire c to r........................................ Michael Faranda C lapp er/loader.................................G illian Leahy MY FIRST WIFE Synopsis: B o m b T h re a t is a dram atized Film school attachm ent/ 2nd unit d ire c to r............................................. Judy Reim Scheduled er rele a s e ......................... August 1984 Prod, c o m p a n y ............................................. Dofine slice of life which explains the m enace and Cast: Slim Dusty, Joy M cKean, Anne Kirk C ontinuity...................................................Therese O ’Leary cam era ass istant............... Nick M cPherson Dist. c o m p a n y .....................................Roadshow suspense inherent in a bom b threat and patrick, Stan Coster, Buddy W eston, Gordon Producer's a ss istan t................ Andrena Finlay Key g rip ................................................................ Rob Morgan P ro d u c e rs ................................ Jan e Ballantyne, dem onstrates that a w ell-planned response Producer’s s ec re tary.................G eorgia Martin Parsons, Buck Taylor, David Kirkpatrick, The Asst.grip.......................................................G raham Shelton Paul Cox plan can reduce the risk of injury to per C asting............................................................ Alison Barrett Travelling Country Band, John Blake (Slim Underw ater ph o to g ra p h y............David Burr & D ire c to r................................................................Paul CoxExtras c as ting.......................................................Jo Hardie sonnel, d am ag e to plant, costly delays to Dusty as a young man), Dean Stitworthy Production Divers Scenario b y ........................................................Paul CoxCam era o perator......................................... Danny Batterham production and a dem onstrable benefit to (Slim Dusty as boy), S andy Paul (Joy G a ffe r................................... G raham Rutherford Adapted for the screen b y .............................Paul Cox,Focus puller......................................... Derry Field staff morally. M cKean as young w om an). Boom o p e ra to r.............................M ark W asiutak Bob Ellis C lap p er/lo ad er......................... Robyn Peterson Synopsis: A country and w estern road Art d ire c to r............................... Steve A m ezdroz THE GAMBLE P h oto graphy........................................ Yuri Sokol musical spanning 40 years: the life and times Cam era a tta c h m e n t..........................Chris Cole Costum e d e s ig n e r.......................... David Rowe Sound re c o rd is t.........................Ken Ham m ond Prod, co m p a n y ......................... Tasm anian Film Key grip.............................................................. Ross Erikson M a k e -u p ...........................Lesley Lam ont-Fisher of Slim Dusty. Ed itor........................................................ Tim Lewis Corporation Asst g rip ......................................................... Robert V erkerk Standby w a rd ro b e .......................... Jenny Miles WHERE THE GREEN ANTS DREAM Assoc, p ro d u c e r............Tony Liewellyn-Jones Dist. c o m p a n y .......................... Tas m a nian Film 2nd unit ph o to g ra p h y.................................. Louis Irving W ard, assistant............................Penny Gordon Prod, supervisor.................................... S a nth ana Naidu Prod, c o m p a n y .......................... W erner Herzog Corporation G a ffe r............................................ W arren M earns Props buyer.................................. Anni Browning Assistant to director...................................... Erwin Rado Filmproduktion P ro d u c e r..............................................................Don Anderson Standby p r o p s ..................................... Tony Hunt Electrician........................................ Alan Dunstan C o n tin u ity ..............................J oanne M cLennan Dist. c o m p a n y ............................Newvision Film D irector........................................................Di Drew Boom o p e ra to r................................................ Jack Friedm an Special e ffe c ts ................................................Chris Murray, Producers’ a s s is ta n t..........................Jo Stew art Distributors (Australasia) S c rip tw rite r..........................................John Honey Art d ire c to r................................................Igor Nay David Hardie C a m e ra o p e ra to r..................................... G aetano Martinetti Photography................................................. Russell G allow ay Asst art d ire c to r.................................................Kim Darby C la p p e r/lo a d e r........................ B rendan Lavelle Sound re c o rd is t................................ Julian Scott Costume de s ig n e r............................................ Jan Hurley C a m e ra a ss istant..................Christopher Cain Ed itor........................................ M ike W oolveridge M ake-up.............................................................Judy Lovell Key g rip ......................................Paul Am m itzboll Prod, a s s is ta n t...............................W en d y Rimon Hairdresser..................................................... Ziggy Asst grip............................................................. Pe ter Kershaw C o n tin u ity ........................................ W en d y Rimon W a rd ro b e .........................................................A nna W ade Boom o p e ra to r............................................. Louise H ubbard C a m e ra assistant.................... Adam Kropinski W ard, a ss istant...................................M ary Keep Art director.......................................................Asher Bilu Key g rip .......................................G ary C lem ents Standby w ardrobe.......................... Fiona Nicolls P rop s...................................................................... Lirit Bilu Asst g r ip ........................................... John Flem ing Props b u y e rs .................................Martin O ’Neill, Asst e d ito r .......................................Peter M cBain Sound a s s is ta n t..............................................M ark Tom linson P eta Lawson Sound e d ito r.................................................... Craig C a rter Boom o p e ra to r................................................ M ark Tom linson Standby p r o p s ..................... Karan M onkhouse M ix e r ................................................................Jam es Currie M a k e -u p .................................................... M argaret Pierce Set dre s s e rs ..................................................Martin O 'N eill, Still photography........................M aria Stratford W a rd ro b e ...................................................M argaret Pierce Peta Lawson R u nner............................................Virginia Rouse P rops...........................................................M argaret Pierce Scenic a rtis t.................................................... Peter Harris C a te r in g .................................... Beeb Fleetwood, R u n n e r.............................................................Jam es Griffiths Set construction............................................ Danie Daem s Catering About Mixed a t ............. Tasm anian Film Corporation Asst editor............................Catherine Sheehan Mixed a t .......................................Hendon Studios L ab o rato ry..................................................C inevex Musical director........................W illiam Motzing L ab o rato ry.................................................. Cinevex Lab. liaison.........................................Bruce Braun Sound e d ito r....................................................... Les Fiddess B u d g e t................................................. Responsible Length.......................................................... 20 mins Still photography..............................Jim Tow nley L en gth.................................................................... 100 mins G a u g e ............................................................ 35 mm Title designer.................................................... Fran Burke G a u g e ...............................................................35m m Shooting s to c k .......E astm ancolor 5 29 3, 5 24 7 Language c o a c h ...................... Claire Crow ther Shooting stock.................................................... Fuji 851 2 P ro g re s s ......................................Post-production Best b o y ..........................................................Alleyn M earns C ast: John Hargreaves (John), W endy Cast: Ray Barrett (Ian), C a rm en Duncan R u n n e rs ............................................................H enk Prins, H ughes (Helen), Lucy C harlotte Angwin (Liz). G ary Freem an, (Lucy), David C am eron (Tom ), C harles Synopsis: D ocum entary-dram a produced Colin Tregenza, “ Bud” Tingw ell (H elen 's father), Betty Lucas for the Tasm anian D epartm en t of Tourism . Stephan Elliott (H e le n ’s m other), Robin Lovejoy (John's Liz is a professional photographer for a Publicity........................................................ B abette Smith father), Lucy Uralov (John’s m other), Ron glossy m agazine and Ian is a successful Unit publicist.............................. Penny H a m m er Falk (Psychiatrist), Jon Finlayson (C on business entrepreneur. Ian m eets Liz at the C a te rin g ......................... Sue and John Faithfull ductor), Julia Blake (Kirstin), R enee G eyer end of a business trip to H obart and offers to Mixed a t ............................................................ Atlab (Barm aid). help her find som e of the best places to Laboratory........................................................ Atlab S y nopsis: “ . . . we must love one another or photograph. They m ake a bet that if Ian can Lab. lia is o n .......................................................Peter W illard “ c atch” Liz in five different places around G a u g e ..............................................................35m m de RUN CHRISSIE RUN Tasm ania, she has to buy him dinner at a Shooting stock............................... Eastm ancolor secret place. Prod, c o m p a n y .............................................. SA FC Cast: Gosia Dobrowolska (Nina), Ivar Kants P ro d u cer..................................... H arley M anners /Julian!, Anna Jem ison (Anna), Steve Bisley SECOND CHANCE D irector........................................ Chris Langm an (Viktor), Debra Law rance (H elena), E w a Brok Prod, co m p a n y ......................... Tas m a nian Film Scriptwriter................................ G raham H artley (Mrs Bronowska), Joel C o hen (young Corporation for 0 -28 Netw ork Based on the novel Daniel), Tim M cKenzie (Roy M cKenzie), P ro d u c e r........................................... Austin S teele W h e n W e R a n b y ................. Keith Leopold Halina Abram owicz (Ella).
SHORTS
AWAITING RELEASE
35 nm i& J 6 nmi
Negative Cutting
CHRIS ROWELL PRODUCTIONS 24 Carlotta St Artarmon N.S.W. 2064
(02) 439 3522
CINEMA PAPERS August — 261
MOTION PICTU RE SERV ICES SERVICE SPECIALIST • AATON • ARRIFLEX • BELL & HOWELL • C.P. • • ECLAIR • CANON & ZEISS LENSES • • CUSTOM M O DIFICATIONS • Lens collimation and repair facilities for all film and video lenses. 1st FLOOR, 29 COLLEGE ST GLADESVILLE NSW 2111 PH: (02) 816 3371
■
KEHOE AUSTRALIA 18 Cahill Street, Camperdoum 2050. Teh (02) 519 4407. Suppliers of professional Film »Television and Special Effects M ake-U p for the Industry. — R.CM .A .(U .s.a.) VISIOR A (France) KRYOLAN (Germany)
FILMTRONICS
H O W C A T C H IN G A PLANE C A N ST R E T C H Y O U R B U D G E T A trifling two hours from Sydney, a solitary one hour from Melbourne: a first class studio facility; film and video editing suites; multi-track recording studio; preview theatres (16 and 35mm); and a staff of experienced professional camera and sound operators, editors, script writers, directors and production crews. What we don’t have are Sydney’s prices or waiting lists. Call me, Austin Steele and compare our prices.
TASMANIAN FILM CORPORATION 1-3 Bowen Road, Moonah, Hobart. 7009 Phone: (002) 30 3534 Telex: AA57148 FRANCIS LORD
Supporting the Film and Television Industry as Sole Agents, with the supply of
CHRISTIE Battery Packs and Chargers ANGENIEUX Lenses RDS Studio Lighting, Portable Location Kits, Effects Projectors, Globes DOEL Edge Numbering Machines SCHMID Editing Machines, Recorders MARUSHO Splicers and Tape NIETHAMMER Follow Spots NEILSON HORDELL Animation Stands FREZZOLINI Battery Packs and Chargers MEOPTA 18mm Projectors Other supplies include SMPTE test film, Filmlab split spools, Easton editing equipment, Maier Hancock hot splicers.
Supporting the Film and Television Industry with
Service of all equipment sold by the Group. Work carried out by factory trained engineers. Special Service for Cine, T.V. and ENG Zoom Lenses. Sole authorised Angenieux Service Centre. Service to all types of lens systems (since 1945) including high vacuum coating, ultrasonic cleaning, lens polishing and cementing. Front surface mirrors, beam splitters made to order.
33 HIGGINBOTHAM ROAD, GLADESVILLE 2111 PHONE: 807 1444 TELEX: 25629 (MEOPT)
Production Survey
D irector............................................ Ted Robinson D irector.................................................John Honey Asst p rodu cers..........................Nigel S aunders, P ro d u c e rs .................................................... G eorge Gittoes, S criptw riter..................................... Jerem y Press S c rip tw rite r.................................. S e rg e Lazareff Judith Fox G abrielle Dalton P h oto graphy..........................................T im Sm art Script ed ito rs........................ H e len C a rm ichael, Length........................................................... 2 0 mins D ire c to rs .......................................................G eorge Gittoes, Sound reco rd ist...................... Laurie Robinson P e ter Kay G a u g e .............................................................16 mm G abrielle Dalton E d ito r............................................ Chris S chw arze Based on the original idea Shooting S criptw riters................................................ G eorge Gittoes, Exec, p ro d u c e r....................Vincent O 'D on nell b y .................................................S e rg e Lazareff sto c k ............ Kodak Eastm ancolor N e gative G abrielle Dalton Prod, co-ordinator........................... A ngela R ea Photography............................ Russell G allow ay Progress.................................................... In release Based on the original idea Exec, ass istant.................................................M ary G ustavsson Sound re c o rd is t................................ Julian Scott First re le a s e d .............................................. A ugust 1984 b y ................................................................ G eorge Gittoes, C a m e ra assistant...................................... W arrick Field E d itor....................................... M ike W oolveridge S y nopsis: An Inform ation program outlining G abrielle Dalton Mixed a t..................C om plete Post Production Exec, p ro d u c e r................................................ John Martin the federal Education D e p artm en t’s P artici Photography................................................ G eorge Gittoes Lab orato ry............ C o m p lete Post Production pation and Equity Program (P .E .P .) targeted Prod, m a n a g e r.............................. W a y n e Cowen Sound recordist....................................... G abrielle Dalton G a u g e ............................................................. % -inch BVU at teacher-parent audiences in schools and Prod, a s s is ta n t............................................ W en d y Rlm Prod, on a c c o u n ta n t...........................G ra em e Troy P rog re ss................................................ Production C a m e ra a ss istant.................... A dam Kroplnski com m unity groups. Lab orato ry............................................... Colorfilm THE BREAKAW AY Key g r ip ......................................... G ary C lem ents B u d g e t.......................................................$ 6 0 0 ,0 0 0 Prod, c o m p a n y .............................. Film Australia G a ffe r..............................................Jam es Griffiths ROYAL AUSTRALIAN ARMY L e n g th ...................................................6 x 60 mins MOVING THE COLLECTION and Friends of the Art G allery Boom o p e ra to r......................... M ark Tom linson ORDNANCE CORPS IN THE FIELD G a u g e ............................................................ 16 mm of South Australia M a k e -u p ..................................... M arg aret Pierce Shooting s to c k .................. Eastm ancolor 7291 P ro d u c e r........................................................... P e ter Drum m ond Prod, c o m p a n y .............................Film A ustralia Dist. com pa ny................................. Film Australia W a rd ro b e ....................................M argaret Pierce P ro g re ss...................Post-production (2 parts), D irector..................................................... A n am arie Beligan Dist. com pa ny............................... Film Australia P ro d u cer.......................................M alcolm O tton P r o p s .................................................... P e ter Cass Pre-production (1 part) Scriptw riter...............................................A n am arie Beligan P rod ucer......................................... Ian M acarthur Director....................................................David Muir Asst e d ito r ................................. Ross Thom pson S y nopsis: A six-part series of docum en P h oto graphy...................................................... Yuri Sokol, D irector................................................................... Ian W a lk e r S c rip tw riter......................................................David Muir M usic perform ed b y ...............Tassos lonnldes taries set in the Top End of the Northern P e ter Drum m ond S c rip tw rite r........................................................... Ian W a lk e r P h oto graphy................................................... David M uir Sound ed ito r................................ P e ter M cKinley Territory. Part 1, W a rrio rs a n d L a w m e n , E d ito r..................................................................David Hipkins Sound re c o rd is t......................................... G eorge HartP h oto graphy...................M ick Von Bornem ann M ixe r...............................................P e ter M cKinley looks at three historic m urders, Involving Exec, p ro d u c e r.......................................... V incent O ’Donnell Sound reco rd ist................... R o dney S im m ons E d itor...............................................S usan Horsley M ixed a t ..............T a s m a nian Film Corporation Aboriginals and the police in 1933, 1968 and E xec, assistant.................................................M ary Gustavsson E d ito r........................................P e te r Som erville Asst p ro d u c e r.................................Ron Hannam L a b o ra to ry ................................................. C inevex 1984; Part 2, F ro n tie r W o m e n , is a series of G a u g e ............................................................ 16 mm Asst p ro d u c e r..................................G erry Letts L ig h tin g ............................................ Bruce G ailey Lab. liaison...................................................... Bruce Braun action-portraits, of w om en w ho have led a P ro g re s s ..................................... Post-production Unit m a n a g e r .................................. C a rm el Killin C a m e ra assistant.......................... Jam es W ard L en gth.......................................................... 28 mins variety of lifestyles on the frontier; and Part S y C a m e ra assistant.........................................Jam es W ard n o p sis: A film on the rem oval of the N a rra to r.........................................C ecily Poulson G a u g e .............................................................16 mm 3, T h e S to c k m e n , is the story of the stock anthropological collection of the M useum of Asst editor................................... M atthew Tuc ker Length........................................................... 10 mins Shooting s to c k .......Eastm ancolor 5 2 4 7 , 5 2 9 4 m en and drovers, set in the excitem ent and Victoria to a new hom e. It uses the rem oval G a u g e ...................................................................... 35 mmN a rra to r.................................................... N ick Ta te Cast: S e rg e Laza re ff (Boris), M ark Hem brow action of the last big open-ran ge m uster — of the collection as a unifying th em e to Len gth........................................................31 mins Shooting stock................................Eastm ancolor (Zoran), T an ya S im onow (Anna), Penelo pe the end of an era. reflect the role of m useum s w ithin Australian G a u g e .............................................................16 m m Progress...................................................In release S tew art (Penny), Barry Pierce (P olicem an society. Shooting First rele a s e d ........................................June 198 4 Bert), Jac k R hein berger (Policem an Jack), s tock............Kodak Eastm ancolor N e gative S y nopsis: N u m b er 29 in the series, A u s tra D e n n is M c L o u g h lin (S e r v ic e S ta tio n READY OR NOT Progress.................................................. In release lian Eye. The film Is a detailed study of the attendant), M ichael Furjanic (Croatian m an), First re le a s e d .........................................July 1 98 4 Prod, com pa ny............. T he Production Group com positional m ethods and techniques used S uellen Furjanic (Croation w om an). S y nopsis: An arm y training film showing a Dist. c o m p a n y ..................................... Tas m a nian Film by Tom Roberts in painting his m asterpiece S y n o p s is : Boris is a successful Croatian field supply com pany operating in the field Corporation of Australian bush life. R oberts’ life also is m igrant w ho collects rents for a w ealthy during an advance. T h e purpose o f the film is P rod ucers...............................M ichael V aughan, outlined. Sydney property ow ner. His brother Zoran is to illustrate to soldiers eng aged in day-to-day David Cam pbell less successful. O n e night, Zoran fails in an activities in peace tim e, the “ realities” of D ire c to r...............................................Colin Budds E Q U A L B Y T E S : Y O U R F U T U R E IN BOWEN BRIDGE attem pt to rob a service station and goes to their tasks during operation in the field. T h e S c rip tw rite rs ..........................M ichael V aughan, his brother’s house for help. Zoran forces C O M P U T IN G Prod, c o m pa ny......................... Tas m a nian Film film follow s a field s u p p ly c o m p a n y Hardy Stow Boris to confront the real nature of their rela Corporation Prod, c o m p a n y ................................................. Film Australia relocating and reestablishing Its operations Sound recordist..............................................G eoff W hite tionship and the responsibility they have for Dist. c o m p a n y .......................... Tasm anian Film Dist. com pa ny.................................................... Film Australia in support of a tactical adv ance by the E d ito r............................................................ Jill Rice each other’s w elfare. Corporation P rod ucer....................................................... C olleen C larke com bat forces ahead of it. Script editor................................................G w en d a Marsh Prod ucer..........................................D am ian Brown D ire c to r..........................................................Angela Catterns Exec, p ro d u c e r....................V incent O ’Donnell D irector............................................ Dam ian Brown S c rip tw riters........................ W endy Thom pson, SATURDAY, SATURDAY Unit m a n a g e r................................A ndrew Morse Scriptw riters....................................... Philip Blake, Judy Ham m ond Lighting c a m e r a m a n ................ Paul Dallaw itz Prod, c o m p a n y ..............................Film Australia D am ian Brown, Ph oto graphy..................................................... Jack Stew art C a m e ra a ss istan t................Peter Van Santen Dist. c o m p a n y ................... Australian Electoral G eoff Sm ith Sound re c o rd is t...............................................M ike Gissing Key g r ip .............................................................David C assar Com m ission Photography...........................Russell G allow ay, E d itor.......................................................... Ian Allen G a ffe r...................................................................John Irving P rod ucer....................................... Co lleen C larke ............ G ert Kirchner, Unit m a n a g e r......................S teph anie Richards G a u g e ............................................................ 16 mm D irector....................................... P e ter Andrikidis Chris M organ, Asst producer............. M argaret Rose Stringer Progress....................................................................In release S c rip tw riter................................Christopher Lee Rick Reynolds, Length.........................................................10 mins Cast: David Bradshaw (Vince Franco), Ph oto graphy.................................. C raig W atson Rob Scott-Mitchell G a u g e ............................................................ % -inch Jeannie Drynan (Jenny Franco), Peter Sound recordist.............................Paul Brincat Sound rec o rd is ts ............. John Schieffeilbein, Shooting s to c k ....................................... B etacam H a rv e y -W rig h t (P e te r D a v id s o n ), Lisa E d itor..............................................Colin T reg e n za Peter M cKinley, Progress....................................................................Inrelease Dumbroski (C arm el Davidson). Unit m a n a g e r................................... Chic Stringer Ian Sherrey, First re le a s e d .............................................. August 1984 S y nopsis: R e ady o r N o t is fiction, but Asst producer..............M argaret Rose Stringer Tom Glblln Synopsis: M ade for the W o m e n ’s Bureau of events such as those in the film are occur GREY NURSE IN PERSPECTIVE Lig h tin g ............................................... Gordon Nutt E d itor........................................M ike W oolveridge the Departm ent of E m ploym ent and Indus ring alm ost daily. A sm all factory facing Len gth........................................................... 30 mins Prod, c o m pa ny..........................A M B Film Prods N a rrators.......................................... Barry Pierce, trial Relations — a docum entary designed to closure is taken over by another com pany to G a u g e .............................................................% -inch Prod ucer.......................................... Attila Bicskos John Honey encourage girls to pursue com puter occupa be used as a test bed for the introduction of Shooting s to c k ........................................B etacam Director.............................................Attila Bicskos M ixed a t ............. Tasm anian Film Corporation tions. modern com puterized m anufacturing equip Progress...................................................In release S c riptw riters..................................... Basil Keice, Laboratory................................................. Colorfilm m ent. T h e workers do not understand the First re le a s e d .........................................July 1984 Attila Bicskos A H O L ID A Y A T M E N T O N E Len gth........................................................... 30 mins changes happening around them , and their Synopsis: A dram atization of a day in the life P h o to g rap h y.................................. Attila Bicskos G a u g e ............................................................ 16 mm suspicion and resentm ent of new technology Prod, c o m p a n y .............................. Film Australia of a polling booth highlighting problem s that Sound recordist............................. M arg Bicskos Shooting sto c k .............................................. Kodak grows and the tension spills out into their and Friends of the Art G allery arise and solutions for the sam e. M ade for Ed itor........................................ Ronda M acgregor Progress...................................................In release of South Australia dom estic lives. the Australian Electoral Com m ission for dis C o m p o s e r..........................................................Tony KingS y nopsis: A film for joint venturers LeightonDist. com pa ny.................................Film Australia tribution to officers in charg e of polling M usic perform ed b y .......................................Tony KingC andac and the Joint C om m ittee on the VICTORIAN ARTS CENTRE TRUST P ro d u cer...................................... M alcolm Otton booths. N a rra to r.............................................. Barry Casey S e c o n d H o b a rt B rid g e , s ta rtin g w ith Director.............................................................. David Muir FILM Still pho tography..........................Stephen Berry dram atic footage of the collapsed Tasm an S c rip tw riter......................................................David Muir Lab orato ry.........................................................Atlab Prod, c o m p a n y ...........Audio Visual W orkshop Bridge. The film traces and explains simply P h o to g rap h y................................................... David Muir Lab. lia is o n ..................................... Don M oseley, P ro d u c e r........................................................ S teven Salgo the construction of the S econd Hobart Sound re c o rd is t..............................John Herron W arren Delbridge D ire c to r.......................................... Peter Johnson Bridge, clearly showing innovative civil Ed itor.............................................. S usan Horsley Len gth........................................................... 5 3 mins P h o to g ra p h y ......................................................Paul Hicks engineering construction m ethods unique in Asst p ro d u cer.............................. Ron Hannam G a u g e ...................................................................... 16 mm Australia. It also illustrates the professional E d ito r.............................................. Peter Johnson Lig h tin g .............................................................G eoff M aine Shooting s to c k .......Eastm ancolor 7 24 7, 7 29 3 Exec, p ro d u c e r....................V incent O ’Donnell ism and expertise of the client. C a m e ra assistant........................................ Jam es W ard P ro g re s s ..................................... Post-production Exec, assistant..................... M ary Gustavsson THE CHOICE OF HOUSING N a rrato r........................................ Cecily Poulson S y n o p sis: A journey of discovery with a Prod, lia is o n ................................. P eta Landm an FIT AS A FIDDLE Length.......................................................................10 mins Prod, com pa ny..........................Rob Brow Prods group of underw ater divers as they visit C a m e ra assistant.......................................... Jason Clark Prod, c o m p a n y....................................Tasm anian FilmG a u g e ............................................................ 35 mm D ire c to r..................................................Rob Brow som e of the better known haunts of the G rey M ixed a t....................................................Labsonics Shooting stock................................Eastm ancolor Corporation Scriptw riter...........................................David Tiley Nurse Shark along the east coast of Aus G a u g e ...................................................................... 16 mm Dist. c o m p a n y ..................................... Tasm anian FilmProgress...................................................In release Sound recordists........................... John Rowley, tralia. How has it survived the persecutions P rog re ss................................................. Production First rele a s e d ....................................................June 1984 Corporation G eo rg e Craig in the 1960s and w hat has been the effect on S y nopsis: A short videotape to be run on S ynopsis: “ A Holiday at M e n to n e ” is one of P ro d u c e r.......................................Don Anderson E d ito r...............................................David Hipkins its num bers and behaviour? monitors in and around the Arts C entre. The Charles C o nder’s most attractive works. The D ire c to r..........................................Don Anderson Exec, p ro d u c e r.................... V incent O ’Donnell purpose of this will be to introduce the public film exam ines the w ay the young artist Scriptw riter................................... Rob M cKenzie Prod, m a n a g e r................................... Jan Burnett NICARAGUA NO PASARAN to the facilities of the centre and encourage developed his m ethods for expressing his Photography............................. Russell G allow ay Exec, assistant.................................................M ary G ustavsson their use. Prod, c om pa ny................................................D avid Bradbury sensitivity to color, and illustrates his involve Sound re c o rd is t............................................ Julian Scott Prod, lia is o n ................................ Bonnie Sm ythe Dist. c o m p a n y ...................................Ronin Films m ent with W histler’s ‘‘tonal im pressionism ” E d itor........................................ M ike W oolveridge Lighting c a m e ra m e n ................Barry M alseed, WORK ENVIRONMENT IN THE P ro d u c e r.......................................David Bradbury and Japanese aestheticism . C o ntinuity............................................ Ian Berwick G ary Smith PUBLIC SECTOR D ire c to r......................................... David Bradbury Key g rip ..........................................G ary C lem ents M ixed a t ...................Film Soundtrack Australia S c riptw riter.................................. David Bradbury T H E H U M A N F A C E O F T H E Sound a s s is ta n t.......................M ark Tom linson Prod, c o m p a n y ................................ V ideo Vision G a u g e .............................................................16 mm Based on the original idea P A C IF IC M a k e -u p ........................................Juliane O w ens Director............................................John Tatoulis P rogress................................................Production b y ................................................David Bradbury Asst e d ito r .................................Ross Thom pson P h o to g ra p h y .................................Peter W arren, Prod, c o m p a n y ..............................Film Australia P h o to g ra p h y ............................................. G eoffrey SimR pson u n n e r........................................... Jam es Griffiths Peter Z akharov, Dist. com pa ny................................ Film Australia Sound re c o rd is t........................... Toivo Lem ber M ixed a t ............ Tasm anian Film Corporation G reg Hill A FAIR COP P ro d u c e rs ..................................................... Dennis O ’Rourke, Editor.............................................................. S tew art Young Laboratory.........Tasm anian Film Corporation Sound recordist............................... Ross G ridley Oliver Howes Prod, c o m p a n y ..................................Seon Prods Assoc, p ro d u c e r..............................................Leah Cocks Length.......................................................................15 minsD ire c to rs ......................................... Oliver Howes, Exec, p ro d u c e r....................V incent O ’Donnell P ro d u c e rs .......................................Steven Salgo, C a m e ra ass istant............................................ Leah Cocks G a u g e ......................................... 1-inch videotape Exec, ass istant.....................M ary G ustavsson Dennis O ’Rourke John C ruthers Asst ed ito r....................................................... Sim on Dodshon P ro g re s s ....................................Aw aiting release Technical director........................... David Aston S criptw riters................................................. Dennis O ’Rourke, D ire c to r.......................................... Craig Kirchner Neg. m atching.......Negative Cutting Services Cast: Allen Harvey (Bill), Shirley Schlesinger Laboratory......................................... V ideo Vision O liver Howes S c riptw riter................................... Ian M cFadyen Music perform ed b y ............. Laurie Anderson, (Betty), John Unicom be (Jack). G a u g e ................................................. % -inch BV U P h oto graphy....................................................... Joe Pickering, P hotography...............................Brian M cK en zie Freddy M artin O rchestra, S y nopsis: The im portance of exercises for P ro g re s s ......................................Post-production Dennis O ’Rourke, Sound recordist...................G eorgin a Guilfoyle Narciso valle Lanusa, the ‘over fifties' is vital. This film looks at the S y nopsis: A record of a sem inar in Tony Wilson E d ito r............................................... C raig Kirchner N o rm a Elena G odea motivation required to get people started in W odonga w hich features issues such as Sound recordists......... , .................. G ary Kildea, Exec, p ro d u c e r.......................................... V incent O ’Donnell N a rra to r..............................................................M ark Aarons exercising in a correct way. industrial dem ocracy, the w orking environ Rod Sim m ons Exec, assistant.................................................M ary Gustavsson Still pho tog ra phy....................David Bradbury, m ent, occupational health and safety, and Ed itors............................................. Tim Litchfield, Prod, m a n a g e r..............................David Thom as Joe Murphy SOUTHERN TASMANIAN new initiatives. Tom Foley, 1st asst d ire c to r...................... Brendan Lavelle Title d e s ig n e r........................................................BillSykes, ADVENTURE Lindsay Frazer 2nd asst d irecto r......................John C um m ing Al Huxley Prod, c o m p a n y....................................T as m a nian FilmAsst p ro d u c e r........................................Ian Adkins C a m e ra assistant.................... S teve M cD onald P u b licity.......................................... G lenys Rowe N arrator........................................... Ron Haddrick Corporation Prod, lia is o n ...............................S gt Ted W ilson Lab orato ry................................................. Colorfilm Length........................................................... 92 mins Dist. c o m p a n y ..................................... Tas m a nian Film C a m e ra o p e ra to r ..................S teven M cD onald Lab. liaison........................................................Kerry Jenkin Corporation G a u g e ...................1 6 m m transferred to 1 -inch Key g r ip .............................................................. G re g Harris Len gth............................................................73 mins Shooting s to c k ...............Kodak Eastm ancolor, P ro d u c e r..............................................................Don Anderson G a ffe r/g rip ......................................................... G reg Harris G a u g e .............................................................16 mm videotape D ire c to r............................................Don Anderson Art d ire c to r........................................................ J a n e H ow at Shooting s tock....................................... Fuji 8527, P ro g re s s .....................................Aw aiting release S criptw riter..................................... Don Anderson C a te r in g ...........................................................Vivien Dews Kodak 7 29 3 S y nopsis: This television special, to be Photography................................................. Russell G allow ay M ixed a t ................................... Film Soundtrack Progress................................................... In release screened by Netw ork 10, contrasts the lives Sound recordist...................................Tom Giblin L a b o ra to ry .................................................. C inevex First re le a s e d ..........................................July 1984 E d itor........................................ M ike W oolveridge of islanders in six Pacific nations and terri G a u g e .............................................................16 mm S y nopsis: T h e adm inistration of Am erican tories, thus creating an overview of contem C a m e ra a ss istant............................................G ary C lem ents P ro g re s s ......................................Post-production President R onald R e ag an Is determ ined to porary Issues and societies in the region. M ixe r................................................................... P e ter M cKinley Cast: Tony Rickards (Russell), Ian S hrives crush the popular S andinista m ovem ent in ACT TWO T h e H u m a n F a c e o f th e P a c ific is also Mixed a t ............. Tas m a nian Film Corporation (Ow ens), Sim on Thorpe (Nicholls), John N icarag ua that threatens the stability of all distributed by Film Australia as six, one-hour L ab o rato ry.................................................Cinevex Prod, c o m p a n y ....................................PB L Prods Flaus (discharged drunk). Latin A m erica by w ay of good exam p le films, one on each of the territories or Dist. c o m p a n y ..................................... PB L Prods Lab. liaison........................................ Bruce Braun S y nopsis: T h e film, specifically for the rather than the export of guns. T h e C IA has Length..........................................................20 mins P ro d u c e r................................... Richard B rennan nations. Police Force, focuses on the attitude of the financed an arm y of 1 2 ,0 0 0 counter-revolu D irecto r..........................................................Rodney Fisher G a u g e ...................................................................... 16 mm police to bicycling traffic offenders. It will tionaries to attack N icarag ua from both A L IT T L E P E P T A L K Progress................................................. In release Scriptw riter...........................................................R ay Harding dem onstrate a real need to cha nge the wellborders. T h e Sandlnistas have adopted the Prod, c o m p a n y ..................................................Film Australia S y nopsis: Southern Tas m a nia, as seen Based on the original idea established prejudice In favor of cyclists, and anti-fascist w ar cry of the Spanish Civil W ar: Dist. co m p a n y .................................................... Film Australia through the eyes of six people w ho m ake a b y ........................................................................ Ray Harding seeks to encourage police to enforce the law N o p a s a r a n \ The y will not enter! T h e film P ro d u cer.................................................................Ian M acarthur living in different ways from tourist ope ra C ast: John W aters (Robert Marks). with care and concern. uses Tom as Borge, one of the S andinista D ire c to r..............................................................Tony W ellington S y n o p sis: Talented, witty and m ore than a tions there. A charter pilot, a jet boat leaders, to tell the story of the N icaraguan S c rip tw riter....................................................... Tony W ellington operator, a trout fishing guide and a ferry little self-centred, Robert M arks is the author HONORARY PROBATION revolution. P h oto graphy.....................................Kerry Brown skipper all give their reasons w hy their par of a successful first novel. Success, and the OFFICER (HPO) Sound re c o rd is t.........................................R odney Sim m ons ticular w ay of seeing S outhern T a s m a n ia is lifestyle that followed it, have since dried up TOP END SAGA Prod, co m p a n y .................... S even D im ensions E d ito r.........................................................T ed Otton his talents. A c t T w o tells with hum or and the best. Produced for the Tas m a nian P rod ucer...................................................... E v e Ash Prod, c o m p a n y .......G ittoes and Dalton Prods Unit m a n a g e r....................................Nigel Abbott charm the effects of failure on one m a n ’s Departm ent of Tourism .
