Cinema Papers December 1984

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The National Film and Sound Archive was made possible because of the continuous interest and support of the film, television, radio and sound­ recording industries, and because of the foresight and initiative of the Australian Government.

The staff of the National Film and Sound Archive look forward to a long and productive association with the motion picture and sound recording industry.

Best wishes from everyone associated with the Archive for the holidays and good cheer for the New Year.

Colorfilm is proud to support the activities of the National Film and Sound Archive.

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“All T he Presidents M en”.

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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

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Articles and Interviews Alain Resnais: interview Kieran Finnane Tales of Terror: The Horror Films You Think You Know Philip Brophy Brian McKenzie: interview Chris Warner Angela Punch McGregor: interview Jim Schembri Ennio Morricone: interview Sue Adler A Practical Film Student’s Guide to Cliche Adrian Martin Jane Campion: interview Mark Stiles Kathy Mueller: interview Helen Greenwood

394 400 408 418 425 428 434 436

Features The Quarter Picture Preview: Niel Lynne Venice Film Festival Vikki Riley

Brian McKenzie Interview: 408

392 412 414

Love Reborn Resnais interview: 394

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: Beth Sjogren.

Advertising: Peggy Nicholls (03) 830 1097 or (03) 329 5983. Printing: York Press, 1-19 Hoddle St, Abbotsford, 3067. Telephone: (03) 419 4855. 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.

Second Glance: We of the Never Never Almos Maksay New Products and Processes Fred Harden Box-office Grosses Production Survey Film Censorship Listings

422 438 443 445 467

Film Reviews Cloak and Dagger Brian McFarlane Kemira: Diary of a Strike Jane Messer Iceman Christine Cremen Once Upon a Time in America Rolando Caputo Carmen Paolo Weinberger Second Time Lucky Mark Spratt Nineteen Eighty-Four Dave Sargent Funny Dirty Little War Paolo Weinberger

Leone’s America Review: 458

455 456 457 458 461 462 463 464

Tales of Terror Survey: 400

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 may 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. 49, December 1984

Founding publishers: Peter Beilby, Scott Murray.

'Recommended price only.

Front cover designed by Ernie Althoff.

CINEMA PAPERS December — 391

ASDA Policy The manager of the Australian Screen Directors Association (ASDA), Jinks Dulhunty, announced in October the ASDA’s policy on the employment of non-Austra­ lians to direct local film and television pro­ jects. The policy applies only to projects financed under the Federal Government’s 10BA tax legislation, which encourages investment in Australian films.

ASDA says it is not opposed to the employment of foreign directors on films funded outside this legislation. It is, how­ ever, against the employment of non­ Australian directors to direct films financed under the 10BA legislation, except in exceptional circumstances.

ASDA states that: 1. Conclusive documentary evidence must be presented to prove that finance for the project is dependent on the employment of a specific non­ Australian director; and 2. Conclusive evidence must be pre­ sented to prove that no Australian director is available to direct the specific project.

Further, the ASDA says that in the event that a non-Australian director is employed: 1. The producer and the importée must agree to the employment of an Austra­ lian trainee director, approved by ASDA and the Australian Theatrical and Amusement Employees Associa­ tion (ATAEA), to observe and work alongside the imported director during all stages of production, including post­ production; 2. The imported director should agree to present a seminar outlining his or her approach to the art of screen direction so that Australian directors can benefit from his or her experience; 3. The imported director must be a finan­ cial member of ATAEA and ASDA for the duration of his or her stay in Aus­ tralia and for a minimum of one year; and 4. The imported director must agree not to be employed on another 10BA pro­ ject for a minimum of two years.

Independent Filmmakers' Conference Dorre Koeser reports: The Australian Film Institute’s (AFI) Inde­ pendent Narrative Filmmaking and Tele­ vision Marketing Conference was held in Sydney between 28 August and 1 September. With panel members from Britain, the U.S., West Germany and Aus­ tralia, the conference talks centred on international models of independent cinema and television, innovative pro­ gramming models, the hardships and suc­ cesses of the overseas and local film­ makers, and discussion of necessary changes to be made in Australia. The con­ ference was sponsored by the Australian Film Commission, the Goethe Institute, the British Council and British Airways, and was organized by Christine Woodruff and Frank Maloney, among others. Its success was in sparking a group of formerly unrepresented independent film­ makers to organize a national association.