GOVERNMENT FILM PRODUCTION FILM AUSTRALIA
SHORTS
DOCUMENTARIES FEATURES
FILM VICTORIA
TELEVISION
PRE-PRODUCTION
CINEMA PAPERS August — 263
Production Survey
m arriage and reveals the finds with another w om an.
confidence
he
The story relates their ordeal and the search Props bu y e rs ........................................... Ian Allen, Studios................................................................. ABC for them . ' M ark Daw son L e n g th ...................................................9 x 50 mins S tandby p r o p s ...........................G eorge Z am m it G a u g e ....................................................1 inch (O B), Set fin is h e r................................... Frank Falconer GOLDEN PENNIES ANZACS ~ 2 ins (studio) LOSING S cenic a rtis t................................. Len Arm strong Shooting s to c k ......................................V ideotape Prod, c o m p a n y ..........R evcom (France)-A B C Prod, c o m p a n y ..............................T he Burrowes C a rp e n te rs .......................................................Frank Phipps, Cast: Terry B ader (Bryce), Richard H e aly Prod, c o m p a n y .................................................A B C P ro d u c e r...................................O scar W hitbrea d Dixon Com pany Chris Norm an, (Ken), D e bra Law rance (Pat), Pe ter Hosking P ro d u c e r........................................... E rina Rayner D ire c to r..................................... O scar W hitbread P ro d u c e r.....................................G eoff Burrowes John Room (Blair). D irector..................................................... C a the rine Millar S c rip tw rite r................................................. G ra e m e F arm er D ire c to rs ..............................................John Dixon, Set c o n struc tion.................................... Bill How e S y nopsis: T h e events surrounding a pair of Sc riptw riter................................................. Steph en Sewell Based on the original idea G eorge M iller Asst e d ito rs ......................................Louise Innes, dow n-at-heel private eyes. P h o to g rap h y...................................................Julian P enney b y ................................................................ G ra e m e Farm er S criptw riters....................................... John Dixon, Pam Barnetta, Prod, m a n a g e r ...........................................M ichael Collins P h o to g rap h y......................................................... Ian W arbuton John C larke, C laire O ’Brien C asting..............................................Jennifer Allen FIVE MILE CREEK Sound recordist.............................. John Boswell J a m es Mitchell Sound editor........................................ Tim Jordan Len gth............................................................80 mins E d ito rs .....................................................................BillM urphy, P h o to g ra p h y ................................. Keith W agstaff Series 2 Still photography.............................. Jim Tow nley G a u g e .............................................................16 mm Barry M unroe Sound supervisor.........................Terry Rodm an Best b o y .......................................Patrick O ’Farrell Prod, c o m p a n y ........................................... V alstar S y n o p s is : T h e story of tw o V ietnam Prod, d e s ig n e r............................... Carol H arvey Editor....................................................... Philip Reid R u n n er......................................... M ichael Fanning P ro d u c e rs ................................. H enry Craw ford, veterans trying to com e to term s with their Prod, m a n a g e r ...............................Frank Brown Prod, d e s ig n e r ..............................................Lesley Binns C a te rin g .................................... CJ & DJ C atering Doug Netter guilt and ang er as a result of the w ar. They 1st asst d ire c to r.............................................. P e ter Trofinovs C o m p o s e r..................................... Bruce Row land S tu d io s .......................................... K ennedy M iller Directors..........................................G ary Conw ay, go on a supposedly spontaneous journey C ontinuity...................................... C hristine Lipari Assoc, p ro d u cer.......................................... Dennis W right Lab orato ry............................................... Colorfilm Kevin Dobson, into the back-blocks of N e w South W ales, C a s tin g ................................................................G re g Apps Prod, supervisor...................................................BillR egan Lab. lia is o n ........................................................... Bill G ooley, B rendan M aher, taking with them their fam ilies and their Lighting c a m e r a m a n ......................................... Ian W arburton Unit m a n a g e r................................Ray Patterson Richard Piorkowski R obert S tew art rifles. Art d ire c to r........................................................C arol H arvey Story consultant...................Patsy Adam Sm ith Len gth..................................................10 x 60 mins S c riptw riters............................. S arah Craw ford, P u b licity...............................................................A B C C a s tin g ................................... Mitch Consultancy G a u g e .............................................................16 mm PALACE OF DREAMS G raham Forem an, S tudios..................................................................A B C C ostum e d e s ig n e r..........................................Ja n e Hyland Shooting s to c k ...............................................Kodak David Boutland, Mixed a t ...............................................................ABC P u b lic ity ...........................Su zie How ie Publicity Prod, c o m p a n y .................................................ABC C ast: Alan David Lee (Stan), T racy M ann Keith Thom pson, L e n g th ................................................... 8 x 30 mins P ro d u c e r............................................S a n d ra Levy B u dget.................................................$ 6 .5 million (Sally), Sim on Chilvers (Hordern), Andrew D enise M organ, G a u g e ............................................................... 16m m D ire c to rs ...........D enny Law rence (Episode 1), L en gth................................................. 5 x 120 mins Lloyde (M acD onald), M ax Cullen (Hook), David Stevens, John Misto, Shooting s to c k ...............................................Kodak G a u g e ..............................................................16m m Norm an Kaye (Dad), C arol S kinner (Dot), G w end a M arsh John Upton, S y n o p s is : An English fam ily com e to the S y nopsis: A dram atization of A u stralia’s Junichis Ishida (Junji), Kenji Isom ura Script e d ito r....................................................... Tom H egarty Ian David Australian goldfields in the 1850s to seek participation in W orld W a r 1. (Shim oyam a), Sokyo Fujita (M inam i). Photography........................................ Kevan Lind their fortune. In the fam ily, m other, step S c rip tw rite rs ................................ D e bra O swald, S y n o p sis: A 10-hour dram atization of the BUTTERFLY ISLAND Sound recordist..................................................Syd Butterworth M arc Rosenberg father and the young son and daughter, prisoner of w ar breakout in C o w ra in 1944. E d ito r................................................................ Stuart Arm strong anim osity exists betw een the step-father and Prod, c o m p a n y ....................Indepen dent Prods Based on the original idea C om p oser.................................... Bruce Sm eaton the son. T h e children then m eet the fam ily of b y .....................................................S a ndra Levy P ro d u c e r..................................... Brendon Lunney Prod, sup erviso rs.............................. David Lee, a travelling sideshow and it is against the DISPLACED PERSONS D ire c to r............................................................. Frank Arnold Script e d ito r ............................Denny Law rence Jan Bladier background of the fam ily’s struggles that the S c rip tw rite r................................... David Phillips Prod, d e s ig n e r.......................G eoffrey W edlock Prod, c o m p a n y ................................................. AB C Prod, c o -o rd in a to r...........................................D ale Arthur children’s adventures are set. Script e d ito r ..................................Hugh Stuckey Exec, technical p rodu cer............................ Barry Quick Dist. c o m p a n y ...................................................ABC Location m a n a g e r ................Steve M accag nan Prod, m a n a g e r...............................Carol Chirlian Based on the original idea P ro d u c e r..........................................Jan C h apm an Prod, accountant......... M oneypenny Services, MATTHEW AND SON b y ........................................................................ Rick S e arle Prod, s e c re ta ry .....................R e gin a Lauricella D ire c to r..................................... G eoffrey N ottage Val W illiam s C a stin g ......................................................... Jennifer Alien E xec, p ro d u c e r............................. Richard Davis Scriptw riter........................................................Louis Now ra Prod, c o m p a n y ...........Television House Films Prod, a s s is ta n t........................................Elizabeth Hagan S tu d io s ..........................................A B C Ch annel 2 L en gth.................................................10 x 30 mins P ro d u c e r..........................................D am ien Parer Based on the original idea 1st asst d irecto rs..........................................Adrian Pickersgill, Len gth................................................. 1 0 x 5 0 mins G a u g e ..............................................................16m m b y .....................................................................Louis Now ra D irector............................................. G ary C onw ay Keith H eygate Shooting s to c k ..................................... V ideotape S y n o p s is : A resort island on the G reat Prod, d e s ig n e r........................................... Q uentin Hole Script e d ito rs ..................................M arcus Cole, 2nd asst d ire c to r............................................ P e ter Kearney S y nopsis: An inner-city hotel, during the Barrier R e ef ow ned, run by the Wilson Prod, m a n a g e r ...........................................M ichael Collins C hristine Schofield 3rd asst director................................. G. J. Carroll early years of the Depression, is run by a fam ily, is the unwilling hom e of V ietnam ese Prod, sec re tary........................................ M argaret G alletti P h o to g ra p h y ....................................................Ellery Ryan C o ntinuity.................................... Jackie Sullivan fam ily of Russian Jew ish em igres. A young refugee te e n a g e r and the desired prize of S o und recordist....................................................Ian Ryan 1st asst director............................G raham Millar C asting................................................................ Vicki Popplewell m an from a country town com es to live in the avaricious businessm an w ho has oil on his 2nd asst director................. Stephen O ’Rourke Editor......................................................................Cliff Hayes Focus p u lle r...................................... T racy Kubler hotel and share their life. mind. Producer’s a ss istan t........ D anuta Blachowicz Prod, d es igne r..............................................Robbie Perkins C lapp er/loader.....................................Chris Cole Casting c o n s u lta n t...................... Jennifer Allen C o m p oser...........................................................Ross Burton THE RIVER KINGS Key grip.........................................Brett M cDow ell COLOUR IN THE CREEK M a k e -u p ................................................... Val Sm ith Exec, produ cer................................................. John Young G r ip ............................................................. " N o b b y ” Sza frane k Prod, c o m p a n y ....................Independent Prods W a rd ro b e ............................... Carolyn M atthew s Post-prod, supervisor..................David J ae g er Prod, c o m p a n y .................................... PB L Prods G a ffe r............................................................G raham Rutherford P ro d u c e r........................................... Jim G eorge P ublicity........................................ Lesley Jackson Prod, m a n a g e r....................................Jan Tyrrell P ro d u c e rs ............................................PB L Prods, Boom o p e ra to r.......................................... G raham M cKinney S c rip tw rite r....................................... Rob G eorge Length........................................................... 80 mins Location m a n a g e r ............ M ichael M cG e n n an M ichael Midlam Art director...............................................Lisa Elvy Based on the novel b y ............... M ax Fatchen G a u g e ............................................................. 2-inch Prod, a c c o u n ta n t......................... M andy C a rter S c rip tw riter..........................................S o nia Borg Costum e d e s ig n e r....................................... Jen ny Arnott Exec, p rodu cer........................................... Richard Davis Shooting s to c k ..................................... V ideotape 1st asst d ire c to r............................ R obert K ew ley Based on the novels M a k e -u p ......................................................... Felicity Schoeffel Len gth................................................. 10 x 30 mins S y nopsis: A group of European refugees 2nd asst d ire c to r.........................................M arcus S kipper C o lo u r in th e C r e e k and H a ird re s s e r........................................ Joan Petch arrive at the Sydney Q uarantine Station in G a u g e ..............................................................16m m 3rd asst d ire c to r........................... S teph en S aks S h a d o w o f W in g s b y ............M argaret Paice Standby w ardrobe............................Viv W ilson, 1945. O ne of them has died of an unknown S y nopsis: A young boy runs aw ay to take a C o n tin u ity ..................................................... Joa nne M cLenn an Exec, p ro d u c e rs ............................... Ian Bradley, Judy-Ann Fitzgerald disease and the others will have to rem ain job on an old river boat, trading on the River Casting c o n s u lta n t............................................Lee Larner P enny S pence W ard, a s s is ta n t......................... Jam es W atson quarantined until the carrier of the disease is M urray at the turn of the century. C a m e ra o p e ra to r........................................... Ellery Ryan Assoc, p ro d u c e r................................Jim B adger Props b uyers..............................Brian Edm onds, found. Focus p uller...................................................... Leigh M ac k e n zie L e n g th ..................................................5'x 30 mins M ich ael Tolerton SINN FEIN C la p p e r/lo a d e r............................. Kattina Bowell G a u g e .............................................................. 16m m Standby p r o p s .......................... Nick Reynolds, THE FAST LANE Key g rip ....................................Paul Am m itzboll S y n o p s is : In 1932, the D epression m ade (OURSELVES ALONE) G ary Freem an G r ip ...................................................P e ter K ershaw living in the outback difficult. T h e Fletcher Prod, c o m p a n y .............................................A B C P rod ucer..............................................Peter Beilby Set dressers...............................Brian Edmonds, G a ffe r .................................................................. Tony Holtham fam ily decides the best w ay to cope is to P ro d u c e r................................................Noel Price Scriptw riter.................................... G len Craw ford M ichael Tolerton E lectrician ....................................... Bruce Tow ers m ove up to the Q ueensland goldfields w here Directors................................................ Noel Price, Based on the original idea Scenic artist.........................................................R ay Pedler Boom o pe ra tor....................................R ay Philips there is always the possibility of striking it Lindsay Dresden, b y ..................................................G len Craw ford Construction m a n a g e r ................................ Denis Donelly C ostum e d e s ig n e r...............M ichael Chisholm rich. Richard Sarell, Exec, p ro d u c e r............................Robert Le Tet Asst editor.............................. Danielle W eissner M a k e -u p .......................................... Rochelle Ford Coiin Budds Assoc, producer..................................Trish Foley Neg. m atching........................................D elaneys W ard, a ss istant..........................................Lucinda M cG uigan THE DUNERA BOYS S criptw riters................................Andrew Knight, S y nopsis: A 12-year-old boy of Irish descent Music e d ito r............................... G arry Hardm an M ake-up/w ardrobe John Clarke Prod, c o m p a n y ................................. Jethro Films strives to understand the reason for his com (Australian Screen Music) fa c ilitie s ...........Mobile Production Facilities Based on the original idea P rod ucer................................................................Bob W eis m unity’s hatred of The Em pire during W orld Sound e d ito r.................................................... Hugh W addell Props b u y e r.......................S teven Jones-Evans b y ......................................................John C larke, D ire c to r.................................................... Ben Lewin W ar 1. Asst sound editor.............................................M ike Jones S tandby p ro p s ............................... Jody Borland A ndrew Knight S criptw riter..............................................Ben Lewin M ixe r........................................ Julian Ellingworth S pecial e ffe c ts ...............................Brian P e arce P h o to g ra p h y ..........................Peter Sim ondsen, Based on the original idea STOCK SQUAD Stunts co-ordinator..........................G uy Norris Set dre s s e r......................................................M artin P erkins Peter Lewis, b y .......................................................... Ben Lewin Still photography................................................ Jim Tow nley Prod, c o m p a n y ...................Independent Prods Sound editor......................................................Peter Palanky John Tuttle, S y n o p s is : 1939: G erm an Jew s in exile in Head w ra n g le r..............................................Danny Baldwin P ro d u c e r............................................. Tom Jeffrey Stunts.....................................................Pe ter W est Ian Margocsy, E ngland, suspected to be Nazi sym W ranglers....................................... Laurie Norris, S c rip tw rite r....................................Hugh Stuckey Best b o y ..........................................Bruce Tow ers Roger M cAlpine pathizers, are sent by C hurchill's govern G ary Amos, Exec, p rodu cer.............................Richard Davis R u n n e r............................................. Craig De Jong Sound recordists.......................John Beanland, m ent to an unknown destination on the ship Brian Rourke Len gth........................................................... 92 mins P u b licity........................................................... Eileen O ’S h ea, David Redcliff " D u n e ra ” . Best b o y ............................................................... Ken Moffat S y nopsis: Stark visual beauty of Australia is Kerrie Theobold (C han nel Ten ) E ditors...............................................G ary W atson, Location nurse.................................Julie Rourke a backdrop to an exciting, com pelling and C a te r in g ........................................................ Kristina Frohlich Ken Tyler A FORTUNATE LIFE C a te rin g ..............................................................Kate Roach unusual outback police story. M ixed a t ...............................................................AAV Prod, d e s ig n e rs ........................Robert W alters, (Katering Co.) Prod, c o m p a n y ..................................... PB L Prods L ab o rato ry...................................................C inevex Frank Earley, Dist. c o m p a n y .......................................PB L Prods T u to r...................................D eborah M cC orm ack B u d g e t........................................................$ 8 0 0 ,0 0 0 D ale Mark, P rod ucer................................................................. BillHughes Mixed a t .............................................................Atlab L e n g th ............................................................ 90m ins Rudi Joosten D ire c to rs ............................................ M arcus Cole, Laboratory.........................................................Atlab G a u g e ............................................................... 16m m C o m p o s e r................................... G reg Sneddon Henri Safran Post-production............................ Custom V ideo Cast: Paul Cronin (M atthew C a ine ), Paula Exec, p ro d u c e r................................ .Noel Price Length................................................ 13 x 46 mins S c rip tw rite r............................................ Ken Kelso Duncan (B arbara D ean), Darius Perkins Prod, m anag er.................... Lorraine Alexander Script editor.................................................. M arcus Cole G a u g e ...............................................................16m m (Stephen C aine), R e gin a G aigalas (Kate Prod, s e c re ta ry ................................ Debbie Cole Based on the autobiography Shooting s to c k ................................................. 724 7 Trahearn), Caroline G illm er (G loria Doran), 1st asst directors............................................Peter M urphy, b y .................................................................... Albert Facey Cast: Liz Burch (Kate W allace ), Louise Clark COWRA BREAKOUT Peter Kowitz (Jerry Ashton), Victor Kazan Jam es Lipscom be, Sound re c o rd is t................................. Ross Linton (M aggie Scott), Rod M ullinar (Jack Taylor), (N eville Jackson), Nicole Kidm an (B ridgette Prod, c o m p a n y ........................... Kennedy M iller G ra em e Cornish, E d ito r.................................................................. Kerry Regan Jay Kerr (Con M adigan), G us M ercurio (Ben Elliot), G regory Fleet (Jim Finn), Con Bill Sm ithett P ro d u c e r........................................M argaret Kelly Jones), Michael Caton (P addy Malone), Prod, d e s ig n e r ...........................David Copping M athious (Jacko Ross). D ire c to rs ...................................... Phillip Noyce, 2nd asst d irecto rs..................................... Dorothy Faine, M artin Lew is (S a m ), Priscilla W e e m s E xec, p ro d u cer..................................................... Ian Bradley S y nopsis: A contem porary tele -feature that Chris Noonan Don Ryan, (Hannah Scott), Pe ter Carroll (M r W ithers), Assoc, p ro d u c e r...................................Ken Kelso looks at the public and private life of police Sc riptw riters................................M argaret Kelly, Ann Bartlett Prod, m a n a g e r ..................................................Terri Vincent Tony Blackett (Backer Bowm an). surgeon M atthew C aine. Chris Noonan, C o n tin u ity ............................................................ Lee Hem ing, Prod, a c c o u n ta n t........................................... Craig Scott S ynopsis: Television series m ade for Disney Phillip Noyce, Kay Hannessy, (M on eypen ny Services) Channel. The story of two wom en, one Aus POSSESSION Russell Braddon, S u e Overton, tralian, one Am erican, who run a stage stop 1st asst d ire c to rs ............. Charles R otherham , (pilot) Sally Gibson Ann Dutton Eddie Prylinski station at Five M ile C ree k for the Australian P h o to g rap h y....................................G eoff Burton Producer's a ss istants......................................Lee H em ing, Prod, com pa ny.....................G rundy Television 3rd asst d irecto r................................................ Nick A lim ede Express. Five M ile C re e k dram atizes the Sound recordist.................... John S chiefelbein Kay Hannessy, Dist. c o m p a n y ...............................N ine N etw ork C o ntinuity............................................................ Pam Willis, lives and experiences of these frontier E d ito rs ...........................Richard Francis-Bruce, Sue Overton, Exec, p ro d u c e r.................................................. Don Battye Judy W hiteh ead, people in the 1860s. Henry Danger, Ann Dutton D irector....................................................... Phil East Roz Berrystone Neil Thum pston, C a s tin g ..................................................G re g A g p s S c rip tw rite r...........................................B evan Lee C a s tin g .................................................................. Joy S argant FLIGHT INTO HELL M arcus D ’Arcy Lighting directors................. Peter Sim ondsen, Based on the original idea Art directors......................................................... Ken Jam es, Prod, d e s ig n e r.............................. Bernard Hides Prod, c o m p a n y ............... A B C F orest’s StudiosPeter Lewis b y .................................................... Reg W atson Phil M onahan Revcom (France) Prod, m a n a g e r .......................................... Barbara Gibbs Technical p ro d u c e rs ..............Steve Pickering, C a m e ra m a n .................................... Phil Balsdon C ostum e d e s ig n e r.................Bruce Finlayson P rod ucer................................................ Ray Alehin Unit m a n a g e r...................................... Kim Anning John Bennett Sound re c o rd is t..........................M ax A lexander Props buy er..................................Derek Chetw yn Prod, s ec re tary................................... Dixie Betts D irector.......................................................... Gordon FlemEyng C a m e ra o pe ra tors............................John Tuttle, d itor.................................................. Frayn e Dyke Standby p ro p s .....................................................Igor Lazareff Prod, a c c o u n ta n t........................................Alistair Jenkins Ian Margocsy, S c riptw riter....................................................... Peter Y eldham C o m p o s e r........................................ M ike H arvey Set construction................................................. Phil W orth Asst acc o u n tan t................................. Peter Dons Roger McAlpine Based on a true story Prod, s u p e rv is o r.............................................P e ter P inne Asst e d ito r ..................................................... D ebbie Regan 1st asst d ire c to r..............................Bob Howard P h o to g ra p h y ....................................................Pe ter H endry Key g r ip ................................................................M ax G affney Prod, co -o rd in a to r................... S usan C o urtney Neg. m atching.......N e gative Cutting Services 2nd asst d ire c to rs ..........................Chris W ebb, Electrician..................................................Jo M itzal Sound re c o rd is t................................ Ron M oore Prod, m a n a g e r................................ Brenda Pam Lab orato ry.........................................................Atlab Ian Kenny Prod, d e s ig n e r .............................................. Laurie Johnson Boom o p e ra to rs ..............................................Ernie Everett, Location unit m a n a g e r..............Eddie Prylinski L e n g th ............................................................... 4 x 9 3 mins 3rd asst director......................................Elizabeth Lovell Harry Harrison Exec, p ro d u c e r................................... Chris M uir T C N -9 prod, m a n a g e r.................. Judy Dupont G a u g e ......................................... 16m m , videotape C o n tin u ity ........................................................... Sian Hughes Assoc, p ro d u cer................................ R ay Brown Art director........................................................... Bob W alters 1st asst d ire c to r........................................Steph en Jones S y n o p sis: Based on the best-selling auto C a s tin g ........................ M ichael Lynch (Forcast) Prod, m a n a g e r................................................. Judy Murphy Asst art d ire c to rs ........................................... Frank Earley, 2nd asst d ire c to r............................................. John Titley biography of A. B. Facey. A story of survival Extras cas ting ..................................................... Sue Parker D ale M ark Unit m a n a g e r....................................................... Val W indon C o n tin u ity.....................................................D a phne Paris and trium ph in a vast, inhospitable w ilder Lighting c a m e r a m a n ................................... G eoff Burton C ostum e d es igne r........................................... Julie Skate Prod, s ec re tary......................................... M aureen Charlton C a s tin g ............................................... S u e M a n g e r ness. A pioneering saga about a m an who Focus p u lle r................................ Kim Batterham M a k e -u p ...................................... Jurjen Zielinski, C o n tin u ity ................................... Larraine Q uinell Casting a s s is ta n t........................... H e len Salter battles incredible odds and near im possible C la p p e r/lo a d e r.............................................. Darrin Keogh Ian Loughnan C a s tin g ......................................................... Jennifer Bruty Technical p ro d u c e r.........................................Paul C ooke circum stances, and wins. Key g rip ............................................................ Lester Bishop W a r d r o b e .................................... Beverly Jasper, C a m e ra o p e ra to r........................................... Roger Lanser OB m a n a g e r............................... W arren B erkery Asst g r ip ................................................... G eoff Full Ann Brown D e sig ner........................................................Andrew Blaxland Key g r i p ............................................................ Bruce Barber GLASS BABIES G a ffe r ...................................................................... Ian Plum Pm r oer p s ....................................................Neil Dyster, C ostum e d e s ig n e r ............................Jim M urray G a ffe rs .......................................... N ick A lexander, (W o rk in g title ) E le c tric ia n ........................................................David Nicholls Karl M iller L e n g th ...................................................4 x 75 mins R obert Thom son Boom o p e ra to r................................................Steve JamProps es b u y e r.................................H elen W illiam s G a u g e .............................................................. 16m m Prod, c o m p a n y ...................................................PB L Prods E le c tric ia n ........................................ T e d W illiam s Art d ire c to r............................ V irginia Bienem an Special effe c ts ....................................................Rod Clark, C a s t: A n n e T e n n e y ( K a t e ) , D e n n is Dist. c o m p a n y ....................................................PB L Prods Boom o p e ra to r.................................................... Phil Kerros C ostum e de s ig n e r..............................Terry Ryan Terry Burrow G ro s v e n o r (M a x w e ll), S e rg e L a z a re ff P rod ucer........................................... Pe ter Herbert Art d irector.........................................Ken M cC an n M a k e -u p ................................. Lesley V anderw alt (Charlie), Tim M cK en zie (Anderson), Phillip D ir e c to r ........................................ Brendan M aher Music perform ed b y ................. G reg Sneddon M ake-up s u p e rv is o r...................... Lloyd Jam es Her, airdress er..................................Cheryl W illiam s Hinton (Supt. W ilson), Pe ter W hitford (Father M ix e r.............................................. John Beanland S criptw riters................................................G ra e m e Farm H a ird re s s e r.................................... Robin M axted W ardrobe c o -o rd in a to r.............Anthony Jones G reg Millin Still photography........................Lindsay Hogan Thom as), Phillip Q uast (Chris), Brian Syron W a rd ro b e ..................................H e a th e r M cLaren W ard, b u y e rs ................................................... Jenni Bolton, Title d e s ig n e r................................ Phil Cordingly (Father Cubero). Based on the original idea W ard, a s s is ta n t...................................................Lyn Askew Kerri Barnett b y ..................................................... Russell Scott P u b licity........................................M aggie Sefton, S y nopsis: The true story of two G erm an Props b u y e r/d re s s e r................M a rg a re t Slarke S tandby w a rd ro b e ......................................... Fiona Nicolls ABC Exec, p ro d u c e r..................................................... Ian Bradley aviators, Hans B ertram and Adolf Klaus S tandby p ro p s ............................Robert M oxham Set d re s s e r......................................................Dallas W ilson C a te r in g .......................................................... B ande Aide Prod, su p erviso r...............................................M ike M idlam m ann, lost in the Australian bush for 53 days. Music e d ito r................................ G arry H a rd m a n S y n o p s is : Love, lust and greed w eave tangled w ebs w hen a dynasty turns for its survival to test tube babies.
PRODUCTION
264 — August CINEMA PAPERS
Production Survey
S y nopsis: A d ram a com edy about two Sound editor................................................ Andrew Stew art unit technical 2nd sound re c o rd is t.................................... Doron Kippen 2nd Studios............................................................ H S V 7 Stunts co-ordinator................ D e e A rlen-Jones fem ale truckies w ho are doing a run from Art d ire c to r...............................Chris Breckwoldt d ire c to r......................................................G eorge Gryllis L e n g th ................................................... 6 x 60 mins Sydney, Brisbane and return. The y are being A rm o u re r.............................................................. Bob Colby Costum e d e s ig n e r........................................Fiona S pence V T R o p e ra to r............................... Gints Vietnieks G a u g e ............................................................. 16m m chased by everyone from the repossessor to R u n n e r.................................................................Noel Cunnington M a k e -u p .................................... S ylvana V ennery Boom o p e ra to r........................................Phil Cole Shooting s tock...................................Kodak 7291 thugs, not to mention the police. P ublicity................................................................Tom G re2nd e r unit boom o pe ra tor....................... S u e Kerr W a rd ro b e .............................................................Rita Crouch C ast: Andrew M cFarlane (Tom Callaghan), C a te rin g ..............................T a k e l Film C a terers W ard, assistant............................... M oya C alvert Art d irecto r.........................................R obert Lloyd Lorna Patterson (Liz Drever), Keith Eden Post-production fa c ilitie s .............................. V T C TIME’S RAGING Props m a k e r.................................... Eu gene Intas Asst art director.................................... Tony Hunt (Harry Sinclair), Vikki Ham m ond (Beth L en gth........................................................... 95 mins Props b u y e r...............................Sandy W ingrove C ostum e d e s ig n e r..................Jenny C am pbell Drever), Steve Bisley (Andy M cG regor), Bill Prod, c o m p a n y .................................................A B C G a u g e ...............................................................1-inch Standby p ro p s ...............................................Jam ie Crooks M a k e -u p ..................................................... Jo h an n e Santry H unter (Dusty Miller), Linda Hartley (Diana P ro d u c e r......................................M ichael Carson Shooting s to c k ...................................... V ideotape Scenic artist.........................................................Ray Pedler M ake-up assistant......................................... Susie Laurie Daniels). D ire c to r.......................................................... S o phia Turkiew icz S y n o p sis: Tw o young girls from the country Set construction............................................. Brian Hocking W ard, assistant.................................. S uzy C a rter S ynopsis: A story of adventure and rom ance S c riptw riters........................Sophia Turkiew icz, arrive in the city and m eet som eone who M ix e r............................................................... G em ini Sound S tandby p ro p s ............................................... Kerrie Reay based on the contem porary Royal Flying Frank Moorhouse irrevocably changes the course of their lives. Still pho tography.............................................M ark Burgin Set con struction.............................. John Denton Doctor Service. Based on a short story from the C a te rin g ............D.J. & C.J. Location Catering M usic e d ito r ..................................G ary Hardm an book F u tility a n d O th e r A n im a ls SONS OF THE PINK PANTHER Length.................................................. 13 x 25 mins V ideotape sound editors........ Trevor Harrison, b y ........................................Frank M oorhouse THE LAST BASTION G a u g e ..................................... 1 in. PAL C format M artin Oswin, P h o to g rap h y.................................Julian P enney Prod, c o m p a n y........ H a n n a B a rb era A ustralia Prod, c o m p a n y ...............................Classic Films Shooting s to c k ......................................Videotape Keith New m an S o und recordist................................... Ben O sm o P ro d u c e r........................................................... Chris C uddington Producers......................................... Brian Rosen, Cast: Justine C larke (Tina), Adam Willits M ix e rs .......................................... Trevor Harrison, E d ito r.................................................................. Tony K avanagh D irector................................................................. Don M acKinnon David W illiam son, (Johnny), Ross Browning (The Baron), Alan M artin Oswin, Prod, des igne r..................................................Tony Raes Based on the original idea Denis W hitburn Highfield (Carlo), Ben Franklin (Jacques), Keith New m an C o m p oser............................................Bill M otzing b y ........................................................................ Friz Freleng D irector..........................................Chris Thom son D asha Blahova and C lelia Tedeschi (Lotte), Stunts co -o rd in a to r.......................................Pe ter W est Prod, m a n a g e r............................................. Dennis Kiely E xec, producers.................................................. BillH anna, S criptw riters...........................David W illiam son, Peter Seaborn (M aestro), Jan et Ashelford Still p h o tog ra phy....................... Lars G undlach, Unit m a n a g e r..................................... Val W indon Joe B arbera Denis W hitburn (M aria), Alan Highfield (R enato Del Cardo), G eoff M cG eachin Prod, assistant.......................................... Jen n ifer Couston Assoc, p ro d u cer............................................. David S alter P h oto graphy....................................... Louis Irving M azz Appleton (W eazel). Best b o y .........................................Robert Verkerk 1 st asst d ire c to r...............................................Scott F eeney Prod, co-ordinator...................... R oz W is em an Sound recordist.............................................. Peter Barker Synopsis: Tw o children, who are ignorant of P u blicity...........................................N etw ork 0-28 2nd asst director............................................... Kate W oods Prod, m a n a g e r ............................ Jac k Pietruska E d ito r................................................................... S a ra Bennett the world of opera, becom e involved with a C a te rin g .................................... J a n e tte ’s Kitchen Continuity..................................................... R h onda M cAvoy Prod, s e c re ta ry ....................................................Pat Burke Prod, d e s ig n e r................................................ Larry Eastwood group of eccentric w ould-be opera stars, por S tu d io s ..........Ferrym an Television (Granville) C a sting............................................Jen nifer Allen Prod, acc ountant......................W a y n e Dearing Prod, co-ordinator........................................ Lynda House trayed by puppets. A series designed to M ixed a t .................................. Colorfilm V ideolab Lighting c a m e r a m a n .................Julian P enney Anim ation d re s s e r...................Don M acKinnon Prod, m a n a g e r ........ Carolynne C unningham entertain and stim ulate a general interest in V /T laboratory....................... Colorfilm V ideolab C a m e ra o p e ra to r.........................Julian P enney A n im a tio n ................. H a n n a B arbera A ustralia Unit m an ag er...................................................M ardi Kennedy opera stories through the lighthearted Lab. liaison...................................... Peter Bowlay Focus p u ller..................................................Russell Bacon Len g th ..................................................13 x 21 mins Financial m edium of puppets. L e n g th ................................................... 7 x 60 mins C lapp er/loaders............................................... Brett Joyce, S cheduled re le a s e ..................S e p te m b er 1984 co n tro lle r..... Richard H a rp er M anage m e nt G a u g e ...................................................V id eo tap e R obert Foster Cast: Pink P anther, Pinky, Panky, Punkin, Prod, a c c o u n ta n t......................................M ichele Jam es S cheduled r e le a s e ......................O ctober 1984 ONE SUMMER AGAIN Key g r i p ..........................................Alan T reve na Rosko, Chatta, Annie, Murfel, Howl, Liona, 1st asst d ire c to r...............................................Colin Fletcher C ast: Grigor Taylor (Jack Cheney), Lex Asst g r ip .............................................................. Paul Law rence Finke. (THE HEIDELBERG SCHOOL) 2nd asst d ire c to r.............................................Tony M ahood Marinos (Tim P appas), R ebecca Gilling G a ffe r...............................................M arlin Perrott S y nopsis: A series of anim ated short Prod, c o m p a n y ................................................ ABC 3rd asst d ire c to r......................................... M urray Robertson (Jean C heney), G osia D obrow olska (M ag da E lectrician........................................................Pierre Drion stories, m ainly featuring Pinky and Panky, P ro d u c e r........................................................... Keith W ilkes Asst unit Stancovic), Henri Szeps (Milcus Kuskis), Boom o p e ra to r............................................... G eoff Krix the sons of the Pink P anther. Episodes Director.................................................M ark Callan m an ag er......... Christiaan H oppenbrouw ers Jess Ashby (S tan ley D uncan), R obert Asst art director.............................................. Steve G ow include Pinky and P anky's friends as well as S c rip tw riter........................................... Bill G arner C ontinuity...............................................Pam Willis Hughes (G eorge Keller). M a k e -u p .....................................................C hristine Balfour a group of their antagonists called The Based on the original idea Producer’s a ss istant..........................Rosie Lee S y nopsis: “ C o m m un ica re” is a com m unity W ardrobe...................................... C hristine Sadd H o w l’s Angels. b y ......................................................... Hum phrey M cQ ueen C a s tin g ....................... Forcast (M ichael Lynch, legal aid centre, run by barrister Jack W ard, a s s is ta n t.......................... W en d y Chuck Senior c a m eram an .....................Ian W arburton Rae Davidson) C heney, young lawyer Tim Pappas and their P rops..................................................... D ave W hite Sound recordist.............................................. John Boswell Extras c a s tin g ....................................................... Jo Hardie assistant, M agda Stancovic. Jack and his Props b u y e r....................................................P addy M cDonald Ed itor...................................................................... BillMurphy Lighting c a m e ra m a n .......................Louis Irving small staff attem pt to cope with the Standby props.................................................Steve S tannard Prod, des igne rs..........................................G unars Jurjans, Focus p uller........................................ Derry Field problems of their clients, who are from Set d e c o ra to r............................ Bob Hutchinson M ax Nicolson C la p p e r/lo a d e r.............................................. Laurie Kirkwood various ethnic backgrounds, as well as Scenic a rtis t................................................ G eorge Stanton Key g r ip ............................................................Bruce Barber Exec, p ro d u c e r............................................... Keith W ilkes coping with their own dom estic problem s. C a rp e n te r..............................................................Jim Harper Asst grip.......................................................Brendan S hanley Prod, m anag er................................................G eoff Cooke Asst ed ito r...................................................... Roslyn Pitsonis G a ffe r................................................................. Peter O ’Brien Unit m a n a g e r ..................................................Peter Trofim ovs CHILDREN OF TWO COUNTRIES Neg. m atching...................................................Pam Toose THE FIGHTING GUNDITJMARA Prod, s e c re ta ry ................................Debbie Cole E lectrician ...........................John Bryden-Brown Sound editor.....................................................Peter Tow nend Prod, com pa ny........................................ Kingcroft Prods 1st asst director...................................................BillSm ithett Prod, com pa ny.................... G unditjm ara Prods Boom o p e ra to r.....................................David Lee M ix e r .................................................................. P e ter B arber (Australia) 2nd asst director............................................... Ann Bartlett W ardrobe de s ig n e r.......................................David Rowe P ro d u c e r...........................................Robert Brow Still ph o to g ra p h y.............................................G ary Johnston P rod ucer.......................................... Terry O hlsson M a k e -u p ............................................................... Bob M cCarron C ontinuity.........................................................Kerry Bevan D irecto r............................................. Robert Brow Publicity...........................................................Lesley Jackson D irector.............................................Terry O hlsson Producer’s a s s is ta n t....................................Kerry Bevan Scriptw riters.................................... Jim Poulter, M ake-up assistant...................................... W endy Sainsbury C a te rin g ............................................................Fillum Catering S c rip tw rite r.....................................Terry O hlsson Robert Brow Hairdresser..................................................... Jenny Brown C a s tin g .................................................. G reg Apps S tudios............................. AB C , F ren c h ’s Forest P h o to g ra p h y ...............................................M ichael Kings, Lighting c a m e ra m a n .........................................Ian W arburton W ardrobe supervisor....................................A nna W ad e Based on the original ideas Mixed a t............................ABC, F ren c h ’s Forest John Mounsey Cam era op e ra to r............................................ John Hawley b y .......................................................Jim Poulter, Standby w a rd ro b e .................................... Andrea Burns Laboratory................................................. Colorfilm Sound re c o rd is t...........David M cC onnachie Focus p u lle r.................................... Trevor M oore Robert Brow W ard, a s s is ta n t................................. John Shea Length.......................................................................75 mins E d ito rs ....................................................................BillStacey, Key g r ip .................................. Tony W oolveridge Photography.................................Barry M alseed Standby p ro p s ....................................................Igor Lazareff G a u g e ...................................................................... 16 mm Liz Irwin E le c tric ia n ......................................................... Mick Sandy Asst props b u y e r................................................Kim Darby Sound rec o rd is ts ...................Laurie Robinson, Shooting s to c k .....................Kodak 7 2 9 4 , 7291 C o m p oser..............................................................Pat Aulton John Rowley, Design a s s is ta n t.....................................R ebecca RaftBoom operator....................................G ary Lund Scheduled re le a s e ......................................... 1985 Prod, m a n a g e r ................................................T erry Slack Costume d e s ig n e r..................... Alwyn Harbott W olf Becker Art dept a d m in is tra to r.................................. Leah Cocks Cast: Judy Morris (Lauren), M ichael Aitkens Unit m a n a g e r ...................................................Terry Slack M a k e -u p .......................................................... Jurjen Zielinski, E d ito r................................................. Robert Brow Art dept ru n n e r............................................ M urray Pope (Cam ), Lewis Fitzgerald (David), P enne Prod, sec re ta ry ............................................ M arin a S eeto Linda W ashbourne Videotape e d ito r......................... M ark S anders Set d e c o ra to rs ..........................Sally Cam pbell, H ackforth-Jon es (Jane), D avid Dow ner Prod, accountant..........M oneypenny Services W a rd ro b e .................................................... Rhonda Shallcross Lissa Coote C o m p o s e r.........................................Red Sym ons (Jimmy), Vicki Luke (M argaret). Prod, a s s is ta n t................................................. M ike C aiger Props b u y e r.................................................... H elen W illiam s Prod, co-ordinator........................... Nola Brown Scenic a rtis t.....................................................Peter Harris Synopsis: Lauren is 38 and a successful 1st asst d ire c to rs ................................................BillStacey, Special e ffe c ts .................................................. Rod Clack Prod, s e c re ta ry .................................Nola Brown P a in te r.................................................. Chris Reid solicitor. She is separated from C am and in Liz Irwin C a rp e n te rs ..........................................Bob Paton, Scenic a rtis ts ......................................Otto Boron, Lighting c a m e ra m a n .................Barry M alseed volved in a relationship for w hich she sees 3rd asst director...................................Pe ter Doig John Tribilco Errol G lassenbury, C a m era o p e ra to r....................... Barry M alseed no future, with David who is 28. Lauren C o n tin u ity ......................................................M arina S eeto Dave Young, Asst e d ito rs .................................................. Steven Robinson, 2nd unit pho tog raphy..................... G ary Smith craves m otherhood, and recognizes that her C a s tin g .............................................................. Terry Slack Nick Lee G eoff Howe N arrator..........................................Reg S aunders biological tim e is running out. C am offers a Lighting c a m e ra m e n ................................ M ichael Kings, Construction m a n a g e r................................. Brian Hocking Sound editor........................................Bill Murphy M ixed a t.............................................V ideo House reconciliation, forcing Lauren to confront ' John M ounsey W orkshop m a n a g e r ....................................... Alan Flem Editing ing assistants...................................... G eorge Moore L a b o ra to ry .......................................................... VFL difficult and urgent life options. Focus p u lle r................................M artyn G oundry Title de s ig n e r................................................... Judy Leech Asst editors.........................................Em m a Hay, B u dget.......................................................... $ 7 0 ,0 0 0 C lap p e r/lo a d e r.......................... M artyn G oundry M argaret Sixel Publicity.................. ABC Publicity D epartm ent Len gth...........................................................50 mins C a m e ra assistants.....................................Russell Dority, C atering............................. Bande Aide C aterers Dubbing e d ito rs ........................... Paul M axwell, G a u g e ............................................................ 16 mm Andrew M cLean Anne Breslin L e n g th ..................................................3 x 50 mins Shooting s to c k .............................................. Kodak E le c tric ia n ....................................................... Roger W ood Cast: Chris Hallam (Tom Roberts), Michele Asst dubbing e d ito rs .............. M argaret Sixel, Cast: Reg Saunders. W a rd ro b e .............................................................Ron W illiam s Julia G elhard Fawdon (Jane Sutherland), Huw W illiam s S ynopsis: T h e F ig h tin g G u n d itjm a ra is M ix e r........................................................ Jon Marsh (Arthur Streeton), W illiam Z ap pa (Billy Still photography.......................... Carolyn Johns about a young Aboriginal boxer, G raem e Still p h o to g ra p h y .............................................. Ron Furner, M aloney), Phil Sum ner (Fred M cCubbin). Best b o y ............................................................ Craig Bryant “ Porky” Brooke, and his struggle to achieve Cliff Frith Synopsis: A radical look at the first A ustra success as a boxer. It also parallels the Unit ru n n e r.......................................................Peter Voeteri R u n n e r................................................................ G reg Ohlsson P u blicity........................................................Victoria Buchan, lian art movem ent. struggle of his tribe, the G unditjm ara, to EVERY MOVE SHE MAKES Publicity................................................................R e a Francis C hannel 10 survive. Prod, c o m p a n y ................................................ ABC Studios............................. Kingcroft (M elbourne) C a te rin g .............................................. John W elch QUEEN OF THE ROAD P ro d u c e r........................................................... Erina R ayner THE FLYING DOCTORS P ost-production...................Kingcroft (Sydney) S tudios............. ABC Studios, Fren c h ’s Forest Prod, com pa ny..................................... J N P Films D irector.....................................................C atherine M illar Mixed a t.......................................... Sound O n Film Lab orato ry.................................................Colorfilm Prod, c o m p a n y .......................................Craw ford Prods P ro d u c e r........................................ Jam es Davern Scriptwriter.............................................. C a the rine M illar Lab orato ry................................................ Colorfilm Lab. lia is o n ...........................................................Bill Gooley, Producers....................................... Bud Tingwell, D ire c to r............................................................ Bruce BestPhotography.........................................................Ian W arburton L e n g th ....................................................2 x 60 mins Richard Piorkowski G ra ham Moore S c rip tw riter......................................................... LuisBayonnas Sound recordist...............................................John Boswell G a u g e ............................................................ 16 mm Length..............................................3 x 120 mins D ire c to r............................................ Pino Am enta P h oto graphy................................. Joe Pickering E d itor.......................................................................BillMurphy Shooting stock............................... E astm ancolor Shooting sto c k .............................................. Kodak Scriptw riters............................Terry Stapleton, Sound re c o rd is t................................................ Ken HamProd, m onddesigner....................................C hristopher Forbes S y nopsis: A television special based on the Cast: Michael Blakem ore (John Curtin), V incent Moran Editor...................................................................Zsolt Kollanyi Prod, m a n a g e r................................ Frank Brown prem ise that, w h atever the differences in cul John W ood (R obe rt M enzies), Robert Exec, script co n s u lta n t............B arbara Bishop Prod, d e s ig n e r........................................... Michael Ralph Prod, s e c re ta ry ............................... Debbie Cole ture, background or language, children will Vaughn (D oug las M acA rthur), Tim othy P h o to g ra p h y ................................................... David Connell C o m p o s e r................................. Michael Perjanik 1 st asst d ire c to r.......................... Peter Baroutis always find a w ay to com m unicate with and est (W inston C hurchill), Ray Barrett Sound recordist..........................................Andrew R amWage Assoc, p rodu cer.................................. Irene Korol 2nd asst director..............................................M ark Gibson understand each other. (G eneral Blarney), W arren Mitchell (Franklin E d ito r................................................ Ken Sallows Prod, supervisor.................................. Irene Korol Continuity.................................................. Christine Lipari Roosevelt), P e ter W hitford (Dr Evatt), Exec, p ro d u c e rs ................... Hector Crawford, Prod, co-ordinator...................Sally Ayre-Sm ith C a s tin g ...............................................................G reg Apps G raem e Rouse (Sutherland), M ax Cullen CITY WEST Ian Craw ford, Prod, m a n a g e r..................................... Irene Korol Lighting c a m e ra m a n .........................................Ian W arburton (Eddie W ard), Bill Hunter (Ben Chifley), Jon Terry Stapleton Prod, com pa ny....Fe rrym an Television Prods Unit m a n a g e r........................................H enk Prins C a m era o pe ra tor...............................................Don W hitehurst Ewing (Bill Hughes), David Downer (Percy Assoc, p rodu cer....................................M ike Lake Dist. c o m p a n y ................................ Netw ork 0-28 Prod, s e c re ta ry ........................................... Debbie Braham Focus p uller...................................................... Hans Jansen S pender), Tony Llewellyn-Jones (EarleProd, co-ordinator...................................... Jan ine Kerley P roducer........................................... Eric Fullilove Prod, a c c o u n ta n t............................................. M att S awKey yer g r ip .................................. Tony W oolveridge Page), John Ham blin (Anthony Eden). Prod, m a n a g e r...............................................H elen W atts D irectors............................................................ Brian Faull, 1st asst director................. Charles Rotherham Asst g rip s .......................................................... Tony Halls, S y nopsis: “ The Last B astion” are the words Unit location m a n a g e r ........................ G rant Hill Julian M cSw iney, 2nd asst d ire c to r....................................... M ichael Faranda Philip Oyston used by John Curtin in his 1942 appeal to Asst location m a n a g e r............................. M urray Boyd Brian Lennane 3rd asst director................................................Tom Blackett Underw ater p h o tog ra phy......... Ivan Johnston President Roosevelt not to let Australia fall. Prod, acc o u n tan t.......................................... Vince Smits S c rip tw riters.................................................... Colin Free, Continuity...........................................................Nicki Moors Electricians........................................................M ike Sandy, Australia faced a crisis as the Jap anese 1st asst d ire c to r.................................. John W ild Cliff G reen C a m e ra op e ra to r......................... Joe Pickering M alcolm M cLean, moved inexorably south. Australia, already 2nd asst d irecto r........................................M ichael McIntyre Based on the original idea b y ......... Colin Free C lap p e r/lo a d e r............................. Conrad Slack Les Frazier m arked ’ e xp en d ab le’ by Britain and the 3rd asst d irecto r.............................................. Jack Zalkalns P h oto graphy..................................................... G ary M oore Key g rip ...:.................................Paul Thom pson Boom operator................................................. G ary Lund U .S ., lay exposed. The threat of invasion C ontinuity.......................................................... Julie Bates Sound re c o rd is t....................... John O ’Connell Asst grip......................................G eorge Tsoutas Art director......................................................... D ale M ark was imminent. Focus p u lle r..................................................... G reg Ryan E d ito rs ..........................................Bruce Hancock, Focus p u lle r..................................................... A nna Howard Costum e designer......................................... David W halley C lapp er/loader...............................Bruce Phillips John Morris G a ff e r ................................................................... Reg G arside M ake-up.......................................................... Rachel Cartw right THE MAESTRO’S COMPANY Sound a s s is ta n t........................ Scott Rawlings Prod, d e s ig n e r ............................................. Robert Lloyd Boom o p e ra to r................................................ Andy Duncan W a rd ro b e ..........................................Anne Brown Key g rip ............................................Ian Benallack Com poser (title s )......................................Them os Mexis Prod, c o m p a n y .................. Independent Prods Art director....................................................Michael Ralph Props b u y e r..................................................... Brent M cDonald Asst g rip ...........................................Craig Dusting P ro d u c e r............................................. Jim G eorge Exec, produ cer...................................................Eric Tayler Costum e d e s ig n e r........................................H elen Hooper Standby p ro p s ................................... Ross Allsop G affer.................................................................David Parkinson D irecto r..................................... W illiam Fitzw ater Assoc, p ro d u c e r........................................ M ichael M cKeag M ak e -u p ........................M argaret Alexander Special e ffe c ts ................................................ Terry Barrow 3rd electrician/ Prod, c o -o rd in a to r................... Roz Berrystone S c riptw riters............................. M arcus Cooney, W a rd ro b e ......................................................... H elen Hooper Neg. m atching..........................................Susanne Tyzack Sue W oolfe, Unit m a n a g e r.............................................. Richard Hobbsgenni operator............................................Steve Bickerton Props b u y e r.......................................................... Ian G ra Music de performed Sheila Sibley, Prod, sec re tary............................ Jen nifer W ard Art director............................................................ Tel Stolfo Standby p ro p s .............................. John Osm ond b y ............. M elbourne Sym phony O rchestra M arcia Hatfield, Prod, a c c ountant........................ Jen nifer W ard Asst art d ire c to r.........................Bernie W ynack Set dress er........................................................ M ark Clayton Sound e d ito r.................................G eorg e Moore Rick Maier, 1st asst d ire c to rs ........................Soren Jensen, M a k e -u p ....................................... Leeanne W hite Asst e d ito r.................................Leanne Glasson Editing a s s is ta n t...............................Nicolas Lee P e ter Conroy Hugh Stuckey Asst m ake-up hairdresser.............. Pam W right Sound e d ito r.............................Ashley G renville M ix e r ...................................................................John Boswell W ardrobe sup erviso r................................... C lare Griffin Story/script e d ito r.......................................... Hugh Stuckey 2nd asst d irector................................................ Ken Richardson Stunts co-ordinator....................................... G rant Page Stunts................................................................. Chris Anderson. W ardrobe s ta n d b y ............................................Phil Eagles Series created b y ........................................ M arcia Hatfield 3rd asst d irector................ Klaus-P eter M ueller Still pho tog ra phy....................................... A ndrew Jacob G len R uehland P h o to g rap h y......................... Robert McDonnell ard, a s s is ta n t...................M argot M cC artney D irectors’ assistants.......................................... Jill M cGW lashan, Best b o y ..............................................................Sam Bienstock Title d e s ig n e r..................................... Judy Leech Lindy Edgley Props b u y er....................................................Bernie W ynack Sound recordist................................................Noel Q uinn R u nners........................................................ Andrew Paul,Mixed a t .............................................................. ABC Standby p ro p s ...................................... Barry Hall C a s tin g ...............................Ferrym an Television Videotape e d itin g .......................................... 2 0 /2 0 Vision Kit Q uarry Lab orato ry.................................................. Cinevex Set dressers................................................. Harvey Mawson, Set d e s ig n e r.................................................W endy Dickson Casting consultants (c ro w d s )..............Studio J Publicity.............................................................. Lucy Jacob Length...................................................................... 78 mins M urray Kelly Exec, produ cer...........................................Richard Davis Lighting c a m e ra m a n ......................................G ary M oore C a te rin g .......................................... Kaos Katering G a u g e .............................................................. 16m m Construction m a n a g e r ................................ Peter M cNProd, ee co-ordinator..........................Julia Ritchie C a m e ra o p e ra to rs ..........................................Colin Purnell, S tu d io s ........................................................M ortbay Shooting s to c k ..................... Kodak 7 24 7, 729 3 Prod, m a n a g e r................................. B renda Pam G ra em e Ross Asst e d ito r.................................................. W arw ick Crane Len gth...................................................................... 98 minsCast: Julie Nihill (Alison), Doug Bowles Prod, acc ountant.................................... M argaret Keefe S tunts..................................................................Chris Anderson 2nd unit ca m e ra o pe ra tor.............. Jim W alpole G a u g e ..............................................................35m m (Matthew ), Pepe Trevor (Jackie), Jam es D irector’s a s s t/re s e a rc h .............. Sian Hughes Still p h o to g ra p h y ............................... Sterio Stills Key g r i p ........................................................G raham Young Cast: Joanne Sam uel (Rosie Costello), Laurie (Andrew). 1st asst d ire c to r........................................Stephen Jones (David and Lorelei Sim m onds) 2nd unit p h o to g ra p h y ...................................... Phil Dority Am anda Muggleton (Gail O 'R e a g a n ), Chris Synopsis: A man fall obsessively in love with Best b oy........................................................ Richard Tum3rd m elasst d ire c to r.........................................R ichard Jazek Haywood (M ax), Chris Hession (Len), Allan 2nd unit sound re c o rd is t.............. Ralph S teele a fem ale fellow worker. He begins to pursue Casting c o n s u lta n ts ..... M aizels & Associates G a ffe r................................................................. G eoff M aine M cQ ueen (Fegs), Kevin Leslie (Bronco), H u nner............................................................... Peter Nathan her innocently and she responds in a C a m e ra facilities and E le c tric ia n .......................................................S h aun C onw ay publicist......................................... Chris Day Shirley C am eron (M a m a Lil), Sh ane W ithingUnit courteous, but unenthusiastic way. The o pe ra tion.......................................................Tram Video Production fa cilities.......................................... H M Productions ton (Fred (S peedy) Norton), Al “ H e rp ie ” C a te r in g ............................Early M orning Risers situation however quickly changes from one G a ffe r................................................................Shaun Conw ay G raves (Brian Moll). Technical d irecto r..................................Josh Kirk (Tony Lippold) of a casual problem to one of m enace.
POST-PRODUCTION
AWAITING RELEASE
CINEMA PAPERS August — 265
Ermanno Olmi's
'CAMMINA, CAMMINA' (Keep Walking, Keep Walking)
This mini-epic - a witty, humanist reworking of the story of the three wise men - is Olmi's first film since The Tree of Wooden Clogs".
Commencing late July: BRIGHTON BAY TWIN CINEMA Melbourne ACADEMY TWIN CINEMA Sydney _______ELECTRIC SHADOWS Canberra_______ We have also recently acquired: Russ Karel's ALMONDS AND RAISINS. From a script by Wolf Mankowitz, with narration by Orson Welles, this lovingly crafted documentary tells the story of the almost forgotten Yiddish film industry that flourished in New York in the twenties and thirties.
Suite 8. 6 5 Q ueens Road; Melbourne. Victoria. 3 0 0 4 . T elephone
SharmiU Films
529 1595
27 Stonnington Place, Toorak, Victoria. 3142. Telephone: (03 )205329 . Cables: "Sharfilms" Melbourne.
iia
Z
WANTED
m
— —------ -— ------- ------------- ----------—
■ B
W estern Electric Tubes, A m ps, N etw orks, M ixers, Consoles, Tw eeters, D rivers, H orns, Speakers, others.
■
W estrex (London) A m ps, D rivers, Speakers, etc.
■
D a v id Yo
FREELAND! AGENCY
P O B o x 8 3 2 M o n te r e y P k, C a. 9 1 7 5 4 USA
SALLY MIIKLEJOHN, CHRISTINE MACKRILL. P.O. BOX 2988. AUCKLAND. N.Z. TEL: 779*033. 793*138.
Tel: (2 1 3 ) 5 7 6 2 6 4 2
BBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBflBBji
THE AUSTRALIAN FILM COMMISSION
announces the establishment of its
The Australian Film Commission provides a substantial amount of its funds to the development of scripts for Australian film and television production. All proposals for script development will in future be directed to the AFC’s Script Office which is responsible for the national script development programme. The AFC provides script development assistance to projects of no less than 20 minutes duration. Such projects may be features, series, shorts, experimental works and so on. The Script Office comprises five full time script consultants (4 based in the AFC Sydney office and 1 in the Melbourne office). The consultants are film and
television industry professionals (usually writers, script editors and directors) on contract to the AFC. Further information about applications for script development is available in the AFC Film and Television Script Development Policy Guidelines which are available from the Script Office in: SYDNEY: _ Australian Film Commission 8 West Street North Sydney NSW 2060 T el (02) 922 6855 or toll free (008) 22 6615 MELBOURNE: Australian Film Commission 185 Bank Street South Melbourne Vic 3205 Tel. (03)690 5144
T h e B o u n ty Jim Schembri There are a number of ways one can approach Roger Donaldson’s The Bounty. The most obvious — and the one most popular among reviewers — is an analysis of the film as a ‘remake’, comparing it to the 1935 and 1962 films Mutiny on the Bounty, perhaps even venturing some comment on which version is closest to ‘the facts’. It may be more fruitful, however, to view The Bounty as straight commer cial entertainment in the adventureromance genre, and how it seems to be part of a growing trend among recent films to adopt a traditional, cinematic formula designed to fill theatres. Films using this ‘formula’ are typi fied by particular characteristics in cluding big screen production values, big budgets, a big name cast and an ‘epic sweep’ to its story. The central feature usually involves a classic tale (as in The Bounty), or popular literary figures with legendary qualities (Excalibur, Superman and Greystoke), or major historical or social events or figures (Gandhi, The Right Stuff and many war films such as The Longest Day and A Bridge Too Far), or a cul turally entrenched, tried-and-true genre (the Star Wars trilogy and the Indiana Jones films). In fact, it is interesting to note that some of the most successful Australian films use this formula. The Man from Snowy River is based on ‘Banjo’ Paterson’s classic poem, Phar Lap has Australia’s most famous and loved racehorse as its subject and Gallipoli deals with events in Australia’s history which have become legend. It is hardly surprising that tenders are currently being sought to fund a film dealing with the expeditions and lives of Burke and Wills. In the face of the current video movie boom, this approach seems par ticularly appropriate, though in the case of The Bounty the film’s ingredients seem mismanaged, result ing in a lengthy, unsatisfying film. The major flaw in The Bounty is the structure and pace of its story. At the start of the film, Captain Bligh (Anthony Hopkins) faces a court martial hearing over the loss of The Bounty to a gang of mutineers led by Fletcher Christian (Mel Gibson). Bligh begins by outlining the events of the voyage and the mutiny, thus adopting a familiar, story-telling format. Viewers are, presumably, meant to be seeing Bligh’s version of events. Accordingly, one gets a very rounded portrait of Bligh’s character, his views on discipline, his personality and his descent into brutality against his in creasingly dispirited crew after they leave the sexual paradise of Tahiti. However, one has no clear idea through what narrative device the other side of the mutiny is being shown. One is confused as to whether or not the mounting anger among The
Bounty’s crew is just Bligh’s impres sion. Presumably, it is a separate development on another structural level, but it is never made clear. This flaw is most apparent after the mutiny, when the viewer sees the problems Christian is having with his crew while Bligh is adrift, thousands of miles away, sharing a seagull with the loyal remnants of his crew. Yet, despite this irritating structural shortcoming, the film, for the most part, maintains a good balance be tween action and drama. It is, how ever, in the last segment of the film, after Bligh is set adrift, that The Bounty commits the cardinal sin of any adventure yarn: it becomes dull. There is constant cutting between Christian on The Bounty and Bligh in the longboat in which yery little happens and there is little tension or interest. Bligh and his men grow beards, get hungry and shout a lot, while Christian has some disagreement with his crew on whether or not to head for the uncharted island of Pitcairn. This sluggishness spoils the impact of the climax, deflating the drama at the heart of Bligh’s court martial. The audience is given a good understanding of both sides of the mutiny, and recog nizes the difficulty in deciding whether or not Bligh was at fault for his behaviour. However, by the time his acquittal is announced, this dramatic build-up has effectively been sapped of impact by the film’s lengthy, ‘drifting’ segment. Perhaps, if this part were to be telescoped, the outcome of Bligh’s case would have had more of an effect. Symptomatic of most ‘big’ films is
the use of ‘big names’ in decidedly minor roles, and this is the case with The Bounty. For, unlike the carefully etched cameos for the name stars in Gandhi, Laurence Olivier and Edward Fox, despite their headline billing, do less than some of the extras in the film. Overall, however, the performances in The Bounty are the film’s strongest point. There is some good work from a supporting cast consisting of relative unknowns (especially Daniel DayLewis as Mr Fryer), and Hopkins and Gibson carry much of the film. Bligh’s mixture of ambition, obstinance and vulnerability allows the character to go through phases of extreme behavioural changes without losing credibility. Hopkins is con vincing and controlled, with period speech mannerisms and an emotional intensity that give his portrayal great power, especially in some of the scenes before the mutiny in which his authority is challenged. Fletcher Christian is a more two dimensional character, and there seems a limited scope for Gibson to demonstrate some of the acting range he showed in Gallipoli and The Year of Living Dangerously. Nonetheless, even though he puts little effort into main taining an accent, Gibson manages some impressive scenes as Christian. The best example occurs the morning after the mutiny, when Christian screams at the other mutineers to leave Bligh alone, powerfully conveying the instability of someone barely in con trol of a situation he did not instigate. Films that attempt an epic sweep require a skilful combination of the physical production, photography and
soundtrack to convince the audience it is watching a story of consequence. In the case of the soundtrack for The Bounty, Vangelis’ score is easily in the league of Maurice Jarre and Ennio Morricone. The simple, electronic pulses help create the brooding menace and tension underlying the mutiny and help make the mutiny scene powerful and effective. The atmospheric poten tial of the six-track Dolby stereo sound is also well used, with much of the music murmuring, appropriately, from behind. Technically, however, the film is a huge disappointment: the period recreation looks meticulous, but Arthur Ibbetson’s photography lacks the assurance and visual texture one sees, say, in Excalibur or Greystoke. It operates on a fairly one-dimensional plane, never going beyond a decorative display of uniforms, impressive sets and locations. Apart from the opening credit shots, in which the camera, backed by a haunting score, moves mysteriously through darkened lagoons, the photo graphy lacks any visual style that marries images with the story’s drama or various moods. In fact, the film’s lack of visual enterprise is at its least irritating and most comfortable on the island of Tahiti (where the attachments some members of the crew, including Chris tian, develop for the beautiful native women and lifestyle lead to the mutiny), which is captured in pretty, postcard images that often look like a tourist advertisement. For a film that tries so hard to follow a ‘mass appeal’ formula, The CINEMA PAPERS August — 267
The Bounty
Bounty fails to consolidate properly each of the formula’s ingredients to offer anything special or memorable to the audience it is so eager to capture. The Bounty: Directed by: Roger Donald son. Producer: Bernard Williams. Screen play: Robert Bolt. Director of photo graphy: Arthur Ibbetson. Editor: Tony Lawson. Production designer: John Graysmark. Music: Vangelis. Sound recordist:. John Mitchell. Cast: Mel Gibson (Fletcher Christian), Anthony Hopkins (Captain William Bligh), Laurence Olivier (Admiral Hood), Edward Fox (Captain Gresham), Daniel Day-Lewis (Mr Fryer), Wi Kuki Kaa (King Twnah), Tevaite Vernette (Mauatua), Bernard Hill (Cole), Philip Davis (Young), Liam Neeson (Churchill). Production com pany: Dino De Laurentiis. Distributor: Hoyts Distribution. 35 mm. 132 mins. U.S. 1984.
Greystoke: The Legend of Tarzan, Lord of the Apes Raffaele Caputo Hugh Hudson’s Greystoke: The Legend of Tarzan, Lord of the Apes is a film undeniably characteristic of today’s filmmaking, following the line of production values of recent “ mile stones” such as The Elephant Man, Gandhi and his own Chariots of Fire. Greystoke’s strict adherence to the literary source; location shooting in the Cameroons, the next state down from Gabon where Burroughs sets his story; the transportation of natural plants, trees, vines and rocks from the Cameroons to Elstree Studios to recreate the jungle; the world-wide search for unknowns to the screen; and the arduous seven months training of make-up apes with real apes to imitate precise sounds and movements on the screen all reflect the current values in filmmaking of sensitivity, seriousness and authenticity at any cost. Not surprising, Greystoke’s good intentions are received with much enthusiasm: the “ authentic Tarzan” , the “ real Tarzan” , the “ thinking man’s Tarzan” , the “ definitive jungle film” and the only Tarzan film “ true” to Burroughs. Yet, for all this enthusi asm, and with the exception of the splendid beauty of the jungle sequences and some of the more endearing apes, Greystoke is largely a hollow film. No one can discount the dominance of past Tarzan films in popular memory, nor the fact that Johnny Weissmuller still remains the actor most identified with Tarzan. So, with this new Tarzan film, one was curious to see the balance or interplay between the expectations engendered by the Bgrade Tarzan films and this supposedly faithful depiction of Edgar Rice Bur roughs’ Tarzan o f the Apes. However, the balance being sought was instead imbalanced, tipping the scales against any slight appreciation of past Tarzan films. To begin with, there is no “ me Tarzan, you Jane” , no Cheetah and no beating of the breast with the familiar “ Ahh-ah-ahhh” resounding from the crest of a waterfall. Even the popular name, Tarzan, is refused men tion throughout the film. More annoy ing is that Hudson neither acknow 268 — August CINEMA PAPERS
Greystoke
makes distinct civilized man from primate. D’Arnot re-establishes the difference in a reflection erased in the earlier scene by the ape-mother and human child. The film re-echoes the hair theme, partly by counterpointing the cultured and groomed lands of Greystoke Manor with the wild, dense overgrowth of the jungle and partly when Tarzan, as the aristocratic Lord of Greystoke ^a title inherited, not earned), takes to identifying with two primate substitutes: a long-haired and low-cast stable boy (Emanuelle Obeya), and his regressively-minded grandfather (Ralph Richardson), who, on greeting his grandson, is seen un shaven and with hair dishevelled. But beyond these points the threads get lost. Instead of pursuing the possi bilities of the mirror and razor motifs, and the central theme of hair, Hudson tends to go on a search for any curi ously meaningful imagery or artifacts he can find, in order to make Grey stoke, in his own words, “ much more profound than Chariots of Fire” . Nor does he seem to understand the work ing of these themes in Burroughs’ novel. For instance, an early scene that could have tied together a certain set of relations becomes, instead, groundless and inadequate. The scene is one in which D’Arnot and Tarzan, on their The adolescent Tarzan (Eric Langlois) reacts with fear and anger at the killing of his journey back to England, come across primate mother Kala (Ailsa Berk). Hugh Hudson’s Greystoke: The Legend of Tarzan, the European settlement of Chiromo, Lord o f the Apes. and spend the night in a sleezy saloon infested with European outcasts. ledges an understanding of, nor dares Ivory Coast and here Lord Clayton D’Arnot informs Tarzan, “ This is not to play with, the central concerns so recounts, in voice-over, their survival the world Jean, just the edge of it” , as well embedded within the popular from that time until the birth of their the inhabitants of the saloon are not tradition. For instance, any one of the child six months later, in a clearing unwilling to make clear their criminal Johnny Weissmuller films reveals a dominated by apes. There, at almost nature and undesirability, together struggle between unfair capitalist one and the same moment, a set of with the attributive hair growth of this profiteering, represented by the carefully balanced events occur: the “ edge of the world” stage. expedition, and the Eden-like harmony birth of Tarzan; the death of an apeThis scene is clearly and directly of the jungle. It is profiteering, be it child; the death of Tarzan’s parents lifted from the original, though, one for elephant tusks, lost cities or game (one immediately after the other); and should say, not all too clearly and not hunting, which disturbs the natural the adoption of Tarzan by the childless all too directly. One can imagine the harmony and needs to be overcome. ape, sensitive to the youngster’s cries. scene’s logical place within Burroughs’ But it does not end here, for there is a The film continues with Tarzan’s schema, providing an elemental move particular moral lesson in all this. On a growth and acceptance among the ape ment from primitiveness to civility, comic level, Cheetah sometimes per colony, beginning with a scene in and the attendant and intermediary forms this function; at other times, it is which both ape-mother and human stages of that movement. But there is a member of the expedition. child erase apparent difference by some confusion as to what motivates This is never more clearly pro muddling each other’s reflection in a this scene in the film and what it moti nounced than with the introduction of waterpool, and concluding when vates. D’Arnot’s statement hits one Boy in the 1939 Tarzan finds a Son, Tarzan (Christopher Lambert) chal with a kind of poignancy and defini and his subsequent characterization. lenges and triumphantly defeats the tiveness, without really making any Boy is often an intermediary figure be brutish and dictatorial ape leader, thing definite. Hudson fails to convey tween the two poles; he represents a White Eyes (John Alexander), thereby the manner by which a particular stage certain innocence capable of being earning his title, Lord of the Apes. of hair growth relates to a particular seduced by the allure of materialism. But it is not until the appearance of world, a criminal and undesirable Under Tarzan’s protective wing, Boy is another white man that the order is world. The scene somehow loses out an initiate who, by the end of the film, disturbed, and the more interesting because Hudson seems to have the has learnt a lesson: there are various and telling elements of Burroughs’ terms, but not the strings, to tie them principles one can use as a justification story tend to emerge. Tarzan chances together. for exploring the jungle, the least of upon the wounded Belgian explorer, After this scene, a particular mood, which is for unbridled profit. (As Phillippe D’Arnot (Ian Holm), the an uneasiness, sets in. There is, on the fillers for the lower half of the double only surviving member of an expedi one hand, Tarzan’s discomfort with bill, how “ sgrious” can one get?) tion attacked by Pygmies. While civilized society, sometimes tragic, The marked absence of any of these Tarzan nurtures D’Arnot back to sometimes comic. Although the comic concerns in Greystoke does no more health, D’Arnot not only introduces situations and possibilities are than belittle the status of the popular Tarzan to language and his true expected ones, arising from the clash ized Tarzan, recalling, in some ways, identity, which he refuses to accept at of Tarzan’s jungle manners with those Burroughs’ disapproval of the Holly first, but teaches the ape man the of a pompous, aristocratic lifestyle wood adaptations. Any reference to, crucial difference between himself and (Tarzan sipping soup straight from the or identification with, previous his ape family, which is, believe it or bowl or hooting ape sounds while Tarzans is taboo in Greystoke, giving not, hair. taken by the excitement of a square way to a “ profound” and “ serious” Burroughs’ Tarzan o f the Apes dance), there is, on the other hand, attempt at realistically portraying the obviously was written in the wake of another uneasiness. Burroughs story. But whether in fact it Charles Darwin’s theory of evolution. Greystoke emerges out of a spirit of is faithful to the polemics of the If one recalls the diagram illustrative concern with high-art values currently original is another thing altogether. of Darwin’s theory, what is most dis embroiled in filmmaking (a situation Hudson seems to follow the events tinctive about the transition from the which had its beginnings in the late of the novel very closely. The film figure of the ape to that of man is the 1950s as failing film audiences opens in 1885 at Greystoke Manor, stages of hair loss. What D’Arnot required the extinction of the double where Tarzan’s parents, Lord Jack offers Tarzan, before departing the bill and the B-grade feature, and a Clayton (Paul Geoffrey) and his preg jungle for the civilized world and then swing to expensive, block-buster pro nant wife, Lady Alice (Cheryl Camp again upon arrival at Greystoke ductions). At the same time, Greystoke bell), are preparing to leave for Africa. Manor, is a shaving razor and a has to escape identification with the En route, they are shipwrecked on the mirror, as that which specifically pulp quality (the B-grade effect) of a
Greystoke
long history of past Tarzan films. The uneasiness is clearly Hudson’s, though he prefers not to settle the contradic tion and not to play with it. Once Tarzan arrives at Greystoke Manor, Hudson disappointingly clogs the screen with the sort of trappings one would expect from an environ mentalist documentary, though with overtones of sophisticated and tasteful symbolism. Hudson seems to strive to be serious, to be profound, to authen ticate. The visual style and imagery of Greystoke is fundamental in its passion for quality and fundamental as a “ serious” study of how society lives, wedged between “ the opposing forces of nature and civilization” , says Hudson. Perhaps Hudson is unaware of it, but the nature-civilization opposition is not new to the cinema. It is often cited as a preoccupation of the Western films of John Ford, though, more importantly, in Ford it links up with his reworking of history and pro gress. And, even in the B-grade Tarzan adventures, this opposition is linked to a notion of exploitation. Yet, in Hud son’s hands, it becomes an artificial and “ spineless” division. His every effort seems to restrict the interaction of that opposition and, instead, to dictate the terms of the audience’s dis approval of civilized society according to the dictates of good taste. To the surprise of some, “ low” art films such as Howard Hawks’ Monkey Business (1952), or the Clint and Clyde movies, have developed more intriguing varia tions on the ape-man model with less of the predilection for high art. All that Hudson’s passion for quality does is to denigrate both the value and pro duction skills of the popular concep tion of Hollywood Tarzans, and the complexity of entertainment. Greystoke’s reception is colored by the same spirit. “ At last” , “ finally” , “ the only” Tarzan film that does “ justice” to Edgar Rice Burroughs resounds through the air. It is as if for more than 60 years, and through some 30 Tarzan films (from Elmo Lincoln’s Tarzan of the Apes in 1918, through Johnny Weissmuller’s depictions of the 1930s and ’40s, and up to the 1981 Miles O’Keefe feature with Bo Derek), audiences have been dissatisfied, patiently waiting for the ‘real’ Tarzan. And now, with Greystoke, audiences can heave a sigh of relief. The distinction between high art and popular art has been a standard model for film appreciation since the cinema’s inception. Yet, the fence has not been so noticeably demarcated, or so noticeably unrealistic, as it has been in recent times. The usual, negative terms by which popular art is defined (trash, frivolous, cheap, pure enter tainment, exploitative, commercial) are really not that different from the values Greystoke constructs and main tains. It is only another series of adjec tives (with the same objective as any Bgrade film) which form a guise for Greystoke’s most important value: commercial viability. Greystoke’s high costs ($30 million all told) is to hope for higher returns. In past Tarzan films, especially those featuring Johnny Weissmuller, whenever Cheetah cheekily toys with a shaving brush and razor or a make-up compact or a loaded pistol, that, as far as this reviewer is concerned, says something more profound about what it means to be civilized than all the tasteful shots of birds in cages, croco dile skins or stuffed animals hanging from the walls of Greystoke Manor.
Fast Talking
Greystoke is a film as authentic as any B-grade Tarzan adventure, and what Hudson successfully has accomplished is to reproduce, as a friend has said, “ the myth of authenticity” . Greystoke: The Legend of Tarzan, Lord of the Apes. Directed by: Hugh Hudson. Pro ducers: Hugh Hudson and Stanley S. C anter. A ssociate producer: Garth Thomas. Screenplay: P. H. Vazak and Michael Austin. Director of photography: John Alcott. Editor: Anne V. Coates. Pro duction designer: Stuart Craig. Music: John Scott. Sound recordist: Ivan Sharrock. Cast: Ralph Richardson (The Sixth Earl of Greystoke), Ian Holm (Capi taine Phillippe D’Arnot), James Fox (Lord Esker), Christopher Lambert (John Clayton, Tarzan, Lord of the Apes), Andie MacDowell (Jane Porter), Cheryl Campbell (Lady Alice Clayton), Paul Geoffrey (Lord Jack Clayton), Ian Charleson (Jeffson Brown), Elliot W. Cane (Silverbeard, Primate Father), Ailsa Berk (Kala, Primate Mother), John Alexander (White Eyes, Primate Leader). Production company: Warner Bros. Distributor: Roadshow. 35 mm. 125 mins. Britain. 1984.