A large amount of time was spent

392 — December CINEMA PAPERS

defining what independent cinema is.

Lawrence Sapadin, executive director of the Association of Independent Film and Video Makers in New York, stressed the aspect of alternative production: [It is] an alternative that stands as a critique and a challenge to the norms and functions of the commercial industry. Traditionally, independent media has provided a voice for those constituencies excluded from the main­ stream media, and engages in an aesthetic discourse unsupportable by the commercial industry.

Filmmaker Mark Rappaport (Imposters, Scenic Route) of New York added to the definition: We are neither a source of income for our country, nor are we a source of pride. We have no constituency; in a sense we are superfluous. No one needs us, no one asked for us and, saddest of all, we represent no one except ourselves.

R appaport presented cinema in America as:

independent

An off-shoot of a system that is alter­ nately worshipped and despised. The American film industry, certainly in America itself, becomes a model to which all other models refer and pay homage, either directly or by aggres­ sive avoidance.

Sapadin elaborated on the dangers that alternative filmmaking in the U.S. faces: In the absence of legislated tax bene­ fits, there is little reason to invest in in d e p e n d e n t p r o d u c tio n . Few independent features break even, let alone return a profit. What private fund­ ing there is, is more akin to philanthropy than investment. Individuals contribute funds principally out of a passion for a particular story or political theme being explored. The dire funding situation in the U.S. has also polarized the independent producing community.

Those intent on producing alternative images are forced to resign themselves to a marginal existence: a creative purgatory of endless fund-raising and limited distribution.

The difficulty of financing and its effect on creativity is a problem anywhere in the world. Sue Clayton, a writer and director from London, discussed the way of life created by a lack of money: Virtually nobody made a reasonable living in the independent sector. People either taught, freelanced in the commer­ cial sector, if they were unionized, or lived cheap. There was a general guilty feeling that the wageless status of most of us perpetrated the sector as the terrain of predominantly white, welleducated, middle-class urbanites, and a sort of compensatory feeling that our films must therefore seek to represent disenfranchised groups.

With the forming of the British Workshop Declaration and British independents’ operating on something closely akin to a commercial model, Clayton observes that they are seeing themselves now “ much more as workers in an industry and a lot less as individual struggling artists on grants” .

Clayton went on to suggest the need to

be defined as independent filmmakers, “ to safeguard ourselves against being ex­ ploited in the commercial arena and to protect our own group interests” . She offered some practical advice based on her experiences in organizing an independents’ union in Britain. Some of her suggestions are part of the British Workshop Declaration and include a trade union agreement to cover continuity of funding and different social conditions of waging, exhibition, lobbying for television a llo w a n ce of m oney, e q u ipm ent, resources, sponsorship funding and video rights. The main aim of this type of organization, though, is the advantage of having official group status.

Unless you can lobby as a group with recognized standards and wages pro­ ceeding, you just don’t get anywhere; you are just people knocking on some­ body’s door and nobody takes notice of you . . . if you have a code of practice which sets you up as a group with these certain democratic, non-profit-making aims, your own union agreement, your own exhibition policy and so on, you can go to other groups that otherwise just regard you as the slightly weird individual who keeps saying they want to make a film . . . and there is an immediate facility of communication because they know who we are. We are not just oddballs who may or may not have the right politics and that is guaranteed by the working structure that we have in the Declaration.

Clayton’s example, and those of other speakers who followed, were taken very seriously by the group and almost immedi­ a te ly a n a tio n a l a s s o c ia tio n of independent film and video workers was born. In planning the first meeting, it was suggested at the conference that it be limited to filmmakers only, excluding administrators, exhibitors, etc. But the majority opinion was for the support and involvement of the independent sector, not just the creative artists, and the suggestion was vetoed.

On 1 September, that first meeting was attended by about 80 people, not only those who had taken part in the AFI Con­ ference, but also others who had received word about it through the grapevine. The press release that followed referred to the meeting as “ historic” , pointing out that: Although ad hoc groups of film and video workers have come together in the past to lobby around specific issues, this is the first time that a national association has been formed with the aim of building an on-going organization which is able to represent independent filmmakers and further their interests.

Meetings have since been held in each state to organize more specifically for each region’s needs, and to establish their priorities before another national meeting to be held in Brisbane in early December.

On the last day of the conference, the chief executive of the AFC, Kim Williams, speaking on the subject of formal avenues of change, said the significance of seminars and conferences “ is that they provide a broad range of interests encom­ passed within the film community” .

O rganizer C hristine W oodruff was pleased with the outcome of this particular conference and especially happy about • the beginning of the national association:

My hope and intention was that it would go on and not be just a three-and-a-half day talk fest, but an impetus to organize independents together. That was in the back of our minds in bringing out Sue Clayton and Larry Sapadin.

Contributors Sue Adler is an actress and model work­ ing in Rome, doing English translations of Italian screenplays.

Philip Brophy is a writer.

Rolando Caputo lectures in film at Deakin University and RMIT, and is a writer on film.

Christine Cremen is a freelance writer on film.

Kieran Finnane is a freelance writer based in Paris.

Fred Harden is a Melbourne freelance film and television producer, and has a regular column on technical information in The Video Age. Dorre Koeser is a Sydney-based free­ lance film editor, and writer on film.

Almos Maksay is a lecturer in film at the Ballarat College of Advanced Education.

Adrian Martin is a tutor in film studies at Melbourne State College.

Brian McFarlane is a lecturer in English at Chisholm Institute.

Jane Messer is a freelance writer on film and fiction.

Inge Pruks is a freelance writer on film.

Vikki Riley is a freelance writer.

Dave Sargent is the administrator at the Sydney Filmmaker’s Co-operative.

Jim Schembri is a journalist at The Age, Melbourne.

Mark Spratt is a freelance film writer.

Mark Stiles is a filmmaker based in Sydney.

Chris Warner is a filmmaker based in Melbourne.

Paolo Weinberger is a freelance writer who works for Network 0-28.

ATOM Awards The winners of the 1984 ATOM (Austra­ lian Teachers of Media) Awards were announced in Melbourne on 9 November.

The awards, given to educational film and videos, were initially established as a response to the growing need for media education in schools. The categories and winners were:

Best Animation The Thief of Sydney (Directed by Toby Zoates)

Best in the Arts Puppet Animation (Directed by David Johnson)

Best Australian Danny’s Egg (Directed by David Haythornwaite) Heads ’n Tails (Directed by Jane Oehr)

Concluded on p. 466

The Quarter

Obituary

François Truffaut “I have always preferred the reflection o f life to life itself. ” The death of François Truffaut at the age of 52 comes as a great shock to those who have followed and delighted in his films for more than 20 years. Is it really possible that one can no longer look forward to “ the new Truffaut” in the years to come, as one has done with such steady regularity in the past? A great void has been left in his wake.

François Truffaut began his film career as a critic in the 1950s. He was something of an enfant sauvage in those days and railed against established French tradi­ tions of filmmaking. He even denounced the Cannes Film Festival in 1958, vowing never to return again. But the next year he was back — as a director — with his prize­ winning Les quatre cents coups (The Four Hundred Blows). He was a leading voice among those writing for the Cahiers du cinéma and formulated the politique des auteurs: suddenly filmmaking was acknowledged as a personal art form and the French New Wave was born.

The New Wave was not a school or a club; it was the spontaneous gathering of forces in the 1960s, a heady and exhil­ arating period of film activity in France which gave the world directors such as François Truffaut, Jacques Rivette, JeanLuc Godard, Claude Chabrol, Eric Rohmer, Alain Resnais, Louis Malle, Agnès Varda, Alexandre Astruc, Georges Franju and Pierre Kast, who tragically died the day before Truffaut.

As a child, Truffaut was often left to his own devices. His parents were keen mountain climbers and they left young François behind when they went off for their jaunts in the country. Truffaut haunted the little movie houses around Pigalle where he lived, and would often arrange to be let in through the exit door by a friend who would buy the ticket. Thus it was that his education in film began and, through the help of André Bazin, he was soon on the editorial board of the influen­ tial Cahiers du cinéma.