F a s t T a lk in g Geoff Mayer Fast Talking is a tough, unsentimental view of the relationship between the working-class outcasts of society and the basic institutions of that society, particularly the school system and the family. It is scripted and directed by Ken Cameron, who two years earlier made Monkey Grip. The film focuses on Steve Carson (Rod Zuanic) and his two friends Moose (a hilarious performance by Chris Truswell) and Vicki (Toni Allaylis). Fast Talking does not fall into the trap of relying on a victim (the kids)-villain (the system) dichotomy, although there is that aspect to the story, but instead presents the kids as survivors. These twin aspects are established both visually and thematically early on in the film. Immediately after the credits there is a slow dissolve of Steve, watering his illicit marijuana plant, into the Australian flag dominating the school’s playground. School for this kid, at least, is not a place for learning or career opportunities, but merely a convenient market place to sell his soft drugs. The other aspect of the relationship between Steve and the school is pre sented in the film’s opening image: wooden bars. Thereafter, Cameron wastes no opportunity to visually im prison Steve and the other children behind fences and bars. It reflects Cameron’s view, as an ex-Sydney high school teacher, of the school system and most other institutions in regard to kids such as these as a ‘penal settle ment’. This view is represented on many levels in the film — particularly in the rather black humor. On occasions, the film veers a little too much towards caricature, with regard to the teachers, but it is also extremely funny (and crude) — particularly the woodwork teacher, who confiscates a wooden penis and places it in his dust coat, from where, unfortunately, it sticks out of his pocket at an erect angle as he walks around the classroom. Similarly,
Steve’s attempt to escape the law by crawling under the legs of the agitated women sitting on a row of toilets at a railway station is both funny and representative of his ingenuity. Except for the film’s final image, the settings (backyard with caged animals; swamps littered with discarded machinery; the red bars of the school yard) suggest little hope for Steve and his friends. This is particularly evident in Cameron’s choice of Botany for many of the exteriors. Botany repre sents to the director the place where it all began — the hopes and the ambitions. Now, through his eyes at least, it is a garbage heap of the waste products of a materialistic society. This is made patently clear when he leaves his drunken father, who is attempting to climb on top of the family television set in the hands of the representatives of his estranged wife, to take his dog Megsy for a walk. The landscape is one of discarded cans and industrial plants. A clear, doubling motif operates throughout the film. Steve’s adult counterpart is Redback (Steve Bisley) who fully understands the boy. He tells Steve, “ I’ve seen the show before” , and he invites him to spend part of his spare time in his bike yard. Thereafter, there is a fairly rigid counterpointing in the sequence of events between Steve’s boredom or punishment at school, and his excitement and interest in the bike yard. This only highlights the film’s recurring theme that school is, at best, irrelevant to children such as Steve. This view is compounded by the visual representation of the teachers, particularly the teacher wearing a neck brace for no apparent reason and the vice-principal’s obsession with his tropical fish and petunias. The only teacher in the film to display any interest in Steve is the trainee teacher Sharon Hart (Tracy Mann). However, consistent with the film’s pessimistic view of institutional salvation, she is also a victim of the system and is forced to leave the school because of her ‘liberated’ teaching methods. Consequently, unlike the
popular narrative conventions about such children, there is no sense of reformation or regeneration offered by Fast Talking. Similarly, there appears to be no moral condemnation for Steve’s behaviour which includes repeated scenes of stealing. Signifi cantly, he refuses to accede to his older brother’s pressure to sell hard drugs at the school. Herein lies the problem for an audi ence accustomed to the Blackboard Jungle/To Sir With Love narrative patterns: it is impossible to sympathize with any of the teachers or family members. Steve, through his function as the film’s central character, together with his more sympathetic traits (e.g., refusal to sell ‘smack’ and distress when his father poisons Megsy), becomes the only character with whom one can associate or relate. Yet, he is a thief and liar who finds school and the family irrelevant to his situation. The ending appears to suggest a probable path but the film’s moral ambivalence will trouble some. Cameron has managed to elicit natural performances from the three young actors and they add a strong sense of verisimilitude to the film. This is also assisted by the film’s earthy dialogue and Sharon Calcraft’s aliena ting use of the slide guitar on the soundtrack. Fast Talking is uncom promising but deserves to be seen and discussed by a large audience. Fast Talking: Directed by: Ken Cameron. Producer: Ross Matthews. Screenplay: Ken Cameron. Director of photography: David Gribble. Editor: David Huggett. Produc tion designer: Neil Angwin. Music: Sharon Calcraft. Sound recordist: Tim Lloyd. Cast: Rod Zuanic (Steve Carson), Toni Allaylis (Vicki), Chris Truswell (The Moose), Gail Sweeny (Narelle), Dave Godden (Warren), Peter Hehir (Ralph Carson), Steve Bisley (Redback), Tracy Mann (Sharon), Denis Moore (Yates), Gary Cook (A1 Carson). Production company: Oldata Prods. Distributor: Filmways. Super 16 mm. 95 mins. Australia. 1984.
Steve Carson (Rod Zuanic) in Ken Cameron’s Fast Talking, “a tough, unsentimental view o f the relationship between the working-class outcasts o f society and the basic institutions o f that society, particularly the school system”.
CINEMA PAPERS August — 269
Daniel
D aniel Keith Connolly Daniel is a film fated, inevitably, to be discussed, analyzed, condemned, praised and generally dissected for what it doesn’t do or say. Whatever the stated intentions of director Sidney Lumet, and author and screenwriter E. L. Doctorow, Daniel has to be seen in the light of one of the most famous cases in U.S. legal history: the trial and execution of Julius and Ethel Rosen berg in 1953 for conspiracy to commit espionage. In a Monthly Film Bulletin interview about Daniel, Lumet says: For me, it was essentially the story of a boy who buried himself with his parents at the age of twelve. The book and the film are the story of him crawling out of the grave.1 That is an acceptable and valid approach, one which Lumet sticks to thoughtfully and honorably. But he can’t have been greatly surprised by the quite vituperative reaction Daniel evoked in the U.S. Some of the criti cism begins by panning the film as film, then moves briskly, and with un mistakable relish, to re-trying, and re convicting, the Rosenbergs. This reviewer would be the last to claim that subjective juices never act upon his own critical judgment. But, after two viewings, and summoning all the objectivity at one’s command, it is my belief that, artistically and technic ally, Daniel is one of Lumet’s most accomplished films, ranking with The Pawnbroker, Dog Day Afternoon and Prince of the City. Even the muchmaligned, orange-filtered flashbacks to scenes of the 1930s and ’40s are per fectly apposite to the director’s aim of seeing the past through the grown Daniel’s memories of things he was told, or witnessed as a child. (In later flashbacks, the colors merge with the steely pastels of the present.) A brief recap might be in order for those unfamiliar with the Rosenberg case, its era or Doctorow’s novel, The Book o f Daniel. Julius and Ethel Rosenberg, New Yorkers in their thirties, were tried and convicted in 1951 with conspiracy to transmit atomic secrets to a foreign power, the Soviet Union. It was a time of hysteria in a U.S. that had been jolted by recent revelation of the Soviet Union’s possession of atomic weapons and stirred by the Korean war. As McCarthyism raged, one of th e U .S .’s m o st w id e ly -re a d columnists, Westbrook Pegler, could declare: The only way to deal with Com munists in our midst is to make m e m b e rsh ip o f C o m m u n ist organizations a capital offence and shoot or otherwise put to death all persons convicted of such. It was a bad time for people who had been in the Communist Party to be tried for giving atomic secrets to the diabolical enemy. The Rosenbergs, steadfastly denying their guilt, were sentenced to death, while two con victed co-conspirators received long prison terms. One of the jailed men was David Greenglass, Ethel Rosen berg’s younger brother, who had been the prosecution’s chief witness. After the Rosenbergs’ conviction, a world-wide campaign tried for two 1. Vol. 51, No. 600, January 1984, p. 10.
270 — August CINEMA PAPERS
years to save them from the electric chair. At the same time, a macabre test of will went on between the American government and the Rosenbergs, who almost certainly would have been spared had they confessed. This they unswervingly refused to do, and they were finally put to death, still pro claiming their innocence, in mid1953. Two other historical points are rele vant to consideration of the film: the Rosenbergs had two sons, Michael and Robert, aged 10 and six at the time of their parents’ execution, who now bear the name of their adoptive parents, Meeropol; and, unremarkably, in a group of New Yorkers, nearly all the participants in the trial were Jews: defendants, witnesses, the judge and counsel (hence most of the film’s characters are Jews and Lumet places poignant emphasis on Hebraic cere mony in two burial services that he links movingly across the generations). Doctorow’s novel is about a couple named Paul and Rochelle Isaacson, executed for spying, and their child ren, Daniel and Susan, adopted by lawyer Robert Lewin and his wife Leise. The novel is narrated by the elder of the two children, Daniel, in the late 1960s, with frequent flash backs and references to the past. Doctorow’s screenplay maintains this framework and much of his original narrative, although he softens some of the nastier aspects of Daniel’s psycho logical legacy from a traumatic child hood. The film begins 15 years after the executions, with Daniel and Susan arguing bitterly during a Thanksgiving dinner at their adoptive parents’ home. Twenty-year-old Susan (Amanda Plummer), now involved in the new Left, wants to use money remaining from their parents’ defence campaign to establish a fund for revolutionary causes, an idea scornfully rejected by Daniel (Timothy Hutton). He accuses the agitated Susan, whose traumatiza tion is the more obvious, of seeking yet
another form of escapism, as she has tried sex, drugs and religion. Thus Lumet sets the film’s premise: the two are condemned in the present by torments from a past that was none of their making (“ They’re still fucking us, Daniel’’ Susan later says to her brother). When the distracted Susan attempts suicide, Daniel walks out on his patient wife Phyllis (Ellen Barkin) and sets out to uncover that past. A journalist who covered the trial tells him: “ Of course the prosecution didn’t have a case — but your parents must have done something\” Fanny Ascher (Carmen Matthews), widow of the lawyer who battled desperately to save the Isaacsons, com plains that the case killed her husband and that his parents’ unco-operative attitude had impeded him. But she tells Daniel that his foster father (played by John Rubinstein) has all the defence documents, and he takes Daniel through the trial record. Critical of, yet making excuses for, mistakes in the defence case, the lawyer tells Daniel that the Isaacsons were scapegoats of a Cold War need to unmask conspira cies. More troubled than ever, Daniel flies to California to see Linda Mindish (Tovah Feldshuh), whom he remembers from childhood as the daughter of one-time family friend Selig Mindish (Joseph Leon), Docto row’s equivalent of the real-life David Greenglass. Linda angrily rebuts claims that her father helped frame Daniel’s and, when she finally accedes to his demand to see Selig, he can learn nothing from a near-catatonic human vegetable. It can be seen from this bare recital that in its “ present-time” narrative the film is some distance from implying that the Rosenbergs were innocent, or rail-roaded. If anything, the inference is that the record is too blurred, too complex, too ideologically hedged for judgment — hardly enough to provoke the savage backlash the film has received. One suspects that what really
upsets the film’s critics — apart from a palpable discomfort about this most distasteful matter getting another airing — is its rose-colored view of the Isaacsons (played by Mandy Patinkin and Lindsay Crouse), who are depicted as decent, dedicated, naive young people artlessly following the tenets of their Marxist-Leninist beliefs, a reaction no doubt exacerbated by the allusive skill with which Lumet relates these warmly-colored flashbacks to Daniel’s and Susan’s traumatic later lives. There are no backgrounding references to the charges against the parents as this is beyond the range of the boy’s memories. One first sees Paul and Rochelle, bathed in that orange glow, meeting cute when police troopers charge a strike demonstration, followed by a solemn courtship with Paul reading Marx to his beloved, a 1930s May Day Parade and a summer camp at which these un-American subversives dare to engage in the all-American activity of square-dancing. Then it is war-time, and uniformed Paul blathers idealistic ally of “ our gallant Soviet allies” and, post-war, leads the small Daniel through a trite catechism on the evils of capitalism, advertising and racism. A final glimpse of the Isaacsons en famille sees them attending the notori ous Paul Robeson concert at Peekskill, where they are among the bus-loads ambushed and beaten up by aroused patriots (Paul Robeson’s voice is used emotively and effectively throughout the film). Lumet drops the orange tints by the time the Isaacsons are arrested, but these events, too, are seen, from Daniel’s viewpoint, as a bombshell and an outrage — a reaction shared, in the beginning, by very few. For a time, just about the only person to stand by parents or children is the non-Leftist lawyer Jacob Ascher (Edward Asner), until the “ free-the-Isaacsons” cam paign becomes a major cause and the bewildered children are bundled on to the public platform.
Happier days: Rochelle (Lindsay Crouse) and Paul Isaacson (Mandy Patinkin) in Sidney Lumet’s fictionalized account of the Ethel and Julius Rosenberg case, Daniel.
Daniel
The trial itself is skipped over fairly briskly, the narrative making more play of Daniel and Susan’s lonely ordeals with an unsympathetic aunt and in a state children’s institution. The children’s despairing dash back to the family’s apartment, now semi derelict, is almost as poignant as the farewell meeting with their parents. The latter sequence, and the remorse lessly-w itnessed executions, are absolutely lacerating (and, for those who asked about it, scenes in the execution chamber are a detail-by detail reproduction of the death of the Rosenbergs). All this is done with Lumet’s usual craftsmanship, thoughtfully shot by Andrzej Bartkowiak and graced by a gallery of excellent acting perform ances. Lindsay Crouse, Amanda Plummer, Edward Asner and Ilan M. Mitchell-Smith (as the 12-year-old Daniel) stand out in what are difficult, but more readily-defined, roles. Timothy Hutton’s adult Daniel has to be something less than sympathetic, while Mandy Patinkin rises nobly to Lumet’s requirement for Paul Isaac son to go off the rails near the end. Although some negative reactions to the inner politics of Daniel are under standable, as are critical reservations about the protagonist’s unavailing pilgrim’s progress, a few of the more hostile comments read and heard in recent weeks smack of the very pre judice of which Lumet and his film are accused. Speaking as one who has always presumed that the Rosenbergs were sacrificial victims of a 20th Century auto da fe (in the eyes of the Holy Inquisition, it was the heresy, not the act itself, that really mattered), one can only say that Lumet’s refusal to become involved in this question seems both acceptable and reasonable. My only real disagreement with him is in the film’s simplistically “ upbeat” end ing, in which Daniel joins a large, late-1960s peace rally. While acknow ledging that the aim is to show him “ rejoining the human race” , it must
The Ballad of Narayama
be said that, in the age of Reagan, such a politicized denouement seems almost as outdated as the politics of Daniel’s parents. Daniel: Directed by: Sidney Lumet. Pro ducer: Burtt Harris. Associate producer: John Van Eyssen. Screenplay E. L. Doctorow. Director of photography: Andrzej Bartkowiak. Editor: Peter C. Frank. Pro duction designer: Philip Rosenberg. Music: Paul Robeson, Bob James. Sound recordist: Chris Newman. Cast: Timothy Hutton (Daniel Isaacson), Mandy Patinkin (Paul Isaacson), Lindsay Crouse (Rochelle Isaacson), Edward Asner (Jacob Ascher), Ellen Barkin (Phyllis), Julie Bovasso (Frieda Stein), Tovah Feldshuh (Linda Mindish), Joseph Leon (Selig Mindish), Carmen Matthews (Fanny Ascher), Norman Parker (Mr Guglielmi), Amanda Plummer (Susan Isaacson). Production company: World Film Services. Distri butor: 20th Century-Fox. 35 mm. 129 mins. U.S. 1983.
T h e B a lla d of N a ray am a Marcus Breen Shohei Imamura’s Narayama-Bushi ko (The Ballad of Narayama) is a film that proposes metaphysics as a way of life, a film of ambiguity and un resolved conflict, where materiality is suppressed in favor of man’s physical condition. Imamura wades through the ethnographic fog that is the con temporary context of Japan. Is Japan modern or ancient, torn between pro gress and tradition, perhaps even modernish barbarism and primitive barbarism? Both forms of barbarism seem to be unreasonable and incom prehensible and yet the latter has existed in Japan for centuries, and, it seems, in the context of advanced capitalism, the former also exists and thrives.
society, particularly primitive ones, as total functioning systems in which socio-economic factors are integrated into the religious and symbolic frame work of village life. It is an approach to anthropology which has taken on highly advanced forms in the work of Claude Lévi-Strauss and his disciples. Imamura is, however, in the unique position of being a modern Japanese in an ancient culture, rather than a modern European in an observer’s role, as are Geertz and Lévi-Strauss. The style of Imamura’s anthropology is, therefore, highly subjective, even participatory. Nevertheless, in The Ballad of Narayama, there is the sensa tion of being inside a creation, namely a story, which is essentially reflective and non-com m ittal. Instead of attempting an intervention into the reality of contemporary Japanese society, Imamura has opted for the luxury of “ the story” . This story is the “ lost image” of Japan, viewed through an anthropologically dispas sionate mind3. And yet, in another sense, this film is also history, and engaging history, too. The 1971 documentary, In Search of Unreturned Soldiers, which Imamura directed, is an example of his practical, dispassionate anthropology. In this film, he visits places in Malaya and the Pacific where Japanese soldiers fought in World War 2. He interviews ex soldiers, and the wives and families of soldiers who stayed on islands once occupied by the emperor’s troops. Apart from The Ballad of Nara These Japanese are portrayed as an yama, Imamura’s films have been extension of a society that attempted post-World War 2 testaments to a to expand its horizons but, in so doing, country in turmoil. In My Second created an economic and social rod for Brother (1959), for example, indus its own back: namely, the might of trialization mixes uneasily with tradi American imperialism and the indus tional family morality. Exploitation of trial complex. workers is set against the uncertainty In the outposts of Japanese colonial of growing up in a modernizing Japan, ism, the ageing Japanese warriors live where American values and corruption out their lives, motivated more by began to demolish the dynamics of a spiritualism and the promise of the potentially rich childhood. By con after-life than anything money can trast, in The Pornographer (1966), buy. It is this emphasis on spiritualism sub-titled, “ An Introduction to and mystical activity that is a major Anthropology” , the latter-day Ima motif in Imamura’s films. Further mura is clearly evident. The main more, the ascendancy of this spiritual character can neither overcome nor ism over the contingencies of resolve his obsession to create the per economics and commerce gives his fect woman and is lost in his desire. work its idiosyncratic tone. At this The desire for perfection is a metaphor point, Imamura can be criticized for for the dream of an unspoilt Japan. his failure to study the economics of But the legends, myths and harsh life the societies he analyzes. of traditional Japan have faded into Perhaps by rejecting a concern for oblivion, just as in the final frames of economic factors in his films, Ima The Pornographer, the house boat in mura makes his most profound com which the pornographer works bobs ment: life before surplus value was a out into the sea, presumably lost for spiritual, physical and mental adven ever. ture. To deny economics its existence The most relevant point to be drawn and, therefore, its power may be to from The Pornographer is its sub-title establish a system of values where dif because it is at the anthropological ferent criteria have precedence. Such level that Imamura has given the world an approach is unrealistic and naive in a consistent and viable vantage point. an 1era when economic chaos is Indeed, in opposition to Donald rampant and when new analyses of the Richie’s comments made in his Notes exchange of commodities for profit are fo r a Study o f Shohei Imamura\ it is necessary. But Imamura seems content necessary not only to say that Ima to deny economics in favor of meta mura has pointed out that the “ real” physics. Japan of the uncivilized classes has In Imamura’s two latest films, the been smothered by the ruling classes individual is an integral part of a com and their film m akers (emphasis plex set of related and yet disjunctive added), but also to extend that analysis relationships. John Gillett of the and maintain that Imamura has given National Film Theatre in London has a filmmaker’s model of the “ deep play noted Imamura’s interest in the “ dis structures” of anthropology, as so ruptive narrative modes of postaptly defined by Clifford Geertz in his Godardian European cinema” 4. It is “ Deep Play: Notes on the Balinese this disruptive form which is so appeal Cockfight” 2. This model portrays ing in Imamura’s films. In the cele1. From the official press kit. 2. In The Interpretation o f Cultures: Selected Essays, Basic Books, New York, 1973, pp. 412-53.
3. Paul Coates, “ The Story of the Lost Reflection” , New Left Review, No. 143, February 1984, pp. 120-28. 4. From the official press kit.
CINEMA PAPERS August — 271
The Ballad o f Narayama
The Evil That Men Do and The Star Chamber
The village elders instruct her about her trip to the burial ground, then Tat suhei carries her to the mountain-top cemetery and leaves her there to die amongst the bones. A family of thieves is killed while a dying villager instructs his wife to sleep with all the men of the village to appease the gods. Yet, even as he gasps his last breath, he reaches up inside his wife’s dress for her sex. The circuit of life and death is com plete. Tatsuhei returns to the village where, amidst the snow, one year after the scene in the film’s opening, he sits down quietly to another domestic meal. It is, indeed, the opening scene: the same room and the same house, al though a few of the characters have changed (the men now have no mother and Tatsuhei has a wife). The camera draws away and moves back across the hills covered with snow, back away from this possibility rather than from “ something” . Imamura returns to the present world with new reference points. With out making overt criticisms, he has pointed out the petty preoccupations of modern society and identified another reality of metaphysics. It is not, however, a reality that allows for prescriptions of action against materialistic culture or modern anti human politics. It is a reality rooted in the mystery of physical human activity which, naively, suggests other possible existences. Narayama — Bushi Ko (The Ballad of Narayama). Directed by: Shohei Imamura. Producer: Jiro Tomoda. Screenplay: Shohei Imamura, based on the novel by Schichiro Fukazawa. Director of photo graphy: Masao Toshizawa. Editor: Hajime Okaiasu. Music: Shin ’inchiro Ikebe. Cast: Ken Ogata (Tatsuhei), Sumiko Sakamoto (Orin), Aki Takejo, Nijiko Kiyokawa. Pro duction company: Imamura Prods-Toei. Distributor: A-Z Associated Film Dists. 35 mm. 130 mins. Japan. 1983. Orin (Sumiko Sakamoto), the 70-year-old who is forced by her village to go to a mountain top to die. Shohei Imamura’s The Ballad o f Narayama.
bratory 1981 film, Eijanaika, Imamura moves slowly and uncertainly through the conflicts in a village com munity, until the bleakness of the oppression meted out by the rich in the village gives way to a revolutionary peasant’s dance, the Eijanaika. But it is not a victorious revolution and, as the pieces gradually fall into place at the end of the film, the reality of the peasant’s subservience is established. Indeed, the fatalism inherent in many of Imamura’s scenarios is strong and persistent, and is especially evident in The Ballad of Narayama. The film begins as a story. As the titles roll up the camera skims over and across the ridges of a snow-covered range. The shot is pure and unaffected by anything modern, except the camera and the helicopter that carries the camera. This contradiction seems to be necessary to Imamura, who is consciously transporting the audience. The audience is aware of the speed of its transport and the change that is demanded as it enters something arti ficial. The note appears on the screen that the story takes place in northern Japan 100 years ago. Everything is under control: one sees a village early in the morning and advances towards it, to observe a couple running to piss into the snow and then running back into their home. When they return, the 272 — August CINEMA PAPERS
camera goes with them. Almost before it realizes what has happened, Ima mura has taken the audience into a house, any house, and now the viewers are participants in a story. The fact that it is this house at this particular time seems an irrelevance; it is a chance meeting and is a situation quite outside the nature of modern Japanese life, business and order. The film is a rough conglomeration of incidents involving an average Japanese family living on the slopes of Mount Shinshi, in a village called Narayama. The main character in the story is Orin (Sumiko Sakamoto), the mother who, at 69 years of age, must prepare to journey to the summit of Mount Narayama because the village law stipulates that anyone who is 70 years-old must go to the mountain to die. She prepares herself with a fatalism that disarms her family but which is expected of her and accepted by the others because the gods have pre-ordained that this be so. As she prepares herself for death, her son, Tatsuhei (Ken Ogata), struggles to uphold the dignity of the family and himself. The film has several, disjunctive story lines. One of his brothers has an affair with an unwanted woman who becomes pregnant and moves into the house with the rest of the family.
Tatsuhei gains a wife because the salt dealer, again it seems by chance, pays the village a visit. Risuke, another brother, sleeps with a widow, the only person in the village who will agree to such a thing. A family is discovered which has been stealing and hoarding food. A few days later, they are all buried alive, along with the pregnant girlfriend, by the men in the village. The scene of this mass burial and death is one of the outstanding filmic scenarios of the past generation as the sense of collective survival destroys a lesser, familial sense of survival. M eanwhile, wildlife frequently appears, be it snakes or frogs, and, like the actors, copulate with great abandon. Risuke, frustrated by his lack of success with the women of the village, practises on a village dog. Life goes on in preparation for death. The vision of death which Imamura presents is at once formal and natural. In the first few minutes of the film, the corpse of a female baby in a paddy field sets the scene for the discussion about the lowly value of women in ancient Japanese society. Female babies are dumped and destroyed because they are less valuable than men, while Orin, a matriarch whose presence denies these patriarchal pre judices, prepares for death with few qualms.
The Evil That Men Do and The Star Chamber Peter Malone Paradox or theorem? As films reflect society, whether in the escapist vein or serious-mindedly, they touch on or grapple with contemporary issues. Many audiences prefer solutions, quick and clear solutions, to analyses of problems. However, many writers and directors prefer to dramatize analyses of the problems rather than offer solutions. This is particularly the case with the ‘violent’ films of the 1970s and ’80s. Public opinion is more alert to the use of extreme violence, either by ‘goodies’ or ‘baddies’. Yet, in a world of instant communication, the world-wide audience can see daily unwinnable wars waged, is angered by criminal abuse of political and finan cial power, and hears reports of tor ture and repression of human rights by regimes of the Left and Right. This intensifies the desire for rapidly-made solutions. At the same time, it makes them seem more impossible of achieve ment. Audiences (and critics) who have a repugnance for violence are frequently dismayed or shocked by Dirty Harry police stories and Charles Bronson vigilante films. Are they expecting
The Evil That Men Do and The Star Chamber
films mirroring contemporary violence to be theorems, where such violence is not only decried but proved to be anti human and, therefore, to be outlawed absolutely? Experience, especially one’s own sense of self-defence or moral outrage, reminds one that few are able or willing to turn the other cheek. Wherever they might ultimately stand, to the Left or Right in the politics of the use of violence, many writers and directors have made their films for their non-film-theoretic audiences and offered them paradoxes. They are bringing to consciousness the night mares people need to reflect on in the light of day (the contrary facets of the paradox), as well as the shadow side of the psyche, the violence ever-present that edifying repression can never annihilate. Repression prepares for eventual but unpredictable eruption. These pointers can serve as comment on two recent violent films that have been labelled as ‘fascist, pro-violence’ thrillers: The Evil That Men Do and The Star Chamber. (The Monthly Film Bulletin reviewer of The Star Chamber refers to “ its failing to reconcile its ex ploitative tendencies with its sense of conscience” .1) Perhaps directors J. Lee-Thompson and Peter Hyams are pro-violence. Perhaps not. But the two films, using the smooth (slick?) tech niques of action thrillers, present para doxes by appealing to a gut reaction rather than to analytic intelligence to gauge their validity, their emotional validity. Both films show some gruesome abuses of rights. Evil shows a journa list tortured to death as a demonstra tion for secret National Guard death squads in a Latin American country. Chamber shows several appalling crimes in Los Angeles and the per petrators discharged from court because of technicalities in the judicial system. Violence like this cries to 1. Steve Jenkins, Monthly Film Bulletin, November 1983, pp. 308-309.
heaven for vengeance. In lieu of divine intervention, in Evil, Holland (Charles Bronson), ex-CIA it seems, comes out of his paradise retreat and tracks down a barbaric-civilized butcher, The Doctor, Moloch (Joseph Maher), and kills his guards and associates. However, with ‘poetic justice’, The Doctor is destroyed by an angry mob of his maimed victims. The Star Chamber shows a group of judges, frustrated by the law, hiring its own executioner. If that were all, these films would be like theorems, pro vigilante theorem films. Some com mentators see them solely as such.
But the screenplays of both films show the dangerous (moral and physical) side of avenging righteous ness. In Evil, the tortured victim’s wife voices anxiety and moral questions. She and her daughter are ultimately in danger of death. In Chamber, the audience’s emotional responses are challenged as the group of judges makes an error of judgment and eventually turns on its hero-member, Steve Hardin (Michael Douglas), try ing to eliminate him to save them selves. Neither film is a masterpiece. Each uses popular conventions of investiga
tion and detection, of police action m elodram as for n arrative and emotional point-making. They do not exclude rational reflection; rather, they ask for reasoning after emotional reaction. Many reviewers and audi ences do their reflection first and are, therefore, immediately disgusted by the action. As many a B-budget film noir of the 1940s is being hailed as expert genre entertainment and its con ventions are analyzed, perhaps the efficiently-made examples of the para doxical vengeance film of the 1970s and ’80s will appeal to film theoreti cians as they do not to the public. The Evil That Men Do: Directed by: J. LeeThompson. Producer: Pancho Kohner. Associate producers: David Pringle, Jill Ireland. Screenplay: David Lee Henry, John Crowther. Director of photography: Javier Ruvalcaba Cruz. Editor: Peter LeeThompson. Music: Ken Thorne. Cast: Charles Bronson (Holland), Theresa Saldana (Rhiana), Joseph Maher (Moloch), Jose Ferrer (Lomelin), Rene Enriquez (Max), John Glover (Briggs), Raymond St Jacques (Randolph). Production company: ITC Entertainment. Distributor: ITC Film Dists. 35 mm. 89 mins. U.S. 1984.
The Star Chamber: Directed by: Peter Hyams. Producer: Frank Yablans. Associate producers: Kurt Neumann, Jona than A. Zimbert. Screenplay: Roderick Taylor, Peter Hyams. Director of photo graphy: Richard Hannah. Editor: Jim Mitchell. Production designer: Bill Malley. Music: Michael Small. Sound recordists: Jerry Jost, Armin Steiner. Cast: Michael Douglas (Steve Hardin), Hal Holbrook (Benjamin Caulfield), Yaphet Kotto (Detective Harry Lowes), Sharon Gless (Emily Hardin), James B. Sikking (Dr Harold Lewin), Joe Regalbuto (Arthur Cooms), Don Calfa (Lawrence Monk), John DiSanti (Detective James Wickham), DeWayne Jessie (Stanley Flowers), Jack Kehoe (Hingle). Production company: 20th Century-Fox. Distributor: 20th CenturyFox. 35 mm. 109 mins. U.S. 1983. ★ Holland (Charles Bronson), on the trail o f “a barbaric-civilized butcher”. J. Lee Thompson’s The Evil That Men Do.
CINEMA PAPERS August — 273
•Computers for Animation [- Stan Hayward ■Explores basic computer ■applications for efficient film ■production. For both animators ■and computer users; from high -definition computer generated ■animation to simple moving -diagrams. •
[The Hollywood Guide! •to Film Budgeting and Script Breakdown [Motion Picture Camera! ■tkLighting Equipment David Samuelson .A guide to equipment in pro-, .fessional use. Helps you pick, .the items which suit the needs. ,of each production. 'Vital stat-. .¡sties’ are in a compact tabular, .form for quick access. .
THE CINEMA & SCIENCE FICTION BOOKSHOP A wide range of popular and critical Cinema books always in stock, including:
Motion Picture Camera Techniques
- Danford Chamness •Step-by-step feature film•budgeting using only the script•as a guide. Useful forms, tables•and sample scripts included. ■
Burt Lancaster by Minty Clinch $24.95 McQueen by William F. Nolan $19.95 Current lists sent on request. Open seven days a week. Phone 663-1777
_Motion Picture
Film —Camera Techniques Scrîptwritiiig - David Samuelson 2nd Ed.
[Motion Picture •Camera Data
■
Dwight V. Swaine .Covering both documentary/, .factual and feature films,, .provides a guide to the tools or. .procedures to follow in de-. veloping ideas and concepts..
■The Professional [Cameraman’s .Handbook 3rd Ed,
Soundtrack
Albums
New Sound Tracks and Cast Recordings
THE INDEPENDENT FILMMAKER’S GUIDE
INDIANA JONES $14.99; THE HUNGER $13.99; PENNIES FROM HEAVEN (TV) (2 LP SET) $18.00; THE YEAR OF LIVING DANGEROUSLY $13.99; ADVENTURES OF ROBIN HOOD $14 99 LITTLE SHOP OF HORRORS $13.99; HOUSEBOAT $13 9 9 : GREYSTOKE $11.99; DAYS OF HEAVEN $13.99. ........
■
■—David Samuelson 1 Describes ninety different makes and models of camera and gives the most pertinent operating instructions. This book is intended as a tool, which should find a place in. the accessory case of every. cameraman
305/307 Swanston St., Melbourne, 3000
' _This new edition offers prac-. _tical advice for those involved. _in cinematography at all levels.. _Covers almost any working, _situation from script to final. _answer print. .
vT A Practical M à ì r ó fc T x T x X . v - 0w¡gírt¥S««ÍR
[Film Scriptwriting: •a Practical Manual
SPUE HR BOORS
M IC H A E L W IE S E
Mail orders welcome; add $1.50 post/packing
—
Verne & Sylvia Carlson An operating manual cover ing film, loading-room pro cedures, camera reports and .working practices. Pius assembly, threading & trouble shooting of 33 widely usedj| financing. ,16mm and 35mm production,__ distributic cameras & their accessories._____and short;
REA DING S RECORDS & BOOKS 153 Toorak Road, SO U TH YARRA. Telephone (03) 267 1885 We are open 7 days a week
Order from your local bookseller or in case of difficulty from: Butterworths Pty Ltd 271-273 Lane Cove Road. North Ryde NSW 2113. (02) 887 3444 SYDNEY (02) 223 2777 MELBOURNE (03) 67 6973 BRISBANE (07) 221 9627 HOBART (002) 23 6979 ADELAIDE (08) 221 9627 PERTH (09) 325 8521 CANBERRA (062)47 46/9 Q Cash Enciosed QPlease charge my account Name ________ ______________________________________________________________ Address ____________________________________________________Postcode________ Please debit my credit card account: □ Bankcard □ Diners □ Amex □ Mastercard
HOLLYWOOD AND VINE MOVIE SHOP
Signature _______________________ ______________________ Expiry Date (R ecom m ended D om estic R etail P rices include ’his o n ie r subject to acceptance by th e H ead
.75947 .128365 .76349 .108047 .76312
Camera & Lighting Equip. Camera Techniques Scriptwriting - Limp Scriptwriting - Hard Computers for Animation
istage and are subject to ch a n g e w ith o u t notice, ce o f B utterw orths.)
$21 NYP $25 $45 NYP
___ 117368 ___119222 ___75956 ___117377 NYP - Not
Ind. Filmmakers' Guide Prof. Cameraman's Handbook Motion Picture Camera Data Guide to Budgeting yet published
$27 $45
$21
$36
19 TOORAK ROAD SOUTH YARRA VIC 3141 PH: (03) 267 4541
CINEMA BOOKS & PAPERBACKS GREETING CARDS & POSTCARDS MOVIE POSTERS PERSONALITY PHOTOGRAPHS MOVIE STAR BADGES LOBBY CARDS & STILLS VIDEO MOVIES FOR SALE OR RENT QUALITY BLANK VIDEO TAPES OPEN 7 DAYS UNTIL 7 PM MAJOR CREDIT CARDS WELCOME CAR PARKING NEARBY
R o m a n b y P o la n s k i Roman Polanski Heinemann, London, 1984 Hardback, 394 pp., A$19.95 ISBN 0 434 59180 7
P o la n s k i: H is L ife an d F ilm s Barbara Learning Hamish Hamilton, London, 1982 Hardback, 144 pp., A$29.95 ISBN 0 241 10752 0 Paperback, 144 pp., A$15.95 ISBN 0 241 10766 0
R e p u ls io n : T h e L ife an d T im e s o f R o m a n P o la n s k i Thomas Kiernan New English Library, London, 1982 Paperback, 288 pp., A$4.95 ISBN 0 450 05265 8
Scott Murray Alternate Versions
don’t we?” A gracious response. With that, the critics stood and applauded as Polanski and his party left. Reviewers of film-actor and director biographies rarely have first-hand knowledge with which to test a bio grapher’s version of an event. Thus, having been present at that 1979 Cannes press conference, and having dutifully recorded it on tape in case it made for interesting reading in Cinema Papers, this author was naturally inter ested to check his recollections against those given in the Polanski biographies that began appearing. The first one consulted was Polan ski: His Life and Films by Barbara Learning. Her version runs as follows: In May, the nervous producers ordered Polanski and Kinski to Cannes to pre-sell Tess. Their arrival was announced with the maximum publicity, but when they appeared together in a virtual brawl of a press conference, reporters had little interest in talking about Tess . . . A fracas broke out when someone from the audience shouted at Polan ski, ‘Don’t bother to come back to America! We already have enough problems!’ Finally, Polanski and Kinski ducked out as the audience laughed and jeered, (p. 136.) Learning cites no sources for her ver sion, and it is obvious that she wasn’t there. In Repulsion: The Life and Times o f Roman Polanski, Thomas Kiernan writes: The night sizzled with erotic energy. High pitched laughter and the beep ing of horns were the dominant sounds in the exterior din. The din inside the Carlton banquet room was of a different order, but no less frenetic . . . (p. 280.)