Truffaut remained a real child of the Cinémathèque. He knew many films by heart and his enthusiasm for other directors was boundless: Jean Vigo, Abel Gance, Nicholas Ray, Orson Welles, Sacha Guitry, Ernst Lubitsch, Edgar Ulmer, to name but a few. His links with

From an interview with Truffaut conducted by the late Jan Dawson for Cinema Papers1: I think it is very important to stand firm and not be too servile towards the latest trends . . . There is much pressure nowadays to conform to a certain political line. And you have to resist it. You can’t complain about Hollywood producers trying to force people to make films with a happy ending, and then have socialists insist that people make films with a positive ending. Or with a feminist ending . ..

Of course it is true that no one today is going to talk about women in the same terms they did in the old days, but that 7. Jan Dawson, “ Truffaut: L’homme qui aimait les femmes. A thematic reading” , Cinema Papers, No. 15, pp. 206-8.

Alfred Hitchcock are well documented: there is the book of interviews, and the many references to Hitchcock in his films.

His other great passion was, of course, Jean Renoir and he named his production company “ Les Films du Carrosse” in homage to Renoir’s Le carrosse d’or (The Golden Coach, 1952).

The private life of François Truffaut has always been discreetly hidden from public view. Not much is known of his marriage to Madeleine Morgenstern in 1957, except that they did eventually separate and that they had two daughters, Laura and Eva, who have had small parts in some of his films. He also had a daughter to actress Fanny Ardant. But not much more is public knowledge. Perhaps it is just as well, for he has always tried to transmute the personal, the anecdotal, into some­ thing much more enduring, which is his art. His life is his films: I have always preferred the reflection of life to life itself. If I have chosen books and the cinema since I was 11 or 12 years-old, it is because I preferred to see life through books and through the cinema.

doesn’t mean that men have to abandon a male point of view. That would be absurd, pure servility .. .

I just have to be true to myself. Being natural is the most important thing of all.

It’s better to stay natural and be attacked for it from time to time.

Servility is unforgiveable, especially in the cinema, where it is glaringly obvious when someone injects into a film some fashionable ideas that he is just repro­ ducing and not actually feeling . . .

You can’t make films to please other people. You don’t try to displease them either. But a film can’t be entirely delib­ erate. You have to allow for the uncon­ scious as well. You have to work with both elements.

All of Truffaut’s work simply vibrates with the joy of making films. “ A film is an act of love” , he has said on a number of occasions. Nowhere is this more obvious than in La nuit américaine (Day for Night, 1973), which was a great public success and earned him an Oscar for the Best Foreign Film of the Year. But Jules et Jim (1961) exhibits this same giddy excitement generated by a very mobile camera and a perfect matching of music, image and mood.

In Truffaut’s films, there are continual cross-references: to his own work and to the work of others. There are visual allusions, verbal echoes, mirror effects in the use of names and the “ doubling” of himself by actor Jean-Pierre Lêaud. This profusion of cross-referencing is not mere smart-aleck in-joking; the double meanings are there for any spectator who is prepared to enter his world and become a part of his huge family. The process of cross-referencing, in fact, binds the whole of Truffaut’s work into a vast and glorious celebration of the seventh art.

It could be argued that Truffaut’s best films come early in his career, and he seems to be most at ease in black and white. Les mistons (1958), The 400 Blows (1959), Tirez sur le pianiste (Shoot the Pianist, 1960), Jules and Jim, La peau douce (Soft Skin, 1963) — what a feast of small masterpieces!

Critics have complained of Truffaut’s puerile treatment of love in La sirène du Mississippi (Mississippi Mermaid, 1969) and Domicile conjugal (Bed and Board, 1970) or the schematism of La mariée était en noir (The Bride Wore Black, 1967), or the awkwardness of Les deux anglaises et le continent (The Two English Girls and the Continent, 1971), and it would seem perhaps that color was distracting for Truffaut. But he also made Baisers volés (Stolen Kisses, 1968), Day for Night (1973), L’histoire d’Adèle H. (The Story of Adèle H., 1975), La chambre verte (The Green Room, 1977) and Le dernier métro (The Last Metro, 1980), all five treasures in their own right and all in color.