It is a bad start for a generally respected biographer: the press confer ence was held during the day. He obvi ously wasn’t there either but, unlike Learning who makes no pretence of having been there, Kiernan writes in such a way as to make the reader think he was. Kiernan continues: ‘Okay, Roman,’ a reporter called out in an American accent, ‘Here’s a question about your film . . . You approve of Tess killing her seducer. So how can you complain all the time to the press here in France that you got a raw deal in the United States? Isn’t a couple of months in prison a lof better than getting killed?’ Polanski was confused by the ques tion. At a loss for words, he suddenly put on a comic face and shook his head from side to side, as if mocking the questioner, then hooted a few times in an artificially high-pitched voice. The throng of reporters burst into laughter. Polan ski, thinking they were laughing with him, grinned conspiratorially. But the reporters weren’t laughing with him. They were laughing at him. It was a crucial moment for the director. In many respects he had led a charmed life, particularly with his repeated escapes from death. And for years he had been able to charm the international news media into shaping a favourable image of him self — a sexually hedonistic image that he had revelled in and enthusi astically lived up to. But as one journalist who was at the press conference recently put it, ‘Polanski had betrayed the press. We had created this picture of him as a charming satyr and lovable rogue, more to be envied than
Cannes Film Festival, May 1979. In a crowded banquet room of the Carlton Hotel, a press conference is held for Roman Polanski (director) and Natassja Kinski (star) about the as-yet unfinished Tess. Polanski had recently left the U.S. after serving part of a prison sentence for “ unlawful, sexual intercourse” and was facing the world’s press and critics for the first time. The press wanted to talk about his sex life; the critics wanted to know about Tess. A verbal war ensued, the press alienating the others with their rudeness and brute persistence. In an attempt to restore sanity, the confer ence conveners decided that questions about the sex case would be heard first, followed by questions on the film. The press’ questions were predict ably inane and offensive (“ How do you feel about young girls?” Polanski: “ I’ve never hidden the fact that I love young girls. I will say again, once and for all, I love very young girls.” ) Sometimes Polanski replied in French, sometimes in English. Once the press’ time was up they refused to leave. The critics, having patiently waited through this circus, were understandably annoyed. Every one resumed shouting. And, when some sensible questions were finally asked, the press up and left. The atmo sphere of confrontation subsided and Polanski looked a little more at ease. As the conference came to an end, Polanski was told by one critic that he felt ashamed to be associated with a world press so short on decency, and that their questions did not reflect the views of those who admired his film work. The critic then asked Polanski how he felt about being so attacked. Polanski replied that, “ Cannes is a zoo, but then we all love animals, Roman Polanski in Paris during the filming o f Le locataire (The Tenant).
despised. Then he went and spoiled everything by jumping that young girl in California. Not only that, he compounded his crime by running away instead of standing up like a man to take his punishment. The press had made Polanski. Now it was incumbent upon us to un-make him.’ (pp. 283-84.) While some of the substance of Kiernan’s report is arguably accurate, the tone of the piece is bizarre. Kiernan’s view of a conscience-stricken press making and unmaking stars is ego tistical and absurd. The press at Cannes behaved like jackals. Kiernan must know that. Polanski’s version in Roman is brief and rather uninteresting. And, apart from misgauging the degree of support he had, Polanski incorrectly describes the banquet room as “ the lobby” . So, one incident and three differing versions. The press conference may only be a footnote in Polanski’s career, but there is no reason to assume such disparity in reportage doesn’t exist in other areas — and it does. For example, the three accounts of the ‘rape’ charge against Polanski, which are discussed below, have little in common. One pleasure of director (autobio graphies is what they tell you about the films, either in behind-the-scenes in formation or elucidation about a film’s theme. Not all directors are in formative about their films, some even give the impression of understanding them less than the audience. Polanski, in his book, is one of these. He has very little to say and what is said is often so banal as to cause one to wonder if the psychological exacti tude of his early and best films was not the result of input from others. Meanwhile, Gerard [Brach] and I were polishing off our Vampire script. Our basic aim was to parody the genre in every way possible while making a picture that would, at the same time, be witty, elegant, and visually pleasing, (p. 214.) That is all on the script, concept and themes of The Fearless Vampire Killers, one of Polanski’s two or three finest films. On Que? (What?), Polanski spends only two pages in total, ending with “ Of What? itself, little need be said.” IF is depressingly little on a failed but inventive Rabelaisian fable, one which had only limited release in Australia and overseas. It rates only one still in the book as opposed to eight of Sharon Tate, a fair indication of Polanski’s autobiographical emphasis. As to behind-the-scenes informa tion, it is mostly trivial. Some, such as the complaint about one actress’ periods making her difficult to work with, is in poor taste. Other informa tion is irritating by the lack of atten tion to detail. One notable exception is Polanski’s account of Francis Ford Coppola’s offer to help re-cut Tess before distri buting it in the U.S.: [Coppola] suggested I cut the whole opening sequence, the village CINEMA PAPERS August — 275
Book Reviews
— Î'G .
Top: Jack Nicholson, right, in Chinatown. Above: Isabelle Adjani and Polanski in Le locataire. Below: Natassja Kinski and Peter Firth in Tess.
276 - August CINEMA PAPERS
m aidens’ dance, Angel’s first glimpse of Tess, the encounter be tween her drunken, father and the parson on horseback . . . He wanted to dispense with the scene where Tess is arrested and led away at dawn by the mounted constables and end with a close-up on her slab of stone . . . Obviously we weren’t on the same wavelength, (p. 384.) As for the analysis of themes in Polan ski’s films, the Learning book is by far the most useful. And, given the absence of a book length, Englishlanguage critique of his films, Learn ing’s work is a brief, but handy, start ing point. The Kiernan book has no critical insights. As to Polanski’s life, which ranges in location from the Krakow ghetto to hedonistic Paris, from swinging London to drug-orientated Los Angeles, and the final flight back to Paris, the autobiography is the most interesting. His account of his child hood in Poland is excellent and, by far, the highlight of the book. It is one of the most horrifying accounts of the life of a ‘parentless’ child in a warravaged country. Here is Polanski’s description of his father being taken off to a concentration camp: On the day the Krakow ghetto was finally liquidated, March 13, 1943, my father woke me before dawn. Taking me to Plac Zgody, to a blind spot just behind the SS guardhouse, he coolly snipped the barbed wire with a pair of pliers. He gave me a quick hug, and I slipped through the fence for the last time. Stefan had to stay behind with the other children — there was no one to take him in on a permanent basis. When I got to the Wilks’, however, the door was locked. No one was home. I wandered around for a while, uncertain what to do. Then, glad of any excuse to rejoin my father, I headed back to the ghetto. Just short of the bridge, I saw a column of male prisoners being marched away by Germans with guns at the ready. They were the last surviving inmates of the ghetto, and among them was my father. He didn’t see me at first. I had to trot to keep up. The marching men were attracting plenty of attention: many people turned to stop and stare. Still trotting, 1 tried to catch my father’s eye. At last he spotted me. I gestured, turning an imaginary key to illustrate my predicament. He dropped back two or three ranks with the tacit assistance of others in the squad, unobtrusively changing places with them so as to be farther away from the nearest guard and closer to me. Then, out of the corner of his mouth, he hissed, “ Shove off!” Those two brusque words stopped me in my tracks. I watched the column recede, then turned away. I didn’t look back. (pp. 24-25.) Here is Polanski’s account of seeing his father again: . . . one evening, on returning home from the shop, I heard a voice in the kitchen — a strangely familiar voice. It was my father, drinking vodka with Uncle David and looking, if anything, younger than when I had last seen him. I hurled myself into his arms with a cry of joy, and he hoisted me onto his lap. No one had held me like that for years. Despite my overwhelming happiness, I felt
awkward — too big to be dandled on any grown-up’s knee. For some reason, I couldn’t tell my father about the Putcks, the Buchalas and my years at Wysoka. I wanted to put them out of my mind, and I was too shy to even attempt to explain how I’d felt — how I'd longed for him and my mother. He didn’t mention her, nor did I. He clearly fought shy of unlocking the grief inside me, and I, afraid of what his answer would be if I put the fateful question, preferred to leave it unasked. It was a long time before I learned the truth — that she died in a gas chamber only days after being taken away. Even at this late stage, I nurse a lingering hope that everyone was wrong, and that she would return, (pp. 45-46.) It is fine writing, moving in its simplicity and clarity. With prior knowledge of the tragedies to come in Polanski’s life, it is easy to read much into the horrors of Polanski’s life in the ghetto and his depression about the Communist take over of Poland, but Polanski doesn’t. At no point, either here or in his dis passionate account of Sharon Tate’s death, does he appeal for reader sym pathy; not once is there a hint of his adult mistakes being the result of un usually cruel pressures on him as a child. Polanski does put down his in security about relationships to the effects of his childhood, but he writes about it in a tone of self-criticism. It is one of the most revealing passages in the book: The thought of marrying and raising a family scared me, not because it might encroach on my freedom . . . but because personal ties made me feel vulnerable. This fear was a hangover from my childhood, from the insecurity I’d experienced at the age of five or six, when my family began to disintegrate. The only way of not getting hurt, I’d always felt, was to avoid committing myself deeply in the first place. There was implicit insecurity in any relation ship — the awareness that any emo tional attachment carried the risk of heartache. Even keeping a pet dog was an invitation to sorrow because of its shorter lifespan; one day you had to part from it. (p. 253.) As expected, Learning and Kiernan offer different opinions on the major events and relationships of Polanski’s life. Learning’s analysis of Polanski’s affair and marriage to Barbara Kwiatkowska (also known as Barbara or “ Basia” Lass), which sees the un known director hoisting his star to Poland’s most beautiful and popular actress, is naturally rather different to Polanski’s. Polanski writes as if he sees relation ships with women also exclusively in terms of sex. In fact, his autobio graphy leaves one wondering if he really is interested in anything but sex. Every affair is listed with boastful detail (do we really need to know he bedded a certain actress on their first date as opposed to the second?) and inept justification. Here is a typical example: Entering into this love affair, we realized, Kika and I, that we had the same approach towards personal freedom: she felt there was nothing wrong with either of us having an occasional affair with someone else. When two people in love saw a lot of
Book Reviews
thought competent to act on her desires. And if the answer is 18 (as it is in California), then why is it 12 in Georgia[?] (Surely Californians are not so much slower to develop than women in the land of peanuts.)3 Polanski wisely avoids a crying-onsleeve approach, and recounts the incident as a natural result of “ the erotic tension between us” . He writes that, after a swim in Jack Nicholson’s jacuzzi, We dried ourselves and each other. She said she was feeling better. Then, very gently, I began to kiss and caress her. After this had gone on for some time, I led her over to the couch. There was no doubt about [her] experience and lack of inhibition. She spread herself, and I entered her. She wasn’t unrespon sive. Yet, when I asked her softly if she was liking it, she resorted to her favorite expression: ‘It’s all right.’ (p. 339.)
each other, she said, their relation ship went beyond the initial sexual attraction. The ties that formed be tween them were far more important than physical love. Enforced mono gamy, whether in the man or the woman, subconsciously created resentment and wrecked the rela tionship. I had very little experience myself, but instinctively felt the same way. (p. 97.) But even if that were convincing, com pare it with this passage on Sharon Tate: All our friends adored Sharon. It wasn’t just her looks that captivated them, though her beauty was breath ta k in g a n d h e r m in is k ir ts emphasized her marvellous legs. She was among the first to flaunt these symbols of the sexual freedom of the sixties. Miniskirts were erotic yet innocent, romantic and charming and somehow vulnerable, so differ ent from the forbidding, aggressive look of the seventies. When Sharon appeared in one, the whole street would turn and stare: men with admiration; women with envy; elderly matrons with vitriolic dis approval; old gentlemen with nostal gic appreciation, (p. 251.) Not surprisingly, Learning and Kiernan seize on the sensational aspects of Polanski’s ‘rape’ charge and devote many pages to it. Kiernan even inter spaces each biographical chapter with “ Interlogs” , which give a detailed account of the ‘seduction’, arrest and trial. It is worth looking at each author’s account, and then at Polanski’s, just to see how far biographers are pre pared to go in presenting their version as the ‘real’ one. Since neither bio grapher was present, they have resorted to inventing scenarios, based on trial transcripts and hearsay. These are then fleshed out with, at times, salacious prose, presented as reality. Their views are unchallenged. This peculiarly American approach, an unfortunate offshoot of the New Journalism, has taken over from the
Like Learning, Polanski uses emotive coloring: “ very gently” and “ softly” , for example. And, like Kiernan, his prose has an exploitative tinge to it. Toback is correct in labelling the whole episode in the book as “ good, erotic writing. The detail is precise, the observation complex, the tension fine.” But the feeling remains that Polanski is writing for a commercial market as much as clearing his name. And the lack of any mention of anal sex is unsettling: if the girl is telling the truth, why ignore it; if she is lying, why not say so? After reading all three versions, one is again at a loss as to know what con stitutes a believable account. The facts are too few, the accounts too varied. The point thus becomes not what represents the truth, but why writers so authoritatively present their variously imperfect versions as that truth. Doubt seems not to exist anymore.
old-style English biographies where facts are recounted rather than narra tives invented. This approach is summarized in
Time:
Altering facts to achieve a dramatic narrative is a legacy of the New Journalism, which was popularized in magazines and books in the 1960s and ’70s and has been increasingly criticized. New Journalists may merge characters or invent scenes. They som etim es re c o n stru c t sequences based on interviews with third parties rather than on partici pants, and even claim to know what people were thinking . . .' Now, to the Polanski case. Kiernan leaves little doubt about his intentions: he writes like a pornographer: . . . the girl felt his fingers coating her rectum with lubricant. Then he started to penetrate her anally. She cried out and tried to wriggle free, but she was no match for Polanski’s strong grasp of her hips. ‘Stop!’ she shrieked. ‘It hurts.’ ‘Shut up!’ Polanski said. ‘Otherwise I give it to you in the mouth again. You want that?’ (pp. 39-40.) It is hard not to react moralistically to such nonsense. What entitles Kiernan to write so authoritatively, so seamily, about an event he did not witness? He is arguably wrong in several key areas (Kiernan has sex happening on a bed and not the couch described by one of the participants) and has speculated about the rest. That speculation often contradicts that testimony. The girl, for example, when questioned about the alleged sodomy, replied, “ Oh, I just thought he was going in the wrong way.” Such a statement is at odds with the Kiernan’s account of the applica tion of lubrication. Learning’s version is far more matter of fact, but is based on an un questioning acceptance of the girl’s evidence. Learning did not talk with Polanski, though she tried to. She 1. “ Press” , Time, July 2, 1984, p. 44.
Top: Sharon Tate, Polanski and Alec McGowan in The Fearless Vampire Killers. Above: Polanski in Paris, in 'exile’.
clearly regards Polanski as a sinister seducer of innocent children (her emotive use of the word “ child” when referring to a sexually promiscuous teenager is telling). Polanski in his book does much to demolish the value of the girl’s testi mony, and most readers will find it convincing. But while his mentioning of the girl’s sexual experience may offend those who believe that such evidence is inadmissible, it should be pointed out that Polanski was never charged with rape, only sex with an under-age girl. This charge assumes mutual consent. The issue then is whether society should permit sex be tween a 13 year-old and a 40 year-old, given both are willing. That is an issue Kiernan ignores2, though director James Toback does raise it in his piece in Film Comment: Facing the logic of his (and her) passion, Polanski would demand to know at what age a woman is to be 2. All Learning writes is: “ Although the age guidelines vary from state to state, an under-aged child cannot consent to perform sexual acts, for she [sic] cannot make decisions with the authority of an adult.” (p. 124.)
35mm Dreams: Conversations with Five Directors about the Austraiian Film Revival Sue Mathews Penguin Books, Melbourne, 1984 Paperback, 295pp., A$9.95 ISBN 0 14 006709 4
Gilbert Coats 35mm Dreams is a useful collection of interviews with five Australian direc tors reflecting on their roles in the Aus tralian film revival. Sue Mathews introduces the reader to the revival as history and to each director as a character in this historical drama. In fact, “ conversations” understates the tone of the book nicely. As the author says: Fifteen years ago the idea that there could be a book about a group of directors in Australia who between them had made 25 feature films would have seemed preposterous. This is part of the story this book will tell. (p. 1) The directors interviewed — Fred 3. James Toback, “ Polanski and Biskind: On exile and kingdom” , Film Com ment, April 1984, p. 72.
CINEMA PAPERS August — 277
Book Reviews
Schepisi, Peter Weir, Gillian Arm strong, John Duigan and George Miller (Mad Max, not The Man from Snowy River) — is a selection which very nearly exhausts the honour roll of “ new wave” directors who are still pursuing a career. (It is interesting that both Armstrong and Miller regard themselves as the “ second genera tion” .) The honours due to these five people are not discussed by the author but readers who know their work will note some common elements. All are risk-takers and innovators, in the Aus tralian context, and it is this personal quality which is portrayed in each interview. Ironically, risk-taking would not seem to be the quality most evident in Australian films when comparisons are made with other film cultures. The apparent reasons for this are the public funding schemes, which enabled the “ new wave” to occur, and the allegedly fickle tastes of Australian audiences. The author, discussing these and other issues, concludes: . . . there have been no easy rides for directors in Australia . . . The new Australian directors have had to discover and battle and master a multitude of problems without the backlog of acquired wisdom or the institutional supports that have evolved in older industries. Making films in Australia has demanded of all these directors an extraordinary level of commitment — ‘you’ve got to be obsessed’ is the way Fred Schepisi put& it. (p. 21) It would appear then that the observed lack of heroic characters in Australian films is more than compensated for by the real drama of the revival itself, in which the directors have cast them selves, convincingly in the author’s view, as little Aussie battlers. This image of the young and struggling director is complemented by the egali tarian nature of the industry to date, in which commitment, enthusiasm and contributions from all the participants are expected. The director’s function is, for George Miller, “ to ensure that everyone is on the same train” , for Fred Schepisi, “ to direct everything between the riverbanks” and for Gillian Armstrong, “ to filter all the information and keep a balance” . The perceptions of Australian films by others is raised with each director. They agree there is a common view overseas of Australian films as anecdotal, casual, naive, innocent and direct but with freshness and vigor,
too. Pauline Kael is quoted as saying, “ There’s no real excitement in them. ‘Australia’ is almost like a Seal of Good Housekeeping on a movie.” If that is so, the question of the influence that the conditions of filmmaking in Australia and the personalities of its directors have on the films is raised. Although the five directors each contributed substantially to the script ing of their films, the struggle of direc tors in Australia to achieve their dreams is not communicated in any apparent way on the screen. Perhaps this parallel is too sim plistic. The author seems to favor the view that public funding and the over whelming need to make innocuous films for an uncertain market has dominated the industry until recent years.1 Of the five directors interviewed, all but one could be accused of failing to excite their audience. This is not a con demnation: a “ Seal of Good House keeping” is clearly of value in the U.S. The exception is George Miller, whom the author introduces by saying, George Miller’s genial and gentle de meanour confounds expectations that the director of the most taut and violent films made in Australia would have a personality to match, (p. 225) What follows is an interview with a successful Australian filmmaker who served the shortest and least likely apprenticeship in the industry. He has, instead, motivation and intelligence, both of which have given him a superior understanding of filmmaking as “ a business, a craft, or an art” , (p. 255) George Miller’s reflections on film making are the most concise and pointed of the five directors. His views are that, . . . filmmaking is essentially an organic process in which all the elements are interactive . . . and if you don’t face . . . problems in the writing then you have to face them on the set, if you don’t solve the problems on the set then you are going to have to solve them in post production, and if you don’t face them in post-production then the audience is going to have to solve them for you and you are in real trouble, (pp. 255-256) Significantly, four of the five directors have now had some experience in developing their skills as directors in the U.S. This is, potentially, the most important element in the future of these directors and will influence the sorts of features they may make in Australia again one day.
Recent Releases Mervyn Binns This column lists a selection of books on sale in Australia up to June 1984, which deal with the cinema and related topics. The publishers and the local distributors are listed below the author in each entry. If 1. It can be argued that this view still leaves the prospect of producing unexciting films if Australian filmmakers fail to understand the market here and over seas. And if poor marketing is not the excuse, one is left with the unpalatable idea that Australians like their films to be anecdotal and naive.
278 — August CINEMA PAPERS
no distributor is indicated, the book is imported (Imp.). The recommended prices listed are for paperbacks, unless otherwise indicated, and are subject to variations between bookshops and states. The list was compiled by Mervyn R. Binns of the Space Age Bookstore, Melbourne. Popular and General Interest The Best, The Worst and the M ost Unusual Hollywood Musicals Editors of Consumer Guide with Philip J. Kaplan Beckman H ouse/Im p., $14.95 (PB) A graphic, full-color survey of the film musical. Cult Movies 2 Danny Peary Vermillion B ooks/H utchinson D istributing, $12.95 (HC) Fifty influential films of all types, with casts and stories covered in detail. The Epic Film Derek Kelly Routledge & Kegan Paul/Cam bridge University Press, $29.95 (HC) The history of the epic film, and the entertain ment value of Hollywood’s “ adapted history” . Film Review 1983-1984 F. Maurice Speed W. H, Allen/Hutchinson Distributing, $25.95 (HC) The latest edition of this long-running, cinema annual. Mythmakers o f the American Dream Wiley Lee Umphlett Cornell University Press/Im p., $60.00 (HC) A nostalgic look at American popular culture, through cinema, literature and comics. Oscar: A Pictorial History o f the Academy A wards Editors of the Associated Press Contemporary Books/Im p., $14.95 (PB) An up-to-date, illustrated listing of all the Academy Awards. A Pictorial History o f Gone With The Wind Gerald Gardner and Harriet M. Gardner Bonanza/Dymocks, $17.95 (HC) A feast of information and photographs, includ ing the careers of the stars of the film. Stars! Daphne Davis Stewart, Tabori and Chang/Doubleday Aus tralia, $35.00 (HC) Photographic portraits of 48 Hollywood stars with 385 photographs, and biographical essays and filmographies for each star. Tales from the Hollywood Raj Sheridan Morley Weidenfeld and Nicolson/Hodder Australia, $29.95 (HC) . The story of the invasion of Hollywood by British-born actors and actresses. Fantasy and Science Fiction Cinema The Best, Worst and M ost Unusual Horror Films Editors of Consumer Guide with Darrell Moore Beekman House/Im p., $14.95 (PB) A full-color, graphic, historical survey of the horror film genre. Dr. Who: The Unfolding Text John Tulloch and Manuel Alvarado Macmillan/Macmillan Australia, $14.95 (PB) A serious analysis of the television series that has become a phenomenon, with the complete story of the series since its inception, the influences that have shaped it and its wide appeal. A book of practical interest to media students as well as fans. The Hamlyn B ook o f Horror and Science Fiction Movie Lists Roy Pickard Hamlyn/Gordon & Gotch, $6.95 (PB) Lists of the best films, classification lists, details on stars and the companies who have made horror and science fiction films. Biographies The Ages o f Gielgud: A n Actor at Eighty Edited by Ronald Harwood Hodder & Stoughton/Hodder Australia, $19.95 (H O
. .
,
A series of tributes to the great British actor of stage and screen, Sir John Gielgud. A udrey Hepburn Ian Woodward W. H. Allen/Hutchinson Distributing, $24.95 (HC) The story of the popular actress, the daughter of a Dutch baroness, who after living in Holland during the German occupation, moved to England, where her illustrious film career began.
A new edition in large format paperback o f the autobiography of the other love in Humphrey Bogart’s life. Burt Lancaster Minty Clinch ..... Arthur Barker/Hodder Australia, $24.95 (HC) A book that charts Lancaster’s controversial per sonal life and the fluctuations of his career as actor, producer and director. Cary Grant: Haunted Idol Geoffrey Wansell William Collins/W illiam Collins Australia, $19.95 (HC) The life and career o f one of Hollywood’s best loved stars. The Cinema Greats Jeremy Pascall Wayland Press/Thomas Lothian, $10.95 (HC) A collection of brief, illustrated biographies of John Wayne, Alfred Hitchcock and Walt Disney. A book suitable mainly for school libraries. Final Dress John Houseman Simon & Schuster/Ruth Walls, $30.95 (HC) The second volume of Houseman’s memoirs, spanning an outstanding career of more than 50 years in the theatre and the cinema. Fred Astaire Michael Freedland W. H. Allen/Hutchinson Distributing, $26.95 (HC) An illustrated biography of one o f the screen’s outstanding performers. Gene Kelly Clive Hirschorn W. H. Allen/Hutchinson Distributing, $22.95 (HC) A new edition of this biography of one of Holly wood’s best known stars of musical films. Heartbreaker: Two M onths with Judy John Meyer W. H. Allen/Hutchinson Distributing, $21.95 (HC) The heartbreaking story of Judy Garland’s last few months. How to Live to be One Hundred George Burns Robson/Hutchinson Distributing, $15.95 (HC) The ultimate diet, sex and exercise book. George Burns shares his secrets. Joan Crawford Paperdolls Tom Tierney Dover/Doubleday Australia, $6.50 (PB) The latest in this series of press-out paper dolls, with costumes, following Judy Garland and others. Believe it or not! Julie Andrews Robert Windier Comet/Gordon & Gotch, $15.95 (PB) A new edition of this biography of the star of Sound of Music. Mae West, The Life, The Legends, The Truth George Eels and Stanley Musgrove Robson/Hutchinson Distributing, $22.95 (HC) The complete life story of one of the best known personalities of the century, with many personal anecdotes now told for the first time. The Man You Loved To Hate — Erich Von Stro heim and Hollywood Richard Koszarski Oxford University Press/Oxford University Press Australia, $23.50 (HC) The tragic, frustrating career of one of the cinema’s geniuses — he has never been better described. Marilyn on Marilyn Compiled by Roger C. Taylor W. H. Allen/Hutchinson Distributing, $22.95 (HC) The late Marilyn Monroe’s views on many sub jects, and life in general, accompanied by numerous illustrations. M y Life with Bing Kathryn Crosby Golden Press/Golden Press Australia, $12.90 (HC) An illustrated story of the Crosby family by Bing Crosby’s wife. The book is accompanied by cass ette. McQueen William F. Nolan Arthur Barker/Hodder & Stoughton Australia, $19.95 (HC) Steve McQueen’s memoirs, as told to his best friend William F. Nolan. The story of a cinema superstar who died tragically. Out on a Limb Shirley MacLaine Bantam/Corgi-Bantam Australia, $4.95 (PB) The Academy Award winner’s third book, new in paperback.
Ava Roland Flamini Robert Hale/K. Ainsworth, $24.95 (HC) A new biography of one of the last of the film goddesses, Ava Gardner.
Ralph Richardson Garry O’Connor Coronet/Hodder & Stoughton Australia, $7.95 (PB) The biography of the great British actor whose career spanned 50 years.
Bogie and Me Verita Thompson and Don Sheperd Com et/Gordon & Gotch, $15.95 (PB)
Richard Burton Fergus Cashin Star/G ordon & Gotch, $5.95 (PB)
Book Reviews
New in paperback. The most recent biograpy of the much written about star. Richard Gere Judith Davis Signet-NEL/William Collins, $5.95 (PB) An authorized biography of a young, current, screen heart throb. This is m y Song: A Biography o f Petula Clark Andrea Kon Com et/G ordon & Gotch, $5.95 (PB) New in trade paperback form at. The biography of the popular singer and actress. Directors Howard Hawks, Story Teller Gerald Mast Oxford University Press/O xford University Press Australia, $59.95 (HC) A comprehensive, critical biography of the influ ential American director.
Italian Cinema Peter Bondarella Frederick U ngar/Ruth Walls, $17.50 (PB) New German Film: The Displaced Image Timothy Corrigan Texas University Press/Im p., $13.55 (HC) The best book so far about the new German film scene. Women and Film: Both Sides o f the Camera E. Ann Kaplan Methuen University Paperbacks/M ethuen Aus tralia, $17.95 (PB) A critical survey of women in films and the tradi tional way in which they have been represented. W om en’s Pictures: Feminism & Cinema Annette Kuhn Routledge & Kegan Paul/Cam bridge University Press, $11.95 (PB) A critical assessment of women in films. Reference
M y Last Breath Luis Buñuel Jonathan Cape/Australasian Publishing Co., $24.95 (HC) The autobiography of the acclaimed, Spanish born director whose surreal films were the epitome of avant garde filmmaking.
The Film Year B ook Volume Two A1 Clarke Curry O ’Neil/Gordon & Gotch, $14.95 (PB) The first Australian edition of this British pub lication, covering films released between July 1982 and June 1983. Contains stills, credits and reviews of all films.
Peckinpah Garner Simmons University of Texas Press/Im p., $26.95 (HC) A critical survey of the work of the director of The Wild Bunch and other outstanding films.
Movies on T V 1984-85 Edited by Steven Scheur Bantam/Corgi-Bantam Australia, $5.95 (PB) The latest volume of a popular reference, even more sought after since the advent of VCRs. Rating the M ovie Stars Editors of Consumer Guide with Joel Hirschorn Publications International/Im p., $5.95 (PB) Brief biographies, filmographies and ratings, including performances in many recent films now on video.
Roman Roman Polanski Heinem ann/Heinem ann Australia, $19.95 (HC) The autobiography of the brilliant and controver sial director. Criticism Children’s Novels and the Movies Edited by Douglas Street Frederick U ngar/Ruth Walls, $14.50 (TPB) A survey of films made especially for children and based on novels. A Japanese Mirror: Heroes and Villains o f Japanese Culture Ian Buruma Jonathan Cape/Australasian Publishing Co., $26.95 (HC) A well-informed portrait of a culture and its fantasies, as reflected in films, comics, plays and books.
T V & Video International Guide 1984 Edited by Olli Tuomola Tantivy/Universal Business Directories, $14.95 (PB) A survey of the world’s television industry. The Video Yearbook Edited by Angela and Elkan Allan Virgin Books/Gordon & Gotch, $11.95 (PB) First edition of a proposed annual publication listing all films released on video. Women in Australian Film Production R. Ryan, M. Eliot and G. Appleton Australian Film and Television School, $5.00 (PB)
A survey of women’s involvement in the Austra lian film industry, presenting the facts and figures, and discussing the potential for future employment of women in the industry. Screenplays The Complete Jean Vigo Jean Vigo Lorrim er-LSP/Im p., $12.50 (PB) Essays, articles and scripts. Introduced by Fran cois Truffaut. Women o f the Sun Hyllus Maris and Sonia Borg Currency Press/Cam bridge University Press, $12.95 (PB) The four episodes of the award-winning television series, introduced by their directors and authors. Television The Complete Video B ook Larry Langman and Paul Spinelli Zebra Books/Gordon & Gotch, $6.95 (PB) A survey of video recorders on the market. Soaps: A Pictorial History o f Am erica’s Daytime Dramas Seli Groves Contemporary B ooks/Im p., $14.95 (PB) An illustrated survey of American television soap operas and their stars. Glued to the Box Clive James Picador/William Collins, $6.95 (PB) A British television critic’s views on what he sees on the box. A witty and stylistic commentary on all aspects of British television. A Pictorial History o f Television Irving Settel Frederick U ngar/R uth Walls, $20.95 (PB) A history of American television, with reference to all the shows and personalities over the years. Prime-Time Television: A Pictorial History from Milton Berle to “Falcon Crest” F. Goldstein and S. Goldstein Crown/Dym ocks, $37.50 (HC) A complete, illustrated history of American tele vision. TV: The Casual A rt Martin Williams Oxford University Press/O xford University Press Australia, $30.00 (HC) An assessment of American television from an intellectual point of view, but presented in an entertaining and interesting style.
"A n e x c e lle n t d o c u m e n ta ry ... puts th e N e w G uinea c am paign o f W orld W ar T w o in to a g rim , n e w p e rs p e c tiv e ." - S y d n e y M o r n in g H e r a ld
yT
The Hotel New Hampshire John Irving Corgi/Corgi-Bantam , $5.95 (PB) The Jewel in the Crown Series: A Division o f Spoils; The Towers o f Silence; The Day o f the Scorpion Paul Scott Granada/W illiam Collins, $5.95 each (PB) A Married Man Piers Paul Read Pavanne-Pan/W illiam Collins, $4.95 (PB) M inder Anthony Masters Sphere/William Collins, $4.50 (PB) Razorback Peter Brennan Fontana/W illiam Collins, $4.95 (PB) Reilly — A ce o f Spies Robin Bruce Lockhart Futura/W illiam Collins, $5.95 (PB) Scarface Paul Moette Sphere/William Collins, $4.95 (PB) Terms o f Endearment Larry McMurty Star/G ordon & Gotch, $5.95 (PB) Who Killed Karen Silkwood? Howard John N E L/H odder & Stoughton Australia, $6.95 (PB) Never Cry W olf Farley Mowat Pan/W illiam Collins, $4.95 (PB)
v__ b y B o b C o n n o lly a n d R o b in A n d e rs o n
/
'
In Sydney, in November 1979, forty extraordinary people t o o k \ to the stage. Labelled by society as mentally handicapped, isolated^ and hidden away in institutions since early childhood, they came to the' Sydney Opera House and gave a performance that held audiences spellbound. T h is f i l m t e l l s t h e s t o r y o f t h a t e v e n t . . . ,
FRONT LINE 'An extraordinary record of one Australian's involvement in the war, containing unique footage of the fall of Saigon ... a film of great X. importance." - S y d n e y M o r n in g H e r a ld yS
A Fine Romance Bob Larby A rrow /G ordon & Gotch, $5.50 (PB)
F IR S T C O N T A C T b e tw e e n A u s t r a lia n g o ld p r o s p e c t o r s a n d th e p e o p le o f th e N e w G u in e a H ig h la n d s in 1 9 3 0 s . A film
H a n k N e ls o n a n d G avan D aw s.
N e il D a vis film e d th e V ie tn a m w a r fo r over eleven years. FR O N T LIN E is a co m p e llin g p o rtra it o f th is e x tra o rd in a ry m an.
Driving A m bition Paula Milne C oronet/H odder & Stoughton Australia, $5.95 (PB) Eureka Stockade Richard Butler Angus & Robertson/Angus & Robertson Publish ers, $4.95 (PB)
O ur ©wo dead have turn ed w h ite and come hack ”
In Ja n u a ry 1 9 4 2 , w o rld w a r cam e sudd enly to th e islands o f Papua N e w G uinea. The v io le n c e stayed fo r m ore than thre e years. A f ilm b y A n d r e w P ik e ,
'
Carny Thomas Baum G ranada/W illiam Collins, $4.95 (PB)
v
V \
N.
Novels and Other Film and Television Tie-ins The A Team Charles Heath Star-Target/G ordon & Gotch, $3.95 (PB)
Y e a r o f D is a b le d P e rs o n s C f
\ \
V
'■
STEPPING I
>| P
sfaS
■
Bjj 1 J SL
I k L lM ¡ ffl He ffp
SSH
b e c a m e o n e o f th e m o s t h o n o u re d a n d d is tin g u is h e d d o c u m e n ta r ie s in A u s tr a lia n f ilm h is to r y
i / yV
ALL TITLES AVAILABLE ONLY IN VHS A N D ARE FOR PRIVATE HO M E USE ONLY SPECIAL INTRODUCTORY PRICE $ 3 8 .5 0 PER CASSETTE (includes postage and packing) Released by Ronin Films, P.O. Box 1005, Civic Square, 2608 Telephone (062) 4 8 0851 Telex R O N IN A A 6 2 2 3 8 CINEMA PAPERS August — 279
THE AUSTRALIAN EVE More than Five Hours of Video on Australian Art Unique, seven part video series compiled from 32 short films on Australian art made by FILM AUSTRALIA with the co-operation o f the National Gallery and the art galleries o f the six Australian States.
Producer, Malcolm Otton;
Series Consultant Daniel Thomas;
Director, Camera, Script:, David Muir.
1. FOUR COLONIAL PAINTERS (40 mins.) Glover, Duterrau, Von Guerard and Piguenit
5.
SYDNEY: THE SCHOOL OF THE FORTIES (37 mins.) Drysdale, Klippel, Gleeson, Dobell and Herman.
2 . THE AUSTRALIAN IMPRESSIONISTS (49 mins.) Conder, Roberts, Streeton, Davies and McCubbin.
6.
MELBOURNE: THE SCHOOL OF THE FORTIES (42 mins.) Tucker, Boyd and Nolan, plus The Expressionist Eye’ on the work o f som e important but lesser-known artists.
7.
CONTEMPORARY PAINTING (60 mins.) Rees, Fairweather, Whiteley, Smart and Williams, plus The Creative Eye’, a background to the w hole series featuring discussions and demonstrations o f the work o f ten artists.
3 . SYMBOLISM AND LUXURY: THE NEW CENTURY (36 mins.) Long, Bunny, Lambert and Fox. 4. THE AUSTRALIAN MODERNISTS (48 mins.) Wakelin, de Maistre, Cossington-Smith, Hinder and Preston.
Exceptional value at VHS/BETA $65 each part, Complete series $409 U-MATIC $125 each part, Complete series $787
All prices plus postage and handling and Sales Tax if applicable (Australia only). Overseas rates on application.
For full details and order form, write or phone Program Sales Officer FILM AUSTRALIA
The Production Division of the Australian Film Commission P.O. Box 46, Eton Road, Lindfield, N.S.W. 2070 Telephone: (02) 467 9777
BW-maticI m
FILMWORKS
BV U m
n
POST PRODUCTION PTY LTD
Our Aerial Telecine System offers uncompromising sharpness and colour reproduction:
o SUPER 16mm ED'Tlh?uDe?1LÈ"convers,on
© Standard 8 mm ® 35 mm with dissolve • 16 mm © Super 8 mm © Video duplication Demonstration Tape Available
cinECLA iR PRODUCTIOÍ/ 1
T h e T e le c in e S p e c ia lis t s
loutoFH O U SE Pic svnc rentals • Syncing Sen/.ce „ incl- transcripts & FULL TYE NSnnscrip(s (incl. liming)
8 11Iowa Street, East Malvern, 3145.
Phone J ANNEf ^ & r aC K-UP
Phone: (03) 25 3565
POLKA
DOT COSTUMES 9 Queen Street, Melbourne, 3000 Phone: (03) 62 1089 ® Designers and manufacturers of quality costumes for film television and theatre
Filmworks
ana And out ———
to u -
'
(02) 699 1866 28 Pine Street, C hippendale NSW 2 0 0 8 .
TIME F IL M ΠJ E V E N A Y H C N C E N T R E Inc. in N.S.W .
SCRATCH REMOVAL and CLEANING of 35mm and 16mm NEGATIVE, POSITIVE AND REVERSAL FILM by the latest process available from the U.S.A. ★ ★
No messy coating remains on the film after treatment Film can be subsequently wet printed, ultrasonically cleaned, spliced, projected or handled in the usual manner ★ Ideal for negative or positive film that will be transferred to videotape ★ 4P per foot — 35mm prints 3d per foot — 16mm prints Price list available
REPAIR SERVICE ALSO AVAILABLE Call LEONIE DONOVAN for further information (02) 427 2585 or a.h. 653 2494 UNIT 1, 1 LINCOLN STREET, LANE COVE WEST, N.S.W. 2066
\
Razorback
The Wild Duck
One Night Stand
Distributor
T IT L E
SYD.2
M L B .
P T H
A D L .
BRI.
( 6 ) G U O 6 0 ,7 0 6
( 7 ) 7 6 ,6 4 7
( 6 ) 4 1 ,8 1 4
( 6 ) 1 9 ,6 3 7
( 4 ) 2 8 ,5 9 7
R S
( 5 /3 ) 3 1 ,1 0 7
( 3 /4 ) 2 8 ,0 6 8
H T S
( 1 ) 3 ,6 6 7
( 1 ) 4 ,4 7 5
Stanley
7 K
BMX Bandits
R S
Aussie Assault
P E R IO D
P E R IO D
( 1 * ) 7 5 2
109,190
45,271
SYD.
MLB.
PTH
ADL.
BRI.
$
Rank
( 1 * ) 2 5 ,2 3 3
( 1 * ) 1 3 ,6 9 3
( 1 * ) 1 3 ,3 8 5
( 2 * ) 2 9 ,8 7 4
1 0 9 ,6 6 9
1 1
2 4 ,1 0 3
2 2
9 9 ,3 6 8
1 2
7 0 ,6 7 7
1 4
1
( 1 * ) 2 7 ,1 8 4
( 1 * ) 3 ,9 9 2
6 3 ,1 6 7
2
( 1 * ) 2 4 ,1 0 3
( 1 ) 1 ( 2 ) 2 ,1 0 1 1 2 ,1 2 1
2 2 ,3 6 4
3
( 3 * ) ' ( 3 * ) 5 1 ,2 8 3 4 0 ,4 2 6
( 3 ) 1 9 ,8 9 1
2 1 ,1 8 3
4
( 4 ) 4 2 ,5 4 4
( 3 ) 5 ,2 3 7
5 ,2 3 7
5
( 7 ) 4 7 ,2 3 0
2 ,7 0 5
6
( 3 ) 4 2 ,2 3 3
( 1 ) 5 4 0
26,270
65,846
( 1 ) 7 ,6 5 9
( 3 /1 ) 2 8 ,1 3 3
( 4 ) 2 4 ,5 0 6
( 5 /2 ) 2 5 ,2 8 8
( 5 ) 2 5 ,0 7 5
( 2 * ) 2 2 ,5 4 1
1 2 0 ,1 3 4
8
( 3 /3 ) 3 8 ,2 0 8
( 3 ) ; ( 3 /1 ) 2 6 ,5 8 3 3 4 ,1 6 8
1 6 5 ,6 9 8
7
342,057
F o r e ig nT o t a l0
2,897,594 2,665,708
1,704,909 1,126,279 1,010,442
9,404,932
G r a n dT o t a l
2,993,074
1,750,180 1,152,549 1,076,288
9,746,989
2,774,898
Rank
$
t Not for publication, but ranking correct, v. Figures e xc lu d e N /A figures. ® B o x-o ffic e grosses of individual film s have been supplied to C in e m a P a p e r s by the A ustralian Film Com m ission o This figure re p re s e n ts the total bo x -o ffice gross of all foreign film s shown during the period in the area specified, ‘ Continuing into next period NB Figures in p aren th e sis above the grosses represent w e e k s in release. If m ore than one figure appears, the film has been rele a s e d in m ore than one cinem a during the period
(1 ) Australian theatrical distributor only, RS — Roadshow; G U O — G reater Union O rganization Film Distributors; H T S — Hoyts T he atres , FO X — 20th C entury Fox; UA — United Artists, C IC — C inem a International Corporation, FW — Film w ays A ustralasian Distributors; 7K — 7 Keys Film Distributors, C O L — C olum bia Pictures; REG — R egent Film D istributors, C C G — C inem a C e ntre G roup, AFC — A ustralian Film Com m ission; S A FC — South A ustralian Film Co rp oration; M C A — M usic C o rp o ratio n of A m erica; S — S h arm ill Films; O T H — O ther. (2) Figures are draw n from capital city and inner sub urban first release hardtops only. (3) Split figu res Indicate a m ultiple c in e m a release.
Box-office Grosses
C I N E M A P A P E R SA u g u s t — 281
95,480
Total
Total
2 2 7 ,4 0 1
( 1 ) 2 ,7 0 5
H T S
A u s t r a lia nT o t a l
10.3.83 to 28.4.84
29.4.84 to 23.6.84
Melbourne and Sydney Festivals
Melbourne and Sydney Festivals Continued from p. 248 serious, a “ home drama . . . I never expected people to laugh as much as they have.” Set in the cramped confines of the family’s flat, the film conveys a sense of claustrophobia. A young, newly married girl, who has recently moved into the block, tearfully asks Shigeyuki’s mother’s (Saori Yuki) advice about how to get her dying father-in law out of the building — his coffin will be too big for the lift. The mother, though dissatisfied with her role, has no sense of loyalty to the other woman, who then accuses her of only caring about her own family. In The Family Game, the family is portrayed as insular, petty, insensitive and destructive. The death of a father, the broken family, is addressed in Vigil. Vincent Ward, the film’s director, turned to film m ak in g , o rig in ally having intended to paint and sculpt. Some of the tension evident in Vigil, Ward’s first feature, seems to come from the difference between the art-form Ward has chosen and those more tacit arts he has forsaken. He attempts to con vey meaning with very little dialogue and, despite the visual strength of the film, it becomes more obscure with every frame. The story of young Toss (Fiona Kay) and the changes within her, when the secure presence of her father is suddenly removed, is the film’s main concern. Death leaves Toss and her mother, Elizabeth (Penelope Stewart), at the mercy of the North Island rain, Toss’ eccentric grandfather, Birdie (Bill Kerr), and the mysterious hunter, Ethan (Frank Whitten). Toss finds her father’s balaclava and wears it constantly as an amulet; the loss of her father has filled her with a nameless fear. Toss invents rituals, calling on her father from the place where he died, and her confusion and fear are expressed through the land scape, and the symbols of hunter and hunted. Ward has tried to do a great deal with his first feature: the photography is splendid, but the rhythm is very slow. The rainsoaked landscape, the repeated motif of the hunter as moun tain (cloud reflections passing over his image in a window), and the mud and blood of farm life are overstated: the symbolism is laid on with an over generous hand. Although the direc tor’s serious intent comes across — the images are beautiful but lack substance — the addition of a touch of subtle humor or some more editing, or both, could have saved Vigil from tedium. Growing up Ward’s Vigil.
without father.
Vincent
A film about families on both sides of British class lines, Meantime opens with a scene so fraught with tension that it leaves one writhing in one’s seat. That a Sunday afternoon tea with two sisters and their families can be so affecting is a tribute to the director, Mike Leigh. Leigh comes from a theatrical background and created the script for his first play, The Box Play, through improvization and workshop style rehearsals. He continues to use this method with his screenplays, and the result in Meantime is a sense of documentary rather than drama, which is spontaneous and forceful. Life in the East End council flat, where Mavis (Pam Ferris) lives, is ironically contrasted with the suburban life of her childless sister, Barbara (Marion Bailey). None of Mavis’ menfolk are in work; her hus band, Frank (Jeff Robert), is resigned though bitter, while Mark (Phil Daniels), the elder son, is filled with rage, cynicism and a struggling hope. The younger boy, Colin (Tim Roth), is slightly “ retarded” , and his few talents have not been allowed to develop. The relationship between the brothers forms the film’s central sub ject. Mark often feels shackled by Colin’s helplessness and derides him with childish name-calling. Colin is puzzled by much that he sees: the behaviour of his brother, the skinheads at the pub, the girl to whom he is attracted. He is a pathetic figure who, in his struggles to comprehend the people and events around him, ulti mately gives Mark concrete reasons for hope. Tim Roth plays his difficult role with dedication and skill. Conflict is sparked when “Aunty Barbara” offers Colin a job, which amounts to charity in Mark’s eyes. He attempts to make Colin understand the principles at stake and the brothers ultimately reach a better understand ing of one another. Although this does not liberate them, of course, it does make them more independent. Mark also learns, through his aunt, in a nice understated scene, that life in the suburbs is not as ‘rich’ as it appears. The film gives a profound sense of what life is like in East London, while showing that the suburban wasteland is similarly bleak and probably less alive. Yet Meantime is not a ‘downer’: ultimately one admires, without being patronizing, these survivors of a crushing social system. Leigh has been accused of voyeur ism in his films, but there is no indica tion of invading the privacy of the lives portrayed in Meantime. Rather, Leigh says, the film is . . . obviously loving and sym pathetic. It’s done because we care about these people. We’re saying, ‘Look, this is how people are living; what happens; what doesn’t happen that should; what should we do about it?’ There is also a strong audience identi fication with the characters and with the situation, regardless of how little real experience of poverty, unemploy ment or bureaucracy-battling one might have had. As Leigh says, “ They’re not them, they’re us\” On the outer edges of the family are the exiles — products of broken or decadent homes, cut off and unable to create families of their own. The reasons for this vary. In Koks i kulissen (Ladies on the Rocks), the family is sacrificed to art, with a
Top: Colin (Tim Roth), the ‘retarded’ son in Mike Leigh’s Meantime. Above: products o f broken families. Christian Braad Thomsen’s Ladies on the Rocks.
mixture of joy and pain. This is a lively, thought-provoking film showing (among many other things) the age-old “ mother or artist” dichotomy. The short British documentary Frida Kahlo and Tina Modotti addresses the subject more directly, using the lives of two women artists to illustrate “ two choices for women” . Blue-haired Anna Blume (Beate Jensen) in Mitten ins herz (Right to the Heart) is another outcast. She becomes involved with a self-obsessed dentist, convinces him she is pregnant and eventually steals a baby to create a family for herself. “ I believe that all women . . . still have inborn in adequate personalities” , says director Doris Dorrie. Whatever one may think of that belief, Dorrie has conveyed the conditioned need for and expectation of a family (for both men and women) in a remarkable manner. The Terence Davies trilogy (Child ren, Madonna and Child and Death and Transfiguration) shows a man ‘outlawed’ by his sexuality, yet bound deeply to his mother and the Roman Catholic faith. This portrait of desperation has domestic violence,
hints of sado-masochism and an overall sense of tragedy and pain. The protagonist has a lasting relationship only with his mother and, once she dies, he is bitterly lonely. A wealthy and decadent Swiss family is the subject of Glut (Embers). Anna (Agnes Zielinski), a Polish child refugee, comes to live with the family, which is involved in the manufacture of arms for the Third Reich. Anna and the son, Andres (Armin MuellerStahl), become friends amid contro versy in the family, the factory and in diplomatic circles about the arms sales. The disgust Andres feels for his parents is later levelled at himself, when he meets Anna 40 years later. He still owns the factory, but lives alone, unable to reject what his family bequeathed him or to forget what the knowing Anna had taught him. Embers travels through 40 years: from the wartime days of illicit sex (both parents are involved in affairs), death (the children and grandfather help a Polish POW to escape, and the grand father is shot by mistake) and loss (Anna is sent away), to the loneliness and repeated loss of the present.
Melbourne and Sydney Festivals
Paris, Texas succinctly approaches the multifarious theme of family. The film not only poses questions about the family, but also answers some of them. Winner of the Grand Prix at this year’s Cannes Film Festival, director Wim Wenders’ latest film is a compelling story, told with skill and insight. The screenplay was written by Sam Shepard, but the last section of the film was changed during shooting. This involved Wenders and L. M. Kit Carson (credited for the “ drama turgy” ) in an extensive reworking of the scenario, which they phoned through to Shepard (who was in volved with another film in another part of the U.S.). Shepard then phoned the completed script back to Wenders, in episodes. The result of this unusual way of working is a film of vigor and spontaneity. Travis (Harry Dean Stanton) walks out of the desert, somewhere in Texas, mute and with no clue as to his past. A card in his pocket gives a doctor, who attends him after he passes out in a roadhouse, the telephone number of his brother, Walt (Dean Stockwell). Walt immediately comes to get Travis, who is uncommunicative, scarcely seeming to recognize him. He has been gone for four years, presumed dead but he will not or can not tell Walt what happened during those lost years. Finally, as they drive back to Los Angeles, he begins to talk — of Paris, Texas, the place where he believes he was conceived. His father met his mother there and used to tell people “ . . . this is the girl I met in Paris, (pause) Texas.” Travis even owns a block of barren land there, which he bought by mail order. He is an innocent, a reborn man. Travis develops greatly during the film and Stanton’s subtle portrayal of the character is flawless. Walt tells him he has a son. At first, he seems unable to remember this part of his life but, after meeting the .boy, Hunter (Hunter Carson), and seeing a Super 8 movie Walt took of a holiday they spent together, he does remem ber. Hunter rejects Travis at first, having been brought up by Walt and his wife (Aurore Clement) since he was four. It is at this point the family that Hunter has known for four years begins to break apart as he relates more and more to Travis as his father. Together, Hunter and Travis set out to find Hunter’s mother, Jane (Nastassja Kinski), in Houston. They follow her from the bank, where she deposits money for Hunter each month, to the place where she works. Jane’s position is well outside the family: she is not quite a whore, but she works in a classy ‘peep show’ where she is the object of man’s gaze.
Although Jane’s position in the text enables the extremely powerful last section of the film to take place, it is unfortunate that women who leave their families are so often relegated to the position of whore in films and literature. It is almost unavoidable in the case of Paris, Texas, however, because the last scene with Jane and Travis talking without meeting, seeing without being seen, could not have been achieved in any other way. The ‘peep show’ is a vehicle for expressing the relationships between men and women. In an interview, Wenders com mented on Jane and the ‘peep show’: “ . . . obviously she works in that strange place not only to earn money, but there’s something in her past, in her character that also needs that . . . the position in which she finds herself . . . Not to be touched, but to be in contact . . . for me, she was no longer a victim . . . and that was what became of Travis’ story; to understand that he could no longer be with her and the child in a family story . . . ” The ‘peep show’ scene is a tour de force. It is the only part of the film in which the written screenplay was rigidly adhered to and it could stand on its own as a play or short film. First, Travis talks about his relation ship with Jane as “ . . . some people I know . . .” , until Jane realizes who he is. Then, Jane talks about her life since she left him and her love for Hunter. Stanton and Kinski make this scene incredibly dynamic, though there is little movement of either the camera or their bodies. Travis gives Jane and Hunter back to one another, realizing that he can not be part of that family. Wenders says that he wanted to show in Paris, Texas that the family should not be so sacred as to devalue the needs of the individuals. The well-being of the members should be maintained, even if that involved splitting the family unit. The film was shot in continuity, because of the doubts as to the out come of the story and because Wenders thought it important for Stanton to experience his role in con tinuity. The original shooting time had to be cut down to seven-and-a-half weeks when finances, arranged outside the U.S., were suddenly and drastically reduced due to a dramatic change in the exchange rate. The film doesn’t appear to have suffered from the low budget (less than $2 million); in fact, the urgency of the shooting schedule probably lent even more vigor to the episodic style. Although Paris, Texas was made in the U.S., with an American crew, a mainly American cast and in English,
Wenders maintains that it is a German film. “ It couldn’t have been made by an American director working for a big studio” , he says. Indeed, Wenders avoids melodrama, even though he is dealing with a child actor and an emotional issue, while an American studio would certainly have demanded overkill — not to mention an organ ized scripting and shooting schedule. With European subtlety, using his obsession with all things American to reflect the U.S. rather than the obses sion, Wenders has made a wellrounded, perceptive and forceful film.
British avant-gardists Laura Mulvey and Peter Wollen. What follows are impressions of the rest: reason over passion, I said to myself, sliding down in my seat as the lights grew dim, or is it the other way round?
Greater Union Awards
The four documentary finalists were all made for television, reflecting the imperatives of current documentary filmmaking. All were approximately 50 minutes long, solid but mostly un remarkable and the judges complained of a lack of innovation in the entries. ■ m Presumably it is this situation that the AFC Documentary Fellowships have Documentaries been created to change by offering flmmakers a year of complete freedom in which to experiment. Perhaps next Mark Stiles year’s Awards will reflect the results, There was a strong documentary show although they may have to relax their ing at the 1984 Sydney Film Festival — present 60-minute limit to do so. 31 films, including 13 feature-length Shipwrecked (48 mins), by Bill documentaries — on a bewildering Bennett, was a controversial winner of variety of subjects: coal, boxing, pine the Greater Union Award for Best apples, neo-colonialism, writers, New Documentary in that it seemed conven York graffitists, derelicts and Agent tional television fare and certainly Orange, to name but a few. In addi lacked that formal innovation the tion, there were the Greater Union judges could not seem to find any Awards, a Forum on political film where. It is nonetheless enjoyable making and the Australian Film Com watching, enlivened by the strong mission announcement of the first central character of the castaway, Bill recipients of its new Documentary Belcher. I preferred, however, Binning Fellowships, all of which served to give Street (55 mins), by Gillian Coote, a documentaries a high profile in the quiet, understated film about an inner city community in Sydney. The direc minds of Festival-goers. For Australian documentary film tor’s good-humored approach pro makers, the Festival is a chance to see duces a revealing picture of the lives of how the rest of the world juggles the ordinary folk and one which is un eternal problems of fund-raising, dis fashionably optimistic. Boxer (47 mins), by Laurie Mclnnes, tribution, approach, length and commitment. Are documentaries just is an accomplished look at boxing, reportage or diversion, as our tele very competently made but somehow vision networks seem to think? Can lacking a sense of urgency which might they ever be more than merely useful have enlivened its familiar material. films, made for government depart “ If you’re not a winner you’re just not ments or subversive groups meeting in good enough” , said one contender basements? Or are they capable of after defeat, a self-destructive philo claiming some of the ground occupied sophy it is hard to share. Curtis Levy’s Up for Grabs (55 by feature films, speaking to their mins) is a sympathetic look at the audiences in a more profound way? I regret having to report that, for all movement for Aboriginal land rights the variety of length and subject in New South Wales, and the divisions matter, few documentaries shown at among Aboriginals as the movement the Festival stood out as examples of gathers momentum. It is a straight good filmmaking. Was the problem the forward, useful overview of an lack of formal innovation, as the important contemporary issue that judges of the Greater Union Awards perhaps did not try hard enough to claimed? Or was it the lack of a strong grab the audience’s attention. theoretical base, as speakers at the Apart from those entered in the Forum contended? Greater Union Awards, there were Whatever the reason, the impression three other Australian documentaries I gained from watching 28 hours of in the Festival. documentaries in two weeks was a de Kemira: Diary of a Strike (63 mins), pressing sameness: filmmaking at its by Tom Zubrycki, one of the new most literal and unimaginative, relying Documentary Fellows, is a day-by-day on the intrinsic interest of the subject account of an attempt by Wollongong matter to engage the audience. The few coal miners to fend off retrenchment films that attempted to deal with the by occupying a mine for 16 days. The real in an innovative way seemed only incoherent. As a speaker said at the Forum, documentaries are either T o m Z u b r y c k i’s Kemira: Diary o f a Strike. sermons or war movies and their titles tell you all. There was not much wit or humor in the films on view, not much distinguished photography or editing; analysis was often haphazard, leaving the images to speak for themselves (if only they did); and most were too long. I managed to see 25 of the 31 films, a participation rate of 80 per cent. Notable omissions were Grenada, a Cuban view of the invasion; A Day in May, a record of the world-wide opposition of women to the nuclear arms race; and Frida Kahlo and Tina Modotti, the story of two artists of the ‘Mexican Renaissance’ made by
Melbourne and Sydney Festivals
effect of their action on their families, their community and themselves is sympathetically explored and a clear picture of the contending points of view of the future of the South Coast emerges: new leisure centre or revital ized manufacturing area? (“ If we don’t win we’ll all be at leisure” , one miner remarks wittily on the steps of Parliament House.) The success of the film is helped by the strong contribu tions of editor Gil Serine and com poser Elizabeth Drake. The Hurdle (24 mins), a gritty account of the fortunes of the Austra lian middleweight champion at the 1982 Commonwealth Games, was made by Dennis O’Rourke and Nick Torrens, and for me is a more success ful film about the same subject than Boxer. I’ll Be Home for Christmas (135 mins) is Brian McKenzie’s epic direct cinema look at a group of Melbourne derelicts, confronting the well-heeled Festival audience with those they would normally avoid like the plague. On the one hand, it has the virtues and limitations of its form: too long, too many characters, too dependent on the initial decision on its subject, too in volved to be analytical (no incontin ence, violence or brain damage here); on the other, it is a superb ethno graphic record of a sub-culture, refusing to judge those whom society has judged so often, showing instead the camaraderie, the flashes of humor and the network of support at the bottom of the heap. Choice or circum stance? Victims or free agents? The questions are raised but not answered. The filmmakers do not explain, merely show; it is to their credit that their sub jects emerge as human beings, with dignity and with pasts, however in determinate their futures.
The Festival Three films by the Israeli documen tarist Amos Gitai, a guest of the Festival, were a major disappointment for me. I was able to see only Ananas (80 mins) and Field Diary (83 mins) but, in both cases, strong subjects received indifferent filmic treatment. Underexposed, with muffled sound and padded out with prolonged travel ling shots, these films were intensely annoying and made one resistant to their messages: in the first case, the penetration of American agribusiness into the Third World and, in the second, the Israeli occupation of the West Bank. The discursive essayist style is merely tedious; this filmmaker doesn’t know when to cut. Far more impressive was a group of documentaries about Central America and the Caribbean. An admirable balance of reason and passion, they are compelling. Bitter Cane (75 mins), a film made over a six-year period by Jacques Arcelin about the neo colonization of Haiti by American business, is a model of succinct analysis, expressed with feeling and skill. American businessmen explain directly to camera the attractions of cheap labor in Haiti ($2.64 a day), while thousands flee the repression that keeps those wages low; on a Miami beach, the bodies of refugees drowned while escaping are left behind by the tide, a mute, unforgettable reproach. This film is excellent. When the Mountains Tremble (83 mins), by Pamela Yates and Thomas Sigel, is equally good, a powerful account of the rebellion in Guatemala 284 — August CINEMA PAPERS
Above: Alan Lowery’s Nicaragua: deceptively simple style. Below: Brian McKenzie’s epic look at Melbourne derelicts, I ’ll Be Home for Christmas. Bottom: Pamela Yates and Thomas Sigel’s When the Mountains Tremble, a powerful account of rebellion in Guatemala.
against the U.S.-backed dictatorship. The excellent narration by a young Indian woman, Rigoberta Menchu, aptly counterpoints the dramatic images: helicopters, Green Berets and generals in sunglasses on one hand, guerrillas recruiting in a mountain village and the funeral of a community leader murdered by death squads on the other. Sequences are allowed to develop the narrative, not simply hold open a space for the words; telling interviews with the army on patrol or bombarding peasants with leaflets from helicopters speak volumes about the nature of the war, uncannily reminiscent of another one on the other side of the world. Nicaragua (53 mins), by Alan Lowery, is a television documentary unseen as yet in Australia. It has all the familiar hallmarks of journalist John Pilger’s style: partisan, evangelistic, deceptively simple in form, the reporter the concerned man on the spot. If only staple television current affairs programming were as clear and forceful as this, a Festival favorite. Jorge Denti’s Malvinas, story of Betrayals (86 mins) is an interesting Left-wing view of a war that both British and Argentine working classes opposed but which initially served both governments well. Pictorially variable, reflecting its diverse sources, it nonetheless provides an Argentinian context for the war as an attempt by the generals to divert popular unrest into military adventure. The statistics of the repression stagger the mind: 8000 dead, 10,000 prisoner, 30,000 dis appeared, a million exiles in seven years of military rule in Argentina. The problem of representing the struggles of the oppressed to audiences in other countries was dealt with, in an interesting contrast, by two films on the Basque minorities of France and Spain. Euskadi — ZEN (43 mins), from Spain, is an overtly political view of the Basque struggle for independ ence and the Spanish government’s increasingly severe attempts to contain it. This is the way it is, the film seems to say, if you don’t follow us you must fight us. Euskadi (55 mins), from France, took a totally opposite tack: it is a lyrical account of Basque peasant life, without narration, dwelling on rural religious festivals and avoiding all mention of politics or terrorism. Presumably made for French audi ences to counteract the predominant, unfavorable image of Basques in the French media, it seems a little puzzling outside this context: an ethnographic oddity, photographed quixotically in a mixture of black and white, and color. The revolution was much on people’s minds: Os comprometidos (50 mins), a Dutch-Mozambican co production directed by Ike Bertels, is an uncritical report on the public humiliations (nationally televised) of former Portuguese collaborators after the revolution. Repellent yet fasci nating, it shows the posturing President haranguing hapless Mozam bicans who had sold out for food or a secondary education. The lengthy public interrogations disagreeably recall Stalinist show trials, while this new version is ingenuously presented as all the “ rehabilitation” necessary to convert traitors into loyal citizens. The clearest memory is the dignity of the accused: interrupted by the President while giving a lengthy rehearsed answer, one man says simply, “ Treachery is a long story, Mr President.” Poor-definition, black and white photography added to the
ilm iw a y s
“ ..... .one of the most important contemporary Australian films this country has produced." Senator Barry Cohen (Minister for Home Affairs)
IS PROUD TO ANNOUNCE... A new exciting joint venture between
Filmways Australasian Distributors Pty. Ltd. and
V TC
Study notes are being prepared to accompany the film by both Geoff Mayer and Lee Burton, Lecturers in Media Study at Preston Institute of Technology. - Jtx
u.K.
one of Europe's most progressive film and video production, sales and distribution companies.
Filmways V T C
%
“The film has been viewed and enjoyed by a wide range of educationalists and students and has been recommended for classroom study.”
VTC
is interested in acquiring Australasian rights to new feature films plus world rights on certain projects. Producers should direct their enquiries to Peter Collins, Chief Executive, 2nd Floor, 158 City Road, South Melbourne, 3205. Telephone:622 931 Telex:AA 33487
MOVIE STUNTS AUSTRALIA
O
We can stunt as far as the imagination can see . . . When you are planning your next production, contact:
FRANK LENNON STUNT CO-ORDINATOR
(02) 922 6748 MOTI ON
PICTURES
STEVE BISLEY • TRACY MANN • PETER HEHIR • DENIS MOORE « and Introducing ROD ZUANIC as Steve n m ---------------
„
,
„
TONI AUAYLIS • CHRIS TRUSWEU • GAIL SWEENY
n n | oocsysTEf
9
TELEVISION
®
COMMERCIALS
★
Experienced, hardworking &. helpful crews
★
Professionally equipped
★
Radio controlled
★
Film & advertising props transportation
U U L - ----------------
'
PROOUCHON OS SIGNER N f 11 ANGWIN . FIIM EDITOR OAVIO HUGO! H • ClNeuAlOGRAPHEB OAVIO GRIBBIE • MUSIC SHABON C a i CRAFI • S C R fiN P lA Y KEN CAMERON P R O D U C E R ROSS M AETH EW S • DIRECTOR K EN C A M E R O N
FEATURING M US IC FROM EURO G UDE RS
FOR RELEASE liNI SYDNEY-MELB-ADELAIDE-PERTH AND HOBART IN AUGUST AND BRISBANE IN SEPTEMBER
3311680 P.O. BOX 417, PAD D ING TO N 2021
★
Antiques & Fine Arts
★
Member of the National Furniture Removals Association
Melbourne and Sydney Festivals
strain of watching and many left the screening. Seeing Red (100 mins), by Julia Reichert and James Klein, is an out standing archival film about the American Communist Party. A dozen ageing Party members, past and present, recall their radical youth and their later disillusionment. Most had joined in the depths of the Depression; most left in the bitter decade after 1945 when, after surviving McCarthyist persecution and the Cold War, Khrush chev’s revelations of Stalin’s crimes proved the final betrayal. Within two years, 80 per cent had left the Party. Now the survivors fight other battles — for pensioners, against nuclear weapons. It is a moving record of lives of commitment and fulfilment. The same careful research and discrimina ting choice of interviewees, evident in comparable films such as Rosie the Riveter and The Wobblies, is also evident here to make a powerful, affecting history of a period, a country and some memorable men and women. It was left to the biographies to lighten the mood: rock’n’roller Ian Dury, writer William Burroughs, jazz poet-musician Gil Scott-Heron and silent film comedian Max Linder all proved lively, funny subjects for films, a breath of fresh air in the turgid sur roundings. Ian Dury (52 mins), directed by Franco Rosso of Quadrophrenia, speaks for himself in a thick Cockney accent, unpretentious and witty. Best moment: asked by a small black child if he believes in God, Dury hedges. “ Typical” , the child replies, devasta tingly. Black Wax (79 mins) is a British film about a very American subject. Unremarkable in form, it depends completely on audience interest in its central character: luckily, Gil ScottHeron turns out to be an engaging, perceptive subject. The Man in the Silk Hat (95 mins) is a loving account of the French silent film star Max Linder made by his daughter Maud. Using clips from his innumerable comedies, the film evokes a free spirit of the Belle Epoque — an anarchic blend of Lartigue and Chaplin, touching and affectionate but slightly too long. Best of all is Burroughs (86 mins), an excel Julia Reichert and James Klein’s Seeing Red, about the American Communist Party.
lent compilation film by Howard Brookner about the ambiguous leading light of the beat movement, now grown old but still sharp. Burroughs comes across as a funny, cruel old man, his personal life a disaster (killing his wife in a drunken accident, his son dying young), his writing going from strength to strength. A cautionary tale for writers everywhere and one of the best films in the Festival. The rest of the documentaries were a mixed bag: On the Air (53 mins), by Frank Abbot of Britain’s New Cinema Workshop, is incoherent; an attempt at a critical history of British broad casting, it flounders badly in the treacherous swamp of theory, its form muddled, its ideas half-baked. Byker (55 mins), another British film, takes some time to find its feet but emerges as a moving account of the destruction of a vibrant working-class community by well-meaning town planners. Using, as its core, still photographs taken by its director Sirkka-Liisa Konttinen, the film cuts powerfully between the rude intimacy of the old slum and the cold, clean, better future of high-rise re housing. The Secret Agent (57 mins), by Jacki Ochs, is an account of the struggle by American Vietnam veterans exposed to Agent Orange to claim compensa tion from the government and the chemical companies. Made for Ameri can audiences, it side-steps criticism of the war and concentrates on the plight of veterans and their families. The situation in Vietnam today, which is still coping with the 41 million gallons of herbicide sprayed on it by the Americans during the war, is referred to only briefly. Nonetheless, the film works well as an indictment of the U .S. g o v ernm ent’s callousness (extending in the end to its own troops) and, coincidentally, supports the environmental opposition to dioxin, still used in Australian agriculture. Style Wars (69 mins), by Tony Silver, documents the subway sub culture of poor New York kids: graffiti, street dancing and dress as vigorous expressions of youthful revolt. The film makes a witty contrast between the intensely competitive ‘writers’ and ‘bombers’ of the subway cars, and the concerned citizens who must deal with the plague. Double rows of razor wire and guard dogs pro tect the as-yet unblemished trains while the Mayor contemplates the death penalty and chic art galleries invite the better-known artists to exhibit. Stylish and funny, it was one of my top five.
The Documentary Forum The Documentary Forum, planned as a discussion of political filmmaking, unexpectedly turned into a collective expression of anger. Not everybody was angry about the same thing: some had missed out on a Documentary Fellowship, announced the day before; others had failed to get into the Women’s Film Unit; others still had been unable to find funds to make their films or, once made, to get them distributed. There was a painful split between film theorists and practition ers, several divisions among feminist filmmakers and a number of personal feuds. Despite reasoned contributions from (among others) Gill Leahy, Rod Stoneman of Channel 4 in Britain and Meaghan Morris, passions prevailed. The committed spoke of filmmaking in the front line, the more academic (in the grip of Parisian fevers) deplored the lack of theory on the part of the committed. Many questions were raised but few addressed and, as the tumult in the Dendy rose, this writer (a last-minute co-opt as chair) called in creasingly in vain for order.
Conclusion There were no heavyweight contenders this year for the Documentary Pantheon, just a solid body of work, variously appealing to our consciences or attempting to illuminate the ever-
changing world. There were not many good films. Nonetheless, some images linger in the mind, proving that the documentary form has a poetic and imaginative dimension that can work at the deepest levels of understanding. One thinks of the bodies washed up on the beach in Bitter Cane; of Ian Dury swimming, fighting the polio he has carried for thirty years; of the ex communist, now an old man, re reading the passionate writings of his youth; of William Burroughs as a Grand Guignol surgeon; the pit-top meeting in Kemira, where the roughspoken union leader tries vainly to whip up passions while watching his language because a woman is listening; Max Linder in a bathtub, escaping down a street; displaced working-class Englishmen wandering dazed around their Brave New World of housing commission flats; the spokesman for Dow Chemicals in The Secret Agent, defending the indefensible; the final moments of the fight in The Hurdle; the alcoholic Vietnam veteran lunging repeatedly at the camera in I’ll Be Home for Christmas. For me, formal questions — the apparent concern of the Festival — became a red herring. Let the means suit'the end. One of the best documen taries was a fiction short in the Greater Union Awards, originally entered as a documentary but relocated by judges’ fiat: Every Day Every Night, by Kathy Mueller, is a brilliant, shattering account of a Vietnam veteran’s widow, in which the conception, photography, cutting, performances and direction are outstanding, culminating in a film of devastating impact. Documentary or drama? For this film, one of the best of the Festival, labels seemed irrelevant. Apart from this, basic filmmaking skills seemed conspicuously absent this year, with several honorable excep tions which I think it is important to name: Best photography. Bitter Cane, Binning Street, Boxer; Best sound: Boxer; Best editing-. Kemira, Seeing Red, Bur roughs; Best narration: Nicaragua, When the Mountains Tremble; and, overall: Most passionate-, Nicaragua, Mal vinas; Most lucid: Bitter Cane, Nicaragua, Seeing Red; Most incoherent: On the Air; Funniest: The Man in the Silk Hat, Burroughs; Best of all: Every Day Every Night. ★
Wanted & Positions Vacant
For quality 35 mm sci-fi/adventure/war/car action/feature films —to be shot in Australia and other countries (replies from USA, Europe, Asia, etc. welcome, include your phone number). We are perfectionists and award winners, prepared to go to great lengths to search out (hence this ad) and where necessary develop products and people that are “just right”. We value character (we like quiet, knowledgeable,patient, etc., people) more than experience. Write tousif you see yourself as: assistant, acting talent, line producer, artist,' designer, machinist, technician, etc. or consultant/supplier of props, wardrobe, weapons, Techniscope, Kodachrome, warfare, cars and heavy vehicles, computer graphics, electronics, servo motors, locations, etc. If you think you have anything to contribute, or if you know of anyone who has, please send fullest information, in your own longhand, to Executive Producer, P.O. Box 333, Bondi Beach, N.S.W. 2026, Australia. We would prefer not to have to return anything; enclose s.a.s.e. if you want anything returned. Angol Holdings Pty Ltd. Tel. (02) 309 2221
Strikebound — Photography
Sophia Turkiewicz
Sophia Turkiewicz
nor my parents were born here. It makes a difference if you are born Continued from p. 239 here. I think it takes two genera tions to internalize the fact that you are Australian — maybe the number of factors: if they are more next generation, my children, if I than 30 years old, and have a were to have any, would make that family and children, they are not final adjustment. as likely to make the kind of adjustments — such as learning the Will the problems of migrants be a language, getting the right kind of theme that you will be developing education, etc. — that someone again in the future? who is in their twenties and single might. This is one of the themes I I don’t want just to write films take up in an abstract way in Silver that deal with Europeans. I am in City: the realization of one’s the middle of doing an ABC tele potential in life. feature, Time’s Raging, a story about an Australian couple whose Do you believe “ Silver City” will marriage has gone wrong. It is a play a part in divesting migrants of script I wrote with Frank Moortheir bad name by educating the house, loosely based on some of his short stories from his first “ old” Australians? book, Futility and Other Animals. I hope so, though there is no I wrote it in tandem with Silver way I can gauge its effect now. I City. don’t want to say, “ I hope Austra lians will learn from it” ; I prefer Once again you are exploring that people of European parents human relationships . . . and Australians might see the film and get a sense of what it might be This time it is a contemporary like to have been thrown into a story. The wife, who is in her midnew and foreign culture, and to to late-thirties, wants to have a child as her biological time is run have to adjust to it. ning out but her husband can’t Do you consider yourself an Aus come to terms psychologically with being a father. tralian? I suppose I still feel like a hybrid in this culture. I don’t think I will ever feel like a real Australian, possibly because neither myself
Apart from the lack of ethnic representation, what are your feel ings about the direction of the Australian cinema at present?
under a single light and, though you can see him, you can’t see his Continued from p. 215 expression. He is lost in the dark ness in the same way he is down the mine. So, that is definitely a dramatic licence to show the relationship be You couldn’t have mixed the two tween the miners at home and the miners down the mine. It was not gauges? just a matter of working condi No. We wouldn’t have been able tions, of asking for more light or to maintain a textural consistency safety assurances. They were ask in the film, which I think we did ing for better status as humans. fairly successfully. The grain does vary, but the tone and definition How did you feel about Super 16? are constant. Well, it suited Strikebound in If we had done part of the film on 35 mm and the scenes in the the mines and when working in mine on 16, it would have looked tight locations. But Super 16 is difficult to use as if we had taken a Super 8 camera down there. Once you had and control. It is very hard to keep seen those images side by side, the clean and scratch free. The camera audience would have wondered assistants have a tougher job than why it was so fine above ground on a 35 mm or 16 mm feature. On and so terrible below. It was actu Strikebound, they had to recondi ally quite terrible above ground, tion the camera magazines after too — the interiors of the house every second load to stop the film definitely have a similarity to the being scratched. Super 16 uses an darkness of the mine. That is a area of film which was originally consistent characteristic of the life designed to take all the wear and tear of sprockets, and now is being of those people. used to record the image. I wouldn’t use Super 16 as a They don’t ever escape it . . . standard way of shooting lowExactly. And that is shown when budget features. Wattie goes home and Agnes isn’t there. He washes himself and then “ Strikebound” was a low-budget sits down to eat a bowl of really film. Did you ever feel restricted in unappetising-looking soup. He is terms of what you wanted to do?
Strikebound
—
Photography
There are exciting and worrying things happening at the same time. There are good people with inter esting ideas, which they are trying to develop, as well as producers with imagination. I am optimistic that the good things will get through. I think it is a misconception that we don’t have good writers. Unfortunately, what is wrong is that our writers are not skilled enough yet in their craft and the producers do not push them far enough. Producers need to know not only about the financial side of things but also how to nurture a writer through drafts of a script. Is that what Joan Long did with you? She was very good in that respect. Again, through having all those delays because of the prob lems with money, I had time to mull over the script, redraft it and refine this or that element. I also think there is something innately cautious and timid in the Australian character. We are too frightened to expose ourselves and so the writers detach themselves. They need to get in touch with their really deep feelings if they want to express something about human behaviour. Do you see yourself as having suc ceeded in your ambitions?
In terms of photographic style, the budget didn’t confine us. It was just that there were various points of view as to how we could go about spending the amount available to us. The production people’s ap proach was to apply a big-budget mentality to a small amount of money. But you just can’t spend money that way in smaller amounts; you have to spend it in a completely different way. So I was worried that we would be resorting to some high-budget equipment and then working with it in the most minimal manner. But, after about a week’s shooting, they realized that we had to do it in a low-budget, independent way, which employed a different sort of person, a different way of work ing. For instance, producers often say, “ Time is money.” In that case, I would rather have the time than the money. I do think Australians are con centrating too much on getting their technical levels to a point where they can be compared with what is coming out of Hollywood. That is no trick if that is all you want to do and you have the dollars. But since we don’t often have those dollars, we should have a less entrepreneurial style and a more individual way of working, directly related to the type of story, avoiding the Hollywood mentality
I am lucky in having had this marvellous opportunity to write a feature about a subject I have cared about. It seems to have been a fortunate combination of having the right subject at the right time with the right producer. But you also have to possess incredible drive to keep going through all the obstacles. You have to be obsessed, basically. Do you think that it is harder for a woman to be successful in the film world? It is certainly harder for women to break through into the competi tive feature area. My year at the AFTS was particularly good because at least 50 per cent of the students were some fairly highpowered women, some of whom are now working in television or making documentaries, and some of whom have just dropped out and had babies. I think it is tougher for a woman because a man can more success fully integrate a career and a domestic situation. A woman who is competing in the feature area has to give everything she has to suc ceed. That means you do not have the time or the energy to integrate a successful family life, such as having children. I have paid a price to get what I wanted to do profes sionally. It came down to making choices; my obsession was with my films, so I chose them.
and evolving a more appropriate way of making films. We wouldn’t have been allowed to shoot by car bide in Hollywood, for instance. What you say is typical of the Swinburne attitude of filmmaking as opposed to the Australian Film and Television School attitude . . . Yes. The AFTS, in my view, pushes the technique side above all other aspects of filmmaking. Swin burne really doesn’t teach you any thing about technique. It con centrates more on ideas. You teach yourself within the confines of the type of film you are making; you are not required to make the film’s story fit a technical way of making movies. You get the film notion together and then you play with what’s available to arrive at a par ticular method of using that equip ment. It is not a standard way of making movies, whereas the films that come out of the AFTS are made in a standard way. It is as if the students have been taught how to record sound, how to record light, how to pace a story. But there is no one way to make films; there are as many different ways as there are different ideas. I like to explore as many light situations as possible and hold fast to those that are good. So the way Strikebound was made you wouldn’t necessarily adopt on the next $700,000 movie:* CINEMA PAPERS August — 287
Strikebound — Sound
Strikebound
—
Sound
Continued from p. 217 stereo film I had recorded, I was fairly nervous. The rushes were sounding okay but I was still con cerned about the way it would cut and track. But it worked out. It is unusual for the sound people to get enough room to move, to do what they want and have to do, on any shoot. Usually, you have to fight for what you get. On Strikebound I was allowed ample time for pre-production, and they generally catered for sound. It is good sound because of it. It never ceases to amaze me why it doesn’t get through people’s heads that sound is just as important as the picture and it needs consideration from the very beginning. Richard: Most producers and people in the film industry don’t understand; they think in terms of what is the cheapest way. Actually, it is far more expensive not to think ahead. They say, “ We can save time if we push this sound recordist and we can get it all shot in 10 weeks instead of 11.” Then they sit in the mixing room think ing, “ Why isn’t this better?” They spend more time and more money on trying to get it better in the mix, rather than on getting it right first time. Gethin: They start treating the mixing theatre as the biggest Steen beck you have ever seen. It costs one or two thousand dollars a day for these things.
short stories from the north of England, which are quite graphic, and listened to Richard’s endless monologues about what people had told him. I also met Wattie and Harry, and talked to them. Richard wanted an ambience, a life sound. Richard: We had to create an atmosphere track. Dean: It had to have a move ment about it, too. So everything is based on low level, low frequency, with no rumbles. Gethin: It is very hot under ground and the sound had to sug gest that, too. The silences are very effective. Had you intended to use them from the beginning? Dean: There was always a heavy dynamic in the script between above ground and within the mine. Is that why some of the sound is full and other sounds narrow or thin? Dean: The only parts of Strike bound which are stereo are those in the mine; everything above ground is mono. Stereo is a great device if you don’t overdo it. How many tracks did “ Strike bound” have at any one time? Richard: In reel two we had 110 tracks. Why so many? Richard: Because you can’t go to a library and get a 1936 coal mine atmosphere. We were re
What were the difficulties in recording sound for stereo on a period film such as “Strike bound” ? Dean: Obviously the back grounds. The fact that six weeks of the shoot were underground was a blessing. There is a very different sound atmosphere down there. You cannot get uneven or unmixable sound; no matter where you go, there is a similar ambience. It is also easy to mike things, hiding mikes under rocks and behind carts. Did the dark quality of the film help in hiding mikes, too? Richard: Yes, there are a lot of mikes in shot that you don’t see. Dean: Often Andrew de Groot [director of photography] would shift a frame slightly to a dark area to accommodate a microphone. Once again it goes back to the crew. How realistic is the soundtrack, particularly in the mine? Dean: We don’t know as none of us was around in 1936. The big problem with the mine was that there is now no such thing. So I read a half a dozen books and A miner and his work place. Strikebound. 288 — August CINEMA PAPERS
creating our atmosphere and effects. Dean: It is also stereo. It doesn’t relate to 110 tracks. Gethin: No, it doesn’t but it just makes it quicker to mix in the long run. You can set up your EQ for that track and that is it. You don’t have to stop because it is laid out logically. At any given moment, there are probably no more than six tracks running. Oh, the horse scream was 12 tracks. You have to put it against it to know, though you can’t prejudge to that degree. Some people try to prejudge and end up with a mediocre result. If you can, give yourself plenty of room to move. Some tracks are put in to be taken away. It is easier and cheaper to take out than to put in. Dean: A mix is about giving yourself options; it is the first time that anyone sees the film come together. You don’t know whether it is really going to work until you see the film with the music, dia logue and everything in correct balance. Richard: That is not to say that we used the mix as a cutting bench, either.
Recording Stereo Dean, you mentioned earlier that there is a different way to record when doing stereo . . . Dean: The dialogue must be re corded as flat as possible. It must have no genetic EQ on it. It is only fair to the mixer to give him sound that is as wide in range as possible.
Otherwise, it starts to become a bit of a fix up. It really means working out your mike positions, your opti mum range. You are often running more than one mike; if not, you are restricting the movement of the shot. You have to be forceful about there being no overlaps, and about off-camera lines. Often, I would erase a take if it had bad overlaps . . . I shouldn’t say that! Do you have to mike movement differently? Dean: If the horse, say, goes in front of camera and there is dialogue, then I would re-do the dialogue and re-do the horse as a wild sound. Would you re-do the horse in stereo? Dean: No, it is better, easier and quicker on location to do the horse in mono and have it moved across in the mix. Gethin would place the dialogue in the centre, put the horse on a pan pot and then just click, click, and it would pass across as it goes. Then you would have backgrounds which would sit, depending on where you wanted them. I have laid tracks for six stereo films and Strikebound has broken the most ground for me. Gethin: Stereo is actually four tracks, not two. On set, you never record stereo except for atmo sphere. When you record for stereo you are recording two tracks on the set. Forgetting the surrounds for the moment, stereo to me is three track: right, left and centre. You record the horse, for example, going from left to right on set. If I get that track in stereo, it goes from left to right but doesn’t touch the centre track; it doesn’t touch the centre speaker. Because the image is so wide in theatres, you would have a hole in the middle. When you are in a small room, it would ghost and sound satisfac tory, but in a big theatre it won’t. That is one of the reasons why you don’t record stereo on set. The other reason is that you don’t know how the scene is going to be cut. You might not even want to pan it in the end. If it is recorded in stereo, you don’t have any options. Are there any differences in trans ferring for stereo? Dean: You have to have Eugene [Wilson]. The blokes down in Mel bourne are terrific sound people and give really high-quality sound transfers. It is genetic; it keeps going down the line. As soon as you go down on one level of quality, the sound suffers. Transfers are the most important post-production stage of quality and have to be done well. Gethin: It is much more critical,
Strikebound — Sound
quality-wise, because you are not hiding behind an Academy filter. If you play a bad tape on a tran sistor, it doesn’t sound so bad, but play it on a stereo and you hear all the faults.
most. We did it in 180 hours, which works out at four mixing weeks. It was crazy. It is interesting the way in which sometimes the sound in “Strike bound” comes out, around and then explodes into silence . . .
So, in laying tracks, what is the difference? Gethin: Sometimes the track lay ing is effectively doubled for stereo. But the fact that it is moving and has an extra quality more than makes up for the amount of work you have to do. In mono you end up having to save a lot of things, whereas in stereo you just start again and recreate. Richard: Basically, you have to record separately anything that moves. Dean: Richard was very good effects-wise on location. People usually don’t want to know about the effects. They don’t want to know about re-recording the car passing because, although you have it on tape, unfortunately if you want to move it you have to move the voices as well. So, again, it is limited if you don’t have separate tracks.
Mixing What is the difference between mixing in Dolby and mono? Gethin: There are two things: the width and that you are not hiding behind an Academy filter. The dialogue in Strikebound goes from about 60 cycles through to about 8 K, which is very wide; when you are trying to match dialogue you have to take a lot more time. But the greatest time consumers in stereo are panning effects because you do all the pan ning at the pre-mix stages; you can’t do it in the final mix. The fixed pre-mixes are really what make or break the film in stereo. You have to be so detailed with them: you have to do them against the dialogue and music, which you have running through the monitor while you are mixing. The way I like to work is to do all the dialogue pre-mixing first, in sequence through the film. You can’t always do that because it depends on how it has been laid up in the schedule. Then I go back and do the atmospheres to give the effects mixer a feel of the movie on something that is not too critical. Then I go back and we do the effects’ mixes all the way through. I like to do it in sequence because you have to make some decisions about which way you are going to go in the pre-mix. It is not as dangerous these days because you are playing the other pre-mixes in the monitors against what you have already done — as long as you can keep the director in the room and not have him answering the phone or arranging his social life . . .
Richard: When you move things very suddenly into a large volume or silence, it can be very effective. Dean: Our idea was to make it mono-stereo. Because the stereo then becomes much more noticeable?
How subtle can you be with Dolby? The coal cart or skip and oxygen pump sounded as if they were really overhead . . . Gethin: The simplest way I can explain it is that the left and right channels work more or less as with an ordinary hi-fi: what is sent left goes left, what is sent right goes right. The centre channel is derived from “ common information’’. Common inform ation coming from left and right will be decoded into the centre and will come out in the centre. What is common information left and right but out of phase will come out in the sur rounds. So you flip the informa tion out of phase to put it in the surrounds. If you have a stereo track with too much common information, does that mean the sound will come out the centre? Gethin: That is the big battle in listening to stereo, which is why, if you have a loosely recorded orchestra, say, and the left hand mike is picking up a lot of information from the right and vice versa, it will sound mono because the system works that way deliberately. That is the way they get four tracks on to two optical tracks. What is the extra cost involved in doing a film in Dolby? Richard: There is a lot more stock, cutting time and pre-mixes required. It is twice as long in the mixing studio, about 20 per cent longer on location and I think it is at least twice as long in the cutting room. In money terms, it would probably cost around $40,000 or $50,000 more. On Strikebound, it only cost us an extra $15,000 or $20,000 because of the deal we had with Colorfilm.
Was that amount in the budget originally? Richard: No, a lot of it came from me. I made an award winning film clip from which I made no money. But, because of that one, Tim Finn told me to charge what I liked on the next. So I did two and had about $15,000 left over. Gethin: I was really pleased by the way Bill Gooley at Colorfilm backed us on this film. Dean: We went to them in March of 1983 and booked in for a Dolby mix, which we defaulted on by six weeks. The money was so critical that we went to them crying poor. We said that we could pay some but not all; they upheld their end of the bargain, partially because it was advantageous to them, partially because of people such as Bill. Gethin: While I was doing the mix, unbeknownst to the crew I would race up to Bill and say, “ These crazies are falling apart and we need more time’’, and he would say, “ Right, do it. We’ll talk about any bills later.’’ I said, “ But what about if they don’t . . .” He just turned around and replied, “ Well, sometimes we’ll back movies that don’t make money. We know we’re going to make a loss, but, for the long term sake of the industry, it’s worth our while.” I think the film reflects this atti tude. It has a feeling of good will about it, a feeling of victory . . . Was “ Strikebound” different from other films you have mixed? Gethin: Quite different. I had more freedom to do what I wanted because more options were given to me — more intelligent options, not just options for options’ sake. It was also different in that I had much less time to do it in than
Dean: It is a trick anyway; the Dolby stereo is an illusion. Richard: What gives the opening of Mad Max 2 its impact is that it starts mono with the small image but goes stereo when the picture enlarges to anamorphic, which is terrific. Aurally they have matched what one sees visually. Dean: Sometimes you have to c o n tra st, too. R ichard had achieved a grainy look for the film which we tried to counterpoint with a definite, sharp soundtrack. Dean, you mentioned earlier that perhaps films should be mixed twice. Did you have time to change things? Dean: Yes. It is hard for every body connected with the sound to be objective. You lose sight of what you are doing because you become so involved. As a result, you shouldn’t do the final mix immediately. Obviously the budget dictates that you can’t go on for ever and ever, but you should be given a second chance to take eight frames off a cut or alter a bit of sound. Richard: It usually happens far too late because you are under pressure from producers and accountants to finish the film. It should be in the schedule of film making: a period of preview, dis cussion and then remixing. Gethin: If you come up with a fine cut image-wise and then add the sound, it can very often affect the fine cut. Dean: They think the sound people are whinging but their sug gestions can be just as much help to the film as anything else. It is not just the sound which is in volved, but the coming together of the movie. What were your feelings when you finally finished the sound? Gethin: Actually, we were all de pressed after it. Dean: I went to Brisbane and jumped in a swimming pool and didn’t want to come out. I was de pressed because I had just worked for ten-and-a-half months and had no money. R ichard: I was depressed because I had nothing to do after three years. ^ CINEMA PAPERS August — 289
Film Censorship Listings
Film Censorship Listings Continued from p. 249
C e n tre fo ld C e le b ritie s : B. Hollander, U .S ., 75 mins, Luhaze, S ff-h -g )' C h a lle n g e o f D e sire: L. Cole, U .S ., 88 mins, Variety Video, S (f-h -g ) A C lim a x of B lu e P o w er: F. Perl, U .S ., 68 mins, 14th Mandolin, S (f-h -g ) C o -ed T e a s e rs : L. G ucci, U .S ., 76 mins, 14th M andolin, S (f-h -g )
G ott m it u n s (G o d ’s W ith Us): S. C lem m entelli, Italy, 104 mins, Film ways A ’asian Dist., V(i-l-j) A G re a t R ide: J. M argellos-D . Hulette, U .S ., 85 mins, Sym e H om e Video, S (i-l-g), V(i-l-g) A M an C a lled H orse: S. Howard, U .S ., 111 mins, CB SFox V ideo' M r Billion: S. Bach- K. Friedm an, U .S ., 90 mins, CB SFox Video, L (i-l-g ), V (i-l-g) N o rth to Alaska: H. Hathaw ay, U .S ., 117 mins, CBSFox Video T h e P o s e id o n A d v e n tu re : I. Allen, U .S ., 113 mins, C B S-Fox Video, L (i-l-g ), V(i-l-g) S ta r W ars: G. Kurtz, U .S ., 117 mins, C B S-Fox Video,
C o n fe s s io n s o f S eka: Not shown, U .S ., 78 mins, 14th M andolin, S (f-h -g ) Delicio us: B. Eagle, U .S ., 84 mins, Show Tim e Video, S (f-h -g )
Fo rb id d e n D e sire: L. Cole, U .S ., 83 mins, Variety Video, S (f-h -g ) Fo rce d Entry: J. Klugerm an, U .S ., 7 7 mins, 14th M andolin, S ff-h -g ) G am es o f Love: K. Berger, U .S ., 69 mins, Show Tim e Video, S (l-h -g ) G o ld e n G irls V o l. 6: Not shown, U .S ., 60 mins, Venus V ideo (N SW ), S (f-h -g ) H o lly w o o d C o n fid e n tia l, V o l. 1, M e m o rie s of A m an da: Not shown, U .S ., 42 mins, V IP V ideo Cinem a,
V (i-H )
S (f-h -g )
T h e T u rn in g P oint: H. Ross-A. Laurents, U .S., 114 mins, C B S-Fox V ideo, O fa d u lt c o n c e p ts ) T w o fo r th e Road: S. Donen, U .S ., 107 mins, CBS-Fox Video
H o lly w o o d C o n fid e n tia l, V o l. 2 , T e ri G e ts H e r W ish: Not shown, U .S ., 45 mins, V IP V ideo C inem a, S ff-h -g ) H o lly w o o d H o n e y s , C o lle c tio n N o. 1: Royce Distribu ting Co., U .S ., 54 mins, V enus V ideo (N S W ), S ff-h -g ) H o lly w o o d H o n e y s , C o lle c tio n N o. 1: Royce Distribu ting Co., U .S ., 54 mins, V enus V ideo (Vic.), S (f-h -g ) H o lly w o o d H o n e y s , C o lle c tio n N o. 2: Royce Distribu ting Co., U .S ., 60 mins, V enus Video (N S W ), S ff-h -g ) I W a n t to W atch: Erotic Dim ensions, U .S ., 60 mins, Variety Video, S (f-h -g ) L is a ’s R u b b e r S e d u c tio n : Im perial Video, U .S., 60 mins, V enus Video (N S W ), S fi-h -g ), O (b o n d a g e ) M afia Girls: N. M eisel, U .S ., 91 mins, Luhaze, S (f-h -g ) O u tla w W om en: Titan Productions, U .S ., 82 mins, Venus Video (N S W ), S (f-h -g ) P a p e r Dolls: G ourm et V ideo Collection, U .S ., 60 mins, Venus V ideo (NSW ), S (f-h -g ) P u m p kin Farm : R. W illiam s, U .S ., 60 mins, Venus Video (Vic), S (f-h -g ) 3D Foxy B oxing: Not shown, U .S ., 30 mins, V IP Video C inem a, S (f-h -g ) 3D M ud M adness: Not shown, U .S ., 48 mins, V IP Video C inem a, S (f-h -g ) T o p S e cret: Tri Star Prods, U .S ., 60 mins, Venus Video (N SW ), O (b o n d a g e ) Y o ung D o c to rs in Lust: L. Cole, U .S ., 62 mins, Variety Video, S (t-h -g )
M A lic e ’s R e sta u ran t: United Artists Corporation, U.S., 110 mins, W arner H om e V ideo A lien: G. Carroll-D. G iler-W . Hill, U .S ., 112 mins, Pakenham V ideo Library, V (i-m -g ) A p a c h e W om an: Not shown, Italy, 80 mins, Film ways A ’asian Dist., V (i-m -g ) B ro th e rs : T. Burke, A u stralia, 108 mins, Sym e Hom e Video, V (f-m -g ) By D esig n: B. Fox-W . Allen, C a nada, 91 mins, Video Classics, O fa d u lt c o n c e p ts ), S (i-m -j) C o n v e rs a tio n P iece: Rusconi Film SP A, Britain, 117 mins, V C L Com m unications, L (i-m -g ), 0 (a d u lt c o n c e p ts )
K illing a t H e ll’s G ate: R. Roth, U .S ., 96 mins, CB S-Fox Video, V (i-m -g ) T h e M agus: J. Kohn-J. Kinberg, U .S ., 117 mins, CBSFox Video T h e M e p h is to W altz: Q. Martin, U .S ., 104 mins, CBSFox Video M iss N u d e A m e ric a C o nte st: J. Blake, U .S ., 71 mins, Electric Blue, O (n u d ity ) N ig h tm a re in W ax: Martin and Cohen, U .S ., 95 mins, Sym e Hom e Video, O (h o rro r) S e v e n te e n : Palladium , D enm ark, 83 mins, Blake Films, S (i-m -g )
T h e S h a rk H u n te r: E. Doria, Italy, 90 mins, Film ways A ’asian Dist., V (f-m -g ) V a n is h in g Point: N. S pencer, U .S ., 95 mins, CB S-Fox Video
B e d sid e D e n tist: F. Henricksen, D enm ark, 100 mins, Blake Films, S ff-m -g ) B rea thless : M. Erlichm an, U .S ., 100 mins, Pakenham Video Library, S (i-m -g ), L (i-m -g ) D a u g h te rs of E m m a n u e lle : J. River, U .S ., 90 mins, Joyfrey N om inees, S (f-m -g ) E le c tric B lue 0 01 : A. Cole, Britain, 59 mins, Electric Blue, S (f-m -g ) E le c tric B lue 002: A. Cole, Britain, 59 mins, Electric Blue, S ff-m -g ) E le c tric B lue 005: A. Cole, Britain, 60 mins, Electric Blue, S (f-m -g ) E le c tric B lue 006: A. Cole, Britain, 54 mins, Electric Blue, S (f-m -g ) E le c tric B lue 008 : A. Cole, Britain, 54 mins, Electric Blue, S (f-m -g ) F rid ay th e 1 3 th , P a rt 2: S. Miner, U .S ., 85 mins, P a ken ham Video Library, V (f-m -g), O fh o rro r) H igh S c h o o l M em o ries : A. Spinelli, U .S ., 90 mins, Joy frey Nom inees, S (f-m -g ) T h e H itter: G. Herm an-C . Leitch, U .S ., 93 mins, Filmways A ’asian Dist., S (i-m -g ), V (i-m -g ) H o lly w o o d B o u le vard : N ew W orld Pictures, U .S., 93 mins, W arner H om e V ideo, S fi-m -g ) H o t C o n n e c tio n : J. Haig, U .S ., 83 mins, Blake Films, S (f-m -g )
H .O .T .S .: W . Terry-D. Schain, U .S ., 94 mins, Sym e Hom e Video, S (i-m -g ), O (n u d ity ) I L ik e T h e G irls W h o Do: R. Leichtm ann, W est G er m any, 80 mins, Blake Films, S (f-m -g ) T h e In s tru c to r: D. Bendell, U .S ., 91 mins, Filmways A'asian Dist., V (f-m -g ) T h e In tru d er: D. Eustace-N. Stew art, U .S ., 90 mins, CB S-Fox Video, S fi-m -g ) L ad y C h a tte r le y ’s Lover: C. Pearce-A. Djaoui, Britain, 102 mins, P akenham V ideo Library, S fi-m -j) Lo c k e d O ut: F. Novotny, W est G erm any, 99 mins, Filmways A ’asian Dist., V fi-m -g ) M a tin e e H o okers: G entlem an 2 Prods, U .S ., 82 mins, Blake Films, S (f-m -g ) M y T h e ra p is t: J. W ard, Britain, 100 mins, V C L Com m unications, S (f-m -g ) T h e O th e r S id e o f M id n ig h t: F. Y ablans Productions, U .S ., 159 mins, Pakenham V ideo Library, S (i-m -g), V (i-m -g )
T h e P a n ic in N e e d le Park: D. Dunne, U .S ., 106 mins, CB S-Fox Video P aul R a y m o n d ’s E rotica: J. Clarke, Britain, 85 mins, Electric Blue, S ff-m -g ) P riv a te Nurse: La P ersane Prods, France, 78 mins, Blake Films, S (f-m -g ) R ed T a p e 1: Red T ap e Prods, Britain, 40 mins, Electric Blue, S (f-m -g ) R e d T a p e 2: Red T a p e Prods, Britain, 59 mins, Electric Blue, S (f-m -g ) Sc arab: L. Calvo, S pain, 89 mins, Film w ays A ’asian Dist., V fi-m -g ) S u g a r C o okies: A. Artzi, U .S ., 90 mins, Blake Films, S (f-m -g )
T o rn a d o : G ico C inem atrographica, Italy, 96 mins, Filmways A ’asian Dist., L (f-m -g ), V (f-m -g ) W a n d a W h ip s W all S tre e t: J. Christian-S. Nuvo, Britain, 74 mins, Thorn E M I V ideo, S (f-m -g ) W h at B e c a m e o f J a c k a n d Jill: M. Rosenberg-M . Subotsky, U .S ., 93 mins, Video Classics, V (f-m -g )
B izarre W o m en : G ourm et Video Collection, U .S., 60 mins, V enus Video (N S W ), S ff-h -g ) B lack D esire: R. W olfe, U .S ., 60 mins, Variety Video, S (f-h -g )
1.
C o d e re a s o n s u n a v a ila b le fo r film s o rig in a lly c la s s i fie d b e fo r e 1 9 7 2 .
290 — August CINEMA PAPERS
C o v e rt A c tion: G. M ilesi, U .S ., 91 mins, V ideo Classics, Vff-m -g)
D e m o noid: Am erican Panam ore, U .S ., 85 mins, Video Classics, O fh o rro r) E lim inator: Mosfilm, France-S oviet Union, 113 mins, Video Classics, V ff-m -g ) T h e Fly: K. N eum an, U .S ., 90 mins, C B S-Fox Video G re en Ice: J. W iener, Britain, 116 mins, CB S-Fox Video, V fi-m -g) H e re It is, B u rlesq ue: H o m e Box O ffice, U .S ., 88 mins, Video Classics, Ofsexual in n u e n d o ) T h e H igh C o u n try : B. M allen, U .S ., 100 mins, Video Classics, S (i-m -g ), V fi -m -g ) T h e Iro n m a s te r: L. Martino, Italy, 90 mins, Film ways A ’asian Dist., V fi-m -g ) Jus t fo r th e H ell o f it: Hershell Gordon Lewis, U .S ., 82 mins, Sym e H om e V ideo, V ff-l-g), S (i-l-g ) L uc ky Luc iano : F. Cristaldi, Italy, 108 mins, V ideo Classics, Vfi-m -g), L fi-m -g ) M onsignor: 20th C entury-Fox, U .S ., 121 mins, CBSFox Video, O fa d u lt c o n c e p ts ) M ove: P. Berm an, U .S ., 86 mins, C B S-Fox V ideo P ro b a b ility Z e ro (T im m e Noll): S. Argento, Italy, 90 mins, Film ways A ’asian Dist., V ff-m -g ) T h e R e m o vallsts: M. Fink, Australia, 9 3 mins, Video Classics, Lff-m -j), Vfi-m -j) T h e R e trie v e rs : E. Hong, U .S ., 90 mins, Video Classics, Vff-m -g) T h e S a lzb u rg C o n n e c tio n : I. Prem inger, U .S ., 90 mins, CBS-Fox Video, V fi-m -g) S e p a ra te W ays: H. Avedis, U .S ., 9 2 mins, Video Classics, O fa d u lt c o n c e p ts ), S fi-m -g ) T h e S e v e n -u p s : P. D'Antoni, U .S ., 100 mins, CB S-Fox Video, Vff-m -g) S h am w ari: Cine International, Rhodesia, 8 3 mins, Video Classics, V fi-m -g ) . S h o g u n 's N inja: Toei Productions, Jap an, 115 mins, Video Classics, Vff-m -g) S h oot: H. Sherm an, U .S ., 91 mins, Video Classics, V ff-m -g), L fi-m -g )
S u d d e n Fury: L. C a za , C a n ad a, 8 7 mins, Video Classics, Vff-m -j) S w e e t S ixteen : J. Sotos-M . Perfit, U .S ., 9 0 mins, Video Classics, Vff-m -g), L fi-m -g ) T h e y All Lau g h ed : G. M orfogen, U .S ., 115 mins, Video Classics, O fa d u lt c o n c e p ts ) A T o u c h of Class: M. Frank, U .S ., 98 mins, CB S-Fox Video, O fa d u lt c o n c e p ts ) Zardoz: J. Boorman, U .S ., 102 mins, C B S-Fox Video, Vfi-m -g), S fi-m -g )
R
Week Ending March 16, 1984 G A fte r the Fox: United Artists Corp., U.S.-Italy, 103 mins, W arner Hom e Video Ben C rop p T re a s u re C h est: T h e W ild e rn e s s S e rie s w ith P e te r A lle n , V o lu m e 12: B. Cropp, Australia, 105 mins, CB S-Fox Video Ben C ro p p T re a s u re C h est: T h e W ild e rn e s s S e rie s w ith P e te r A lle n , V o lu m e 13: B. Cropp, Australia, 105 mins, CB S-Fox Video T h e Billion D o llar Hobo: L. Elliott, U .S ., 96 mins, CBSFox Video C ircus W orld : S. Bronston, U .S ., 138 mins, Video Classics F an tas tic V o yage: 20th Century-Fox, U .S ., 95 mins, CBS-Fox Video T h e First C hristm as: Sw ank Telefilm s Inc., U .S., 27 mins, V ideo Classics H ello Dolly: E. Lehm an, U .S ., 142 mins, CB S-Fox Video M uscle M otion: De Noia-Cressier, U .S ., 92 mins, Video Classics My F air Lady: J. W arner, U .S ., 163 mins, CB S-Fox Video T rain Ride to H o lly w o o d : Arista Films Inc., U.S., 90 mins, Video Classics
PG B attle fo r th e P la n e t of th e Apes: A. Jacobs, U .S., 84 mins, CB S-Fox Video, V (i-m -g ) T h e C h am p io n s (35 mm): P. Shaw , Britain, 3 0 7 2 .1 6 ft, Publishing and Broadcasting Video, O fe m o tio n a l stres s ) A C h ristm as to R e m e m b e r: G. Englund, U .S ., 95 mins, Video Classics, O fe m o tio n a l s tres s ) T h e E a g le Has Lan d ed : J. W ie ner-D . Niven Jr, Britain, 119 mins, CB S-Fox Video, V(i-m -j) E s cape fro m th e P la n e t of th e A p es: A. Jacobs, U .S., 94 mins, CB S-Fox Video' High A n xie ty: M. Brooks, U .S ., 94 mins, CB S-Fox Video, O fa d u lt c o n c e p ts ) H o w to M ake a Doll: Hershell G ordon Lewis, U .S., 81 mins, Sym e Hom e Video, O fa d u lt c o n c e p ts ) T h e H u s tle r o f M u scle B each: J. Furia Jr-B. Oringer, U .S., 98 mins, Video Classics, O fa d u lt c o n c e p ts ) M urder by N a tural C auses: R. P apazian, U .S., 96 mins, Video Classics, V fi-m -g ) P o c k e t M oney: J. Forem an, U .S ., 102 mins, Sym e Home Video, Lfi-l-j) T h e Reivers: I. Ravetch, U .S ., 107 mins, CB S-Fox Video Royal Flash: D. O ’Dell-D. Picker, Britain, 9 7 mins, CBSFox Video, V(i-m -j), O fs e x u a l a llu s io n s) S e arch and D e stroy: R. Efraim, U .S ., 93 mins, Video Classics, Vff-l-g) T e rro r O ut of th e Sky: Alan Landsburg Prods, U .S., 81 mins, Sym e Hom e Video, Vfi-l-j) T h is T im e Forev er: Dunning-Link, U .S ., 97 mins, Sym e Hom e Video, O fa d u lt c o n c e p ts ) Y o ung F ra n k e n s te in : M. Gruskoff, U .S ., 106 mins, CB S-Fox Video, L fi-l-g), O fa d u lt c o n c e p ts ) Zorba th e G reek: M. Cacoyannis, G re ece, 137 mins, CB S-Fox Video M All T h e R ight M oves: S. Deutsch, U .S ., 89 mins, Fox Colum bia Film Dist., S fi-m -j), L ff-m -g ) B elow th e Belt: R. Fowler, U .S ., 9 6 mins, Sym e Hom e Video, S (i-l-g), V(f-l-j) B e yond Evil: IFI-Scoke Prods, U .S ., 95 mins, Video Classics, V ff-m -g ) Big B a nana Feet: Brent W a lk e r V ideo, Britain, 77 mins, Video Classics, L(i-m -g ), O fa d u lt c o n c e p ts ) B ra in w a s h : G. M ehlm a n, U .S ., 98 mins, Video Classics, O fa d u lt c o n c e p ts ), V ff-m -j) C le o p a tra Jon es: W arn er Bros, U .S ., 89 mins, W arner Hom e Video, V ff-m -g ) 1. C o d e re a s o n s u n a v a ila b le fo r film s o rig in a lly c la s s i fie d b e fo re 1 9 7 2.
A lbino: Topar Films, U .S ., 85 mins, V ideo Classics, Vff-m -g), O fs e x u a l v io le n c e)
A m e ric a n N ig h tm are: R. Sager, U .S ., 85 mins, Video Classics, Vff-m -g) T h e B a rc elo n a Kill: M. Klinger, S pain, 86 mins, Video Classics, V ff-m -g), O fn u d ity ) T h e Burning: H. W einstein, U .S ., 89 mins, Thorn EMI Video, Vff-m -g) D eath W ish: H. Landers, U .S ., 91 mins, Pakenham Video Library, Vff-m -g), L ff-m -g ) D rac ula Erotica: H. Schwartz, U .S ., 77 mins, Blake Films, S ff-m -g ) E roticise: Pisanti Prods, U .S ., 60 mins, V ideo Classics, O fe xp lo rin g n u d ity )
F a n ta s y : G. D a m ia n o , U .S ., 6 2 m ins, Joy frey Nominees, S ff-m -g ) T h e Gun G irls: V. Guyler, U .S ., 8 3 mins, Sym e Home Video, V ff-m -g), S ff-m -g ) I R e m e m b e r Love: Lone Star Picture Int’l, U .S .-H ong Kong, 88 mins, V C L Com m unications, S ff-m -g ) Is T h e re S e x A fte r D e ath : M edia H om e Entertainm ent, U .S ., 102 mins, V ideo Classics, S ff-m -g ) Love You: Essex, U .S ., 80 mins, V ideo Classics, S ff-m -g )
M artin: R. Rubenstein, U .S ., 95 mins, Video Classics, V ff-m -g)
N e v e r So Deep: G. Dam iano, U .S ., 68 mins, Joyfrey Nominees, S ff-m -g ) P rim itives: Rapi Films, U .S ., 86 mins, V ideo Classics, V ff-m -g)
Raw Force: Arista Film Inc., U .S ., 90 mins, V ideo Classics, Vff-m -g) S a tisfactio n : Videoram a, U .S ., 60 mins, W .B . and J.E. W athen, S ff-m -g ) S e x W orld : Essex, U .S ., 77 mins, Blake Films, S ff-m -g ) S u m m e r of 72: V ideoram a, U .S ., 60 mins, W .B . and J.E. W athen, S ff-m -g ) S u p erstitio n : E. Carlin, U .S ., 86 mins, Video Classics, V ff-m -g)
W h a t's Up S u p erd o c!: Video Classics, S fi-m -g )
M. G reen, Britain, 91 mins,
S o L o v e ly S o V icio u s: Not shown, U .S ., 5 0 mins, 14th Mandolin, S ff-h -g ) S ta llio n s (8 mm): Not shown, U .S ., 3 3 .5 0 m, W .B . and J.E. W athen, S ff-h -g ) S u b u rb a n Lust: G ourm et V ideo Collection, U .S ., 60 mins, V enus Video (N S W ), S ff-h -g ) S w e d is h E ro tic a , V o l. 44: C aballero Control, U .S ., 58 mins, Shaft C inem a, S ff-h -g ) S w e d is h E ro tic a , V o l. 45: C aballero Control, U .S., 63 mins, Shaft C inem a, S ff-h -g ) S w e e t D o m in an ce: G ourm et Video Collection, U .S ., 60 mins, V enus Video (N S W ), S ff-h -g ) Tab oo: H. Terrie, U .S ., 8 6 mins, Joyfrey Nom inees, S ff-h -g )
W o m e n W h o S e d u c e M en: G ourm et V ideo Collection, U .S ., 60 mins, V enus Video (N S W ), S ff-h -g )
Week Ending March 23, 1984 G A c ro ss th e G re a t D ivid e: M averick Inc., W est G er m any, 89 mins, Britain, 102 mins, C B S -Fox Video T h e A fric a n Q ueen: J. Huston, Britain, 102 mins, C B S Fox Video Benji: M ulberry Square Productions, U .S ., 8 7 mins, Video Classics D o t and th e K a n g aro o : Y. Gross, Australia, 80 mins, Video Classics • E a rthbo und: M. Fisher, U .S ., 120 mins, Video Classics El Cid: S. Bronston, S pain, 171 mins, V ideo Classics G h id ra h , th e T h re e H e a d e d M o n ster: T. Tan aka, Japan, 82 mins, Joyfrey N om inees H igh N o on P a rt II: E. M ontagne, U .S ., 96 mins, Video Classics T h e Inn o f th e S ix th H a p p in ess: B. Alder, Britain, 151 mins, CB S-Fox Video Krull: T. M ann-R. S ilverm an, Britain, 120 mins, Fox Colum bia Film Dist. T h e P ira te s o f M ala ysia : Film es Palisades, Italy, 100 mins, Film ways A'asian Dist. T h e S o u n d o f M usic: R. W ise, U .S ., 166 mins, C B S Fox Video T h e S tro n g e s t K a rate: Y. Kawano, Jap an, 8 6 mins, T o ral T o ra ! Tora!: E. W illiam s, U .S ., 137 mins, Fox Video T h e T w e lv e Chairs: M. Hertzberg, U .S ., 93 mins, Hom e Video T w e lv e O ’C lo c k H igh: 20th Century-Fox, 138 mins, Fox Colum bia Film Dist. Von R y a n ’s Express: S. David, U .S ., 103 mins, Fox Video
CB SSym e U .S ., CBS-
PG T he A p ple : Cannon Int’l, U .S ., 86 mins, C B S-Fox Video, L fi-l-j) O fs e x u a l in n u e n d o ) A u tho r! A u tho r!: I. W inkler, U .S ., 109 mins, Lfi-l-j), O fs e x u a l a llu s io n s )
Dead o f Night: R. Singer, U .S ., 78 mins, Sym e H om e Video, O f h o rro r) D o c to r Fau stu s: Ryborn Entertainm ent, Britain-ltaly, 89 mins, V C L Com m unications, O fa d u lt c o n c e p ts ) Em bassy: Mel Ferrer Prods, Britain, 90 mins, Video Classics, Vff-l-g) T h e F lim -F lam M an: L. Turm an, U .S ., 101 mins, CB SFox Video' For Y o u r H e ig h t O nly: Lilin Productions, T h e Philip pines, 90 mins, V ideo Classics, Vff-l-g) G e o rg e a n d M ildred: R. Skeggs, Britain, 89 mins, Sym e H om e Video, Vfl-l-g), O fs e x u a l In n u e n d o ) H a rp e r V a lle y P .T .A .: G. Edwards, U .S ., 9 0 mins, Videp Qja^pics, O fn u d ity , s e x u a l in n u e n d o ) K ashm iri Run: P. O ppenheim er, U .S ., 96 mins, Video Classics K lo n d ike Fever: G. Taylor, U .S ., 95 mins, V ideo Classics, V fi-m -g ) M arilyn — T h e U n to ld S tory: Tim e Life Films, U .S., 116 mins, Video Classics, O fa d u lt th e m e ) M o u lin Rouge: J. Clayton, U .S ., 119 mins, Video Classics, O fa d u lt c o n c e p ts ) O h H e a v e n ly Dog: J. C am p, U .S ., 101 mins, C B S-Fox Video, L fi-l-g ), O fs e x u a l in n u e n d o ) Pilot: C. Earis, U .S ., 94 mins, V ideo Classics, Vfl-l-g), O fa d u lt c o n c e p ts )
Rust N e v e r S leeps : L. Johnson, U .S ., 106 mins, Video Classics, O fd ru g re fe re n c e s ) S ahara: M. G olan-Y. Globus, U .S ., 111 mins, Sym e Hom e Video, Vff-l-j), S fi-m -j) S k eezer: L. Levison, U .S ., 91 mins, Sym e Hom e V ideo, O fe m o tio n a l s tre s s )
X Big Jo h n Is Here: H. Kerlin, U .S ., 78 mins, 14th M ando lin, S ff-h -g ) Blue Visions: A. Roberts, U .S ., 56 mins, 14th M andolin, S ff-h-g)
Bound fo r Slavery: M. Cates, U .S ., 60 mins, Balesarn, O fb o n d a g e )
C ru is in ’ A L ittle R o m a n c e (8 mm): Not shown, U .S ., 3 3 .60 m, W .B . and J.E. W athen, S ff-h -g ) T h e D evil In Me: R. Tasiner, U .S ., 5 4 mins, 14th Mandolin, S ff-h -g ) D rea m s o f Pleasu re : G ourm et V ideo Collection, U .S ., 60 mins, V enus Video (N S W ), S ff-h -g ) E leven: E. Lewis-H. Lewis, U .S ., 70 mins, Joyfrey Nominees, S ff-h -g ) Fam ily A ffair: Not shown, U .S ., 60 mins, Venus Video (NSW ), S ff-h -g ) Fam ily A ffair: Not shown, U .S ., 60 mins, Venus V ideo (Vic), S ff-h -g ) F orbidde n W ays: G ourm et Video Collection, U .S ., 60 mins, V enus V ideo (N SW ), S ff-h -g ) Frenc h Fin ish in g S chool: Videoram a, T h e N e the r lands, 60 mins, W .B . and J.E . W athen, S ff-h -g ) G old en G irls N o . 5: Royce Distributing Co., U .S ., 60 mins, V enus V ideo (N S W ), S ff-h -g ) H ard A ction: Not shown, U .S ., 60 mins, Balesarn, S ff-h -g )
H ard S e n satio n s: Not shown, Italy, 87 mins, Video Classics, S ff-h -g ) H ey S a ilo r No. 4 (8 mm): C. Studio, U .S ., 3 3 .5 0 m, W .B . and J.E. W athen, S ff-h -g ) Ja d e Pu ssycat: D. Christian, U .S ., 80 mins, 14th Mandolin, S ff-h -g ) P a rty S trip p e r: G ourm et V ideo Collection, U .S ., 60 mins, V enus Video (N S W ), S ff-h -g ) P a rty S trip p e r: G ourm et V ideo Collection, U .S ., 60 mins, V enus Video (Vic), S ff-h -g ) P a ssio ns A ris e (8 mm): Not shown, U .S ., 3 3 .5 0 m, W .B . and J.E. W athen, S ff-h -g ) P in k G ay Lib eratio n : M. Blue, U .S ., 59 mins, 14th Mandolin, S ff-h -g )
S p a c e h u n te r: Carm ody, Link & Dunning, U .S ., 88 mins, Fox C olum bia Film Dist., V fi-l-g) T h e S w e e t C re e k C o u n ty W ar: K. Byrnes-J. Jam es, U .S., 98 mins, V ideo Classics, Vff-l-g), Lfi-l-g ) T o rn B e tw e e n T w o Lovers: L. Otto-J. Barnett, U .S ., 97 mins, Sym e Hom e Video, O fa d u lt c o n c e p ts ) T h e Turn of th e S c re w : D. Curtis, Britain, 95 mins, Sym e Hom e Video, O fh o rro r) W h en th e L e g e n d s Die: S. M illar, U .S ., 102 mins, CB SFox Video, V fi-l-g), O fs e x u a l a llu s io n s ) M A m e ric a n a : D. Carradine, U .S ., 91 mins, Video Classics, V fi-m -g ), O fs e x u a l in n u e n d o ) T h e Bat P e ople : L. Shaw, U .S ., 95 mins, Sym e Hom e Video, V fi-m -g ) B illy C o n n o lly ‘ B ites Y e r B u m ’ : T h e Chrysalis G roup, Britain, 105 mins, Sym e Hom e V ideo, L ff-m -g ) C h e e rle a d e rs B each P a rty: C annon Productions, U .S ., 82 mins, Video Classics, S fi-l-g ), L fi-m -g ) C o m e b ack: Joachim Vietinghoff, W est G erm any, 105 mins, V ideo Classics, L fi-m -g ), O fa d u lt c o n c e p ts ) C o m e b ack: H. Bartlett, U .S ., 118 mins, Fox Colum bia Film Dist., V fi-m -g ) C ru c ib le o f T e rro r: T. Parkinson, Britain, 86 mins, V ideo Classics, V fi-m -g ) D a rk A ugust: M. G oldm an, U .S ., 85 mins, V ideo Classics, S fi-l-g ), V fi-m -g ) T h e Day It C a m e T o Earth: J. Braden, U .S ., 85 mins, V ideo Classics, O fh o rro r) D e a th w a tc h : G. Boustani, France, 130 mins, Video Classics, O fa d u lt c o n c e p ts ) T h e D e c lin e o f W e s te rn C iv iliza tio n : M anson Int’l, U .S ., 100 mins, V ideo Classics, L ff-m -g ), V fi-m -j) D e m e n te d : S andy Cooke Productions, U .S ., 91 mins, Video Classics, V fi-m -g ) D ie S c re a m in g M arian n e: P. W alker, Britain, 99 mins, VC L Com m unications, V fi-m -g )
1. C o d e r e a s o n s u n a v a ila b le fo r film s o rig in a lly c la s s i fie d b e fo re 1972. '
Film Censorship Listings
Fist of Fear Touch of Death: Aquarius, U .S ., 9 0 mins, V ideo Classics, Vff-m-g) Foreplay: G urevich, U .S ., 100 mins, V ideo Classics, Ofadult concepts) Fort Apache, The Bronx: Tim e-L ife, U .S ., 120 mins, V ideo C lassics, V(i-m-j), L(f-m-j) Galaxina: M . Ten ser, U .S ., 8 3 mins, V id eo Classics, L(i-m-g), Ofsexual innuendo) Get Mean: A. Anthony, Italy-Spain, 8 7 mins, Video Classics, V(f-m-g) Ghostkeeper: B adlands P ictures, C a n a d a , 8 6 mins, V ideo C lassics, Vfi-m-j) Girl Stroke Boy: N. Sherrin-T. G linw ood, Britain, 8 4 m ins, V id eo Classics, Ofsexual allusions) Good Guys Wear Black: A. Bodoh, U .S ., 96 mins, V ideo C lassics, V(f-m-g) Greasy Kid Stuff: M . G oian -Y . G lobus, U .S ., 8 8 mins, V id eo Classics, Sff-m-g) Head On: M . G rant-A . S im m onds, C a n a d a , 8 4 mins, V ideo Classics, 0(adult concepts), V(f-m-j) High Risk: C ity Film s Productions, U .S ., 91 m ins, V ideo Classics, V(i-m-g) Horror Express: G. M artin, S pain-B ritain, 9 0 mins, V ideo Classics, V(f-m-g), O(horror) Keoma: Franos C in em atograp h, Italy, 9 7 m ins, Filmw ays A ’asian Dist., Vff-l-g) The Last Tycoon: S. S p iege l, U .S ., 1 2 3 m ins, V ideo Classics, Ofadult concepts, nudity) Licensed to Love and Kill: E. G ra y, Britain, 9 5 mins, V ideo Classics, V(f-l-g), 0(nudity) The Line: V. Largent-R . Siegel, U .S ., 9 3 mins, Thorn E M I V ideo, V(f-m-j) Mad Jo: B a rb a ra Film , W e s t G erm a n y, 8 9 mins, Video Classics, Vfi-m-g), Ofnudity) Mad Mission: C . M ak-D . S h ek, H ong Kong, 95 mins, Film w ays A ’asian Dist., Vff-m-g) Natural Enemies: J. Quill, U .S ., 9 7 mins, V ideo Classics, Sfi-l-j), 0(adult concepts) New Year’s Evil: M . G olan -Y . Globus, U .S ., 8 6 mins, V ideo Classics, Vff-m-g), Lfi-m-g) The Next Man: M. Bregm an, U .S ., 100 mins, V ideo Classics, V(f-m-g) No Place to Hide: R. S chritzer, U .S ., 8 2 mins, V ideo Classics, Lfi-m-g), 0(adult concepts) Passion d’amore: C incecitta, France-ltaly, 117 mins, V ideo Classics, 0(adult concepts), Sfi-m-i) The Picture of Dorian Gray: D. Curtis, Britain, 110 mins, S ym e H o m e V ideo, Ofadult concepts) Psychopath: L. Brown, U .S ., 8 2 m ins, V ideo Classics, V(f-l-g) The Redeemer: S. Trom berg, U .S ., 8 4 mins, V ideo Classics, V(f-m-g) Right of Way: G . Sc haefer, U .S ., 107 mins, V ideo Classics, 0(adult concepts) Rock ’n ’ Roll High School: M. Finnell, U .S ., 9 0 mins, W a rn e r H o m e Video, 0(adult concepts) Runners: B. H anson, Britain, 110 m ins, V C L C o m m un i cations, Ofemotional stress), L(i-m-j) Seed of Innocence: M . G olan -Y . Globus, U .S ., 91 mins, V ideo Classics, S(i-l-g), Lfi-m-g) The S ic ilia n Cross: M. Boloquini-L. Borghese, U .S ., 102 mins, V ideo Classics, V(f-m-g) S ilv e r S tre a k : T. M iller-E. Milkis, U .S ., 109 mins, C B S Fox Video, Vfi-m-g), Ofsexual innuendo) Situation Normal A.F.U.: D. De Laurentiis, Britain, 100 mins, V ideo Classics, V(i-m-g) Sky Riders: T . M orse Jr, U .S ., 9 0 mins, C B S -Fox V ideo,
Vff-m-g) Sleuth: M . G ottleib, Britain, 139 m ins, V ideo Classics, Ofadult concepts) Smokey and the Judge: H. H ope, U .S ., 90 mins, V ideo Classics, Ofsexual innuendo), Lfl-m-g) Something to Hide: M . Klinger, Britain, 9 2 mins, Vfl-m-g), Ofadult concepts) Swap: C . D ew ey, U .S ., 8 4 m ins, V ideo Classics, Sfi-m-j) The Take: H. Brandy, Britain, 9 2 mins, V C L C om m uni cation, V(f-m-g) Tarantulas: The Deadly Cargo: P. Freem an r U .S ., 100 mins, Sy m e H o m e Video, Vfi-m-g), Ofhorror) Ticket to Heaven: V. Leebosh, C a n ad a, 106 mins, V ideo Classics, Ofadult concepts), L(i-m-j) To Kill a Clown: T . Sills, U .S ., 8 2 mins, V ideo Classics, Vff-l-g) The True Story of Eskimo Nell: R. Franklin-R . Baneth, Australia, 91 mins, Film w ays A ’asian Dist., Sfi-m-g), Lff-m-g) An Unmarried Woman: P. M azursky-A. Ray, U .S ., 119 mins, C B S -Fox V ideo, Sfi-m-j), Ofsexual references) Up the Sandbox: R. C h artoff-I. W inkler, U .S ., 105 mins, Sym e H om e V ideo, Ofadult concepts) The Uranium Conspiracy: M. G olan -Y . Globus, Israel, 96 mins, V ideo Classics, Vff-l-g), Ofnudity) Voyage of the Damned: R. Fryer, Britain, 176 mins, C B S -Fox V ideo, Vfi-m-j), Ofemotional stress) The Yum Yum Girls: C in e m a 4 05 , U .S ., 88 mins, Video Classics, Sfi-m-g), Ofadult concepts)
R Abduction: K. Carroll, Britain, 9 4 m ins, V ideo Classics, Sfi-m-g), Vff-m-g) After School Girls: J. G ottlieb, W est G erm any, 101 mins, Blake Film s, Sff-m-g) Beast of Pleasure: M akifilm , France, 6 9 mins, Blake Film s, Sff-m-g) Black Gunn: J. H eym an-N . Priggen, U .S ., 9 3 mins, V C L C om m unications, Vff-m-g) Bloody Moon: W . Hartw ig, W est G erm any, 8 2 mins, V ideo Classics, Vff-m-g) Boogeyman II: D. Dubay, U .S ., 78 m ins, S y m e Hom e V ideo, Vff-m-g) The Cheerleaders: P. G licker-R. Lerner, U .S ., 81 mins, V ideo Classics, Sff-m-g) Country Nurse: La C inev ideo 8 0 , Italy, 7 7 mins, V ideo Classics, Sff-m-g) Dawn of the Mummy: F. A g ram a, U .S ., 9 2 m ins, Video Classics, Ofhorror), Vff-m-g) Divine Emanuelle: C handers Film Prod., W est G er m any, 9 7 m ins, V ideo Classics, Sff-m-g) Doctor Jekyll and His Women: W hodunnit Film s Etal, F rance, 9 2 mins, V id eo Classics, Vff-m-j) Double Jeopardy: U. Lom m el, U .S ., 85 mins, Sym e H o m e Video, Sfi-m-g), Vfl-m-g) Godfather Squad: P. King, Hong Kong, 8 7 mins, V ideo Classics, Vff-m-g) Great British Striptease: A m aran th Productions, Britain, 5 9 mins, V ideo Classics, Ofstriptease) Gums: G um Laude Film s, U .S ., 62 m ins, Blake Film s, Sff-m-g), Lff-m-g) Home Sweet Home: D. Edm onds, U .S ., 8 5 mins, V ideo Classics, Vff-m-g) The Northville Cemetery Massacre: W . D e ar-T. Dyke, U .S ., 8 5 mins, V ideo Classics, Vff-m-g) The Other Side of Madness (Helter Skelter Murders): Aunic Lim ited, U .S ., 8 2 m ins, V ideo Classics, Sfi-m-g) The Pom Brokers: J. Lindsay-L. B arnett, Britain, 9 6 mins, Blake Film s, Sff-m-j)
Strikebound — Direction
Rebecca’s Dream: Royce Distributing C o ., U .S ., 5 9 mins, V e nus V ideo (N S W ), Ofbondage) Rude Boy: J. H a zan -D . M ingay, Britain, 121 mins, V ideo Classics, Sfi-m-j), Lff-m-j), Vfi-m-j) Savage Weekend: Upstate Productions, U .S ., 8 7 mins, V ideo Classics, Vff-m-g) Schizoid: M . G olan-Y . Globus, U .S ., 88 mins, V ideo Classics, Vff-m-g) Summer Camp: Borson Productions, U .S ., 8 6 mins, V ideo Classics, Sfi-m-g) Symphony of Love: D. R andall, Italy, 9 5 mins, V ideo Classics, Sff-m-g) Teach Me: Divina-Lisa Film s, W est G erm a ny, 71 mins, Blake Films, Sff-m-g) Terminal Island: C . Sw artz, U .S ., 88 mins, V ideo Classics, Vff-m-g) Terror on Tour: Sa ndy C obe Productions, U .S ., 86 mins, V ideo Classics, Vff-m-g) Three the Hard Way: H. Bernsen, U .S ., 95 mins, V ideo Classics, Vff-m-g) Your Ticket Is No Longer Valid: R. Lantos-S. Roth, C a nada, 91 mins, V ideo Classics, Sff-m-g)
Abigail is Back: J. Sarno, U .S ., 9 4 mins, 14th M andolin, Sfi-h-g) All About Gloria Leonard: Evart, U .S ., 72 mins, 14th M andolin. Sff-h-g) Anyway You Like It (8 mm): Not shown, 4 5 .7 2 m, W .B . & J.E. W athen, S(f-h-g) Bicj Mamas: Not shown, U .S ., 6 0 mins, Balesarn, T i i e ^ l a c k Widow: A. Colberg, U .S ., 76 mins, 14th M andolin, Sff-h-g) Bold Obsession: L. C ole, U .S ., 9 0 mins, V ariety Video,
Sff-h-g) California Cowgirls: Royce D is trib u tin g Co., U .S ., 60 mins, V e nus V ideo (N S W ), Sff-h-g) Centrefold Celebrities: V ideoram a, U .S ., 60 mins, W .B . & J.E . W ath en , Sff-h-g) The Coming of Angie: Action X V ideo, U .S ., 60 mins, Balesarn, Sff-h-g) Cream Rinse: F. Balher, U .S ., 60 mins, Balesarn, Curnlstroker (8 mm): Not shown, U .S ., 3 3 .5 2 m ., W .B . & J.E . W athen, Sff-h-g) Dear Mr Plumber (8 mm): Not shown, 4 0 .0 0 m ., W .B . & J.E. W athen, Sff-h-g) Dolls of Pleasure: Not shown, W est G erm any, 51 mins, 14th M andolin, Sff-h-g) Dream Girls #1: Royce Distributing Co., U .S ., 60 mins, V enus V ideo (N S W ), Sff-h-g) Dungeon of Pain: Royce Distributing Co., U .S ., 60 mins, V enus Video (N S W ), Sff-h-g) Excalibur — Mixed Bag: T .G .A . V ideo, U .S ., 60 mins, Balesarn, Sff-h-g) Explicit: Not shown, U .S ., 60 mins, V ariety Video, Sff-h-g) Fantasex Island: Not shown, U .S ., 90 mins, V ariety V ideo, Sff-h-g) The Fantasy Trade: Not shown, U .S ., 60 mins, Variety Video, Sff-h-g) Garcons de Reves: J-D Cardinor, France, 60 mins, W .B . & J.E . W athen, Sff-h-g) Goodbye Scarlet: Not shown, U .S ., 77 mins, 14th Mandolin, Sff-h-g) Hot Meat (8 mm): Not shown, 4 3 .0 0 m ., W .B . & J.E . W athen, Sff-h-g) I Like to Watch: V ideoram a, U .S ., 60 mins, W .B . & J.E. W athen, Sff-h-g) Just a Gigolo (8 mm): Not shown, 4 0 .0 0 m ., W .B . & J.E . W athen, Sff-h-g) The Liars: Not shown, U .S ., 60 mins, Balesarn, Sff-h-g) The Liberty Belles: Not shown, U .S ., 60 mins, Balesarn, Sff-h-g) Life of a Nympho: S. Bergonzelli, Italy, 86 mins, 14th M andolin, Sff-h-g) Loving Friends: An Equus R e lease, U .S ., 60 mins, Balesarn, Sff-h-g) Magnum Griffin, Volume 4: M. G riffin, U .S ., 60 mins, Balesarn, Sff-h-g) Marisa: An Equus R e lease, U .S ., 60 mins, Balesarn, Sff-h-g) More than Friends: Not shown, U .S ., 60 mins, Balesarn, Sff-h-g) Mr Footlong Encounter: H aw k Productions, W est G er many, 6 0 mins, W .B . & J.E. W athen, Sff-h-g) Princess Seka: Taurus Film s, U .S ., 74 mins, 14th M andolin, Sff-h-g) Real Estate: G ourm et Collection, U .S ., 60 mins, W .B . & J.E . W athen, Sff-h-g) The Red Nights of the Gestapo: O. Richini, Britain, 102 mins, V C L Com m unications, Sff-h-g) Rolls Royce Volume II: V ideoram a, U .S ., 60 mins, Balesarn, Sff-h-g) Rolls Royce Volume III: V ideoram a, U .S ., 60 mins, Balesarn, Sff-h-g) Rolls Royce Volume IV: V ideoram a, U .S ., 60 mins, Balesarn, Sff-h-g) Rolls Royce Volume V: V ideoram a, U .S ., 60 mins, W .B . & J.E . W athen, Sff-h-g) Rolls Royce Volume VI: V ideoram a, U .S ., 60 mins, Balesarn, Sff-h-g) Sacrilege: Action X V ideo, U .S ., 60 mins, Balesarn, Sff-h-g) Satisfaction Guaranteed: B. Kirk, U .S ., 60 mins, Balesarn, Sff-h-g) The Secrets of Jennifer: L. C ole, U .S ., 90 mins, Va riety Video, Sff-h-g) Sexboat: D. Frazer-S. H a na, U .S ., 80 mins, T ag Video, Sff-h-g) Sexerciser Girls: Im perial Video, U .S ., 60 mins, V enus V ideo (N S W ), Sff-h-g) Sex Museum: Action X V ideo, U .S ., 60 mins, Balesarn, Sff-h-g) She’s No Angel: R. C arbon, U .S ., 60 mins, Balesarn, Sff-h-g) Sins of Flesh: Royce Distributing C o ., U .S ., 60 mins, V enus V ideo (N S W ), Sff-h-g) Solo Man (8 mm): Not shown, 3 0 .4 8 m., W .B . & J.E. W athen, Sff-h-g) Strange Diary: R. W ilton, U .S ., 60 mins, Balesarn, Sff-h-g) Teenage Runaway: Action X Video, U .S ., 60 mins, Balesarn, Sff-h-g) Tight End (8 mm): Not shown, U .S ., 3 5 .5 2 m ., W .B & J.E . W athen, Sff-h-g) Tina’s Party: Not shown, U .S ., 60 mins, B alesarn, Sff-h-g) Wet Raindrops: Silver C ree k Productions, U .S ., 6 0 mins, Variety V ideo, Sff-h-g) The Wild Life: L. Cole, U .S ., 60 mins, Variety Video, Sff-h-g)
Refused Registration Nil.
★
Strikebound —Direction Continued from p. 213 came down hard on Phar Lap. They then did the same to us. Even though ours was a trade union film and we pleaded with them, they felt they couldn’t go hard on Phar Lap and not go hard on us. So, in the middle of the filming, we had to start paying extras $100 a day, or whatever it was. That meant we had to reduce the number of extras in a scene from 50 to 15. How do you feel about the extent of unionism in the film industry? As with film unionism every where, the concept is good but the practice can get out of hand. I believe in compulsory member ship, but it can be negative in that it makes union executives com placent. If unionism weren’t com pulsory, the executives would have to be working for their members all the time and convincing others to join. That would improve the union situation enormously. In our industry, the ATAEA2 is becoming a lot better, but it has been quite complacent in recent years. It is gearing up to be a good union. But there is always room for improvement. David Thomas [of the ATAEA] was a great help on Strikebound. He knew the script and was very keen on the subject matter. So he let a lot of technicians work at below the award rate, if they wanted to, for a percentage in the film. This is one area unions should look to more. I don’t believe that production companies should be the only ones taking per centages. Why shouldn’t the crew also? It should be an option in their contracts. We found Equity a lot more hard-headed than the ATAEA and it gave us the most problems, al though I can see Equity’s side of it totally. It has its membership to look after. You have mentioned several times that you would have preferred to develop certain aspects more. In the film, there are sequences which are very nicely structured and work well, but there are others in which one gets the feeling they have been chopped down. In places, this gives one the feeling of watching a montage rather than a narrative drama. Did you in fact shoot material you didn’t end up using? Definitely! The first fine cut was three hours long — and I don’t mean a rough cut. It was a pacelycut fine cut. There were a lot of scenes which didn’t come up to scratch and had to be dropped, and some of these were essential to the plot line. In 2. Australian Theatrical and Amusement Employees Association. It counts film technicians as among its members.
some cases, it was because of poor performances, in others because they weren’t up to par visually. We also had some problems with the script. I wish now I had had another six months to work these things out. Strikebound does have a bit of a montage feel about it. Sometimes this was scripted, such as a long montage of preparing for the strike, of getting the food together and so on. But even that came down to the bare minimum. We also had a 10-minute opening to the film showing thugs smashing up the union rooms, and miners burying their printing presses in the sand to stop them being destroyed. For one reason or another, that opening had to be dropped. Often you don’t give information to the audience when a lot of film makers would, preferring to reveal the point of the scene slowly. One thinks of the shot of the funeral, which focuses for a long time on two kids before pulling back to the procession in the background, along the dramatic cliff face. That shot is almost symbolic of the way you have structured much of the film . . . Yes. I like to open a scene with a question mark and then work backwards. I worked on a series of hooks, of trying to grab people’s attention before I attempted to ex plain what was going on. That is why many scenes don’t have estab lishing shots. Your use of inter-cutting is similar. The reasons for it are not immedi ately apparent, as near the start when you cut backwards and for wards between a woman (Agnes) entering a church and the men leaving the pit. It is deliberately unsettling . . . Yes. Some of it was successful and some of it not. A lot of that structure is due to the skill of the editor, Jill Bilcock, who was fan tastic. She got me out of many a tight situation in which I had put myself. Finally, what do the Doigs think of the film? Well, they cried at the com munity singing bit and I thought, “ I’ve done it.” Then Wattie came up to me and said, “ That scene where we’re getting over the fence and getting into the mine . . . that’s exactly how it happened. How did you work that out? I didn’t tell you that.” It was just a coincidence, but it fitted their reality. They loved it, but Agnes didn’t think she should have been seen in the Salvation Army so much. “ After 50 years of being a com munist, I shouldn’t have to recall my Salvation Army past” , she said, j? CINEMA PAPERS August — 291
TO ADVERTISE IN
chem a Ring Peggy N icholls: M elbourne 830 1097
or ★
★
★
★
★
★
329
5983
'A '
I-------EXECUTIVE DIRECTOR------- 1 AUSTRALIAN FILM INSTITUTE The Australian Film Institute is a national organisation with offices in Melbourne and Sydney, and programmes in film Exhibition, Distri bution, Research and Information, Publications. The Institute also presents the Annual Australian Film Institute Awards which are telecast nationally. The Executive Director is responsible for oversight of all programmes, as well as management of a staff of 30 and an annual budget of $2.5 million. The successful applicant will possess a combination of entrepreneurial, artistic and management skills. Salary is negotiable, but $35,000 p.a. should be taken as a guide. Confidential replies to:
RENTING GEAR? A t L em ac Film & V ideo Equipm ent R en tals w e’ve g o t M elbourne’s m o st com prehensive ran ge of 16 81 S u p er 16 m m film equipm ent. Aaton (Hire “S? Sales); Arriflex 16SR BL, S T production kits; Video Assist; Arri Image Stabilizer; a huge range of zoom and standard lenses, including the new Zeiss 10-100 T2, the Cooke S uper 16 Zoom ‘5 ? Angenieux 16-44 T 1 .3, 3.5 Century to the 3 0 0 mm T2.8 Canon — lights, sound cV editing gear too. The Sony Betacam 3 tube Broadcast Camera with the BVU 110 Recorder, W ide Angle Fujinon 6.5 —23 mm Zoom for Sony Cameras ‘2 ? the .7 x wide angle lens attachment for video zooms with macro.
L em ac Film 81 V id eo 279 Highett Street Richmond. Victoria 3121.
Phone (05) 429 2992 Australian agent for the FLEXFILL reflector system
Victorian 81 Tasmanian representative for Filmwest AATON
The Chairman, Australian Film Institute, G .P .O . B o x 1780,
SYDNEY, N.S.W.
2001.
The end of the clapper With the uncompromising AATON LTR with Clear Time Recording (CTR)! The miracle of Clear Time Recording will save you a lot of time and money and precious film stock, by giving you time marking in clear figures and letters direct onto your film - the day, date, time, scene, take and production numbers permanently printed onto your film, completely eliminating clapper errors. If you already own an Aaton LTR, it can be fitted with Clear Time Recording giving you access to the latest in film technology without giving up the camera you know best. Further details available from:
ES FILMWEST Importers and distributors of Aaton equipment throughout Australia. SYDNEY: Percy Jones Motion Picture Services. 1st Floor, 29 College St. Gladesville. N.S.W. 2111. - Telephone: (02) 816 3371
MELBOURNE: John Bowring - Lemac Films (Aust) Pty. Ltd. 279 Highett St. Richmond. Victoria. 3121. Tel: (03) 428 3336/429 2992
PERTH: Filmwest Equipment Sales Pty. Ltd. 75 Bennett St. East Perth. W.A. 6000. V Telex:1 AA94150 Tel: (09) 325 1177/325 1423
SINGAPORE: . * Filmwest Pte. Ltd. Suite 157 Raffles Hotel 1-3 Beach Rd. Singapore. 0718 Telex: RS36389 • V Tel: 337 8041/336 1509
/ '■
.
FUJICOLOR
The complete range of Motion Picture Film for all occasions
O fficial Film o f the Los Angeles 1984 Olympics
FUJICOLOR HIGH SPEED NEGATIVE FILM
FUJICOLOR HIGH SPEED NEGATIVE FILM
ÄK
'32G0K i I 3M
FUJICOLOR NEGATIVE FILM MOTION PICTURE SAFETY RLM ♦S*CHEflHETTS * MN0RU4 FILM DC SECURTTE POOR CMEMA
F U J IC O L O R ffl® N E G A TIV E F IL M
'|0mmxi22m(4OO) ON CORE I Op«n only in tfital dvfciiMs KERN I Nur in stectuter OurMh&t offnsn SUR NQYAO I Noovrt» qua dam tob$cuM lout»
FUJICOLOR HIGH SPEED NEGATIVE FILM
mcxM itT m
Store b&low 10 C(50T)
MOTION PICTURE SAFETY FILM
16iwnxao&nllOOIEI
FUJICOLOR REVERSAL FILM
Ï1 K ftll
EXPOSURE INDEX 500 TUNGSTEN TYPE (3200K)
FUJICOLOR REVERSAL FILM
|m m X 122m (400)E I
£ B
Natural color reproduction is yours with Fujicolor. T on es co m e alive. Luxuriate in the rich skin to n es and exquisite su b leties of the grays. In situation s which call for very fine grain pictures, Fujicolor A allows you to sh o o t at a lower exposure index (e.g . E l. 5 0 ) and then fine-grain p ro cess to obtain outstanding results. Fujicolor AX has an exposure index rating of 3 2 0 in tu n gsten light and 2 0 0 in daylight When sh ootin g under adverse lighting conditions the E l. rating of Fujicolor AX can be doubled by force p rocessin g which virtually results in no change in color balance.
D is trib u te d in A u s tra lia by
m
HANIMEX
•
SYDNEY •
MELBOURNE •
BRISBANE •
ADELAIDE •
PERTH •
HOBART
PERFECT RELEASE COPIES BEGIN WITH THIS 4,000M REEL
AMERICAN ACADEMY AWARD 1983
COLOUR BY RANK FILM LABORATORIES (U.K.) North Orbital Road,Denham ,Uxbridge, I (U.S.A.) T echnical S ervices, 1015 North Cahuenga, M iddlesex UB9 5HQ, Tel.0895 832323,T elex934704. I Hollywood.C.A.90038 Telex 691600, Tel.213 469 9094,