Truffaut did indeed return to black and white in creating the memorable L’enfant sauvage (Wild Child, 1969), thus begin­ ning a long association with cameraman Nestor Almendros. And, of course, his last film, Vivement Dimanche! (Confiden­ tially Yours, 1983), is also a return to black and white.

Truffaut’s films fall into three groups: those based on French texts, those based on English or American books and those arising from an original screenplay. This is not the place to amplify on the nature of these three sources, but suffice to say that no one group is more ‘autobiographical’ than the others, especially as the books and texts chosen correspond specifically

to Truffaut’s concerns as an artist and as a man.

If one is looking for a constant in his work then it would, perhaps, be his obses­ sive preoccupation with the relative and the absolute in the realm of love, or to use his own terms: le provisoire and le définitif.

These are two poles which define most of his characters, and they set up the tensions and internal logic of the film, whether it be Antoine Doinel or Madam Tabard, or Catherine, Jules and Jim, or Mathilde and Bernard in La femme d’à cbté (The Woman Next Door, 1981).

Truffaut sets up combinations and per­ mutations of every possible situation involving these terms, and the poles can never meet. It is astounding that in his last film, Confidentially Yours, he does unite two lovers in a marriage which looks as though it is meant to be. It seems as though the search, at last, had ended, the cycle completed.

Truffaut has continued throughout his career to write and record his experiences in film, whether it be the Fahrenheit diary or continued observations on films and filming. He has published screenplays, collected his early articles, given inter­ views, and has often appeared on radio and televison. His writing is always lively and incisive, and the passion for corres­ pondences is there as well: who else would see Alfred Hitchcock’s Psycho (1960) and Ingmar Bergman’s Jungfrùkallan (Virgin Spring, 1960) as simply being reworkings of Little Red Riding Hood?

Truffaut was ever generous in acknow­ ledging influences, debts and friendships.

Four of his films bear dedications — to André Bazin, Jean-Pierre Léaud, Henri Langlois and Jean Renoir — and these are deep-felt and personal. He has worked in every facet of film production: critic, director, writer, actor and producer.

(He in fact played the major role in The Wild Child and The Green Room.)

Truffaut has been an inspiration to many young American directors, such as George Lucas and Steven Spielberg. He accepted the role of a French scientist in Spielberg’s Close Encounters of the Third Kind (1977) mainly because he was preparing a book on actors and he wanted to live through the experience himself, of working for another director.

The purity and torment of Truffaut’s vision are almost of another age, the age of Balzac, Flaubert and Proust, and a little out of step with what one perhaps expects from cinema today. And yet his influence is immeasurable, so eloquently has he pleaded his case for a cinéma d ’auteur.

His films are proof of that.

François Truffaut is one of the great figures of film history, and his untimely death is mourned by all who love films.

Inge Pruks

Filmography

1969 L’enfant sauvage (Wild Child) 1970 Domicile conjugal (Bed and Board) 1971 Les deux a n g la is e s et le continent (Anne and Muriel) 1972 Une belle fille comme moi (A Gorgeous Bird Like Me) 1973 La nuit américaine (Day for Night) 1975 L’histoire d’Adèle H. (The Story of Adèle H.) 1976 L ’argent de poche (Pocket Money) 1977 L’homme qui aimait les femmes (The Man Who Loved Women) 1977 La chambre verte (The Green Room) 1978 L’amour en fuite (Love on the run) 1980 Le dernier métro (The Last Metro) 1981 La femme d’à cbté (The Woman Next Door) 1983 Vivement Dimanche! (Confiden­ tially Yours) it

Shorts

1955 1958 1959 1962

Une visite Les mistons Histoire d’eau (with Godard) L’amour à vingt ans (episode)

Features 1959 Les quatre cents coups (Four Hundred Blows) 1960 Tirez sur le pianiste (Shoot the Pianist) 1961 Jules et Jim 1963 La peau douce (Soft Skin) 1966 Fahrenheit 451 1967 La mariée était en noir (The Bride Wore Black) 1968 Baisers volés (Stolen Kisses) 1969 La sirène du Mississippi (Missis­ sippi Mermaid)

CINEMA PAPERS December — 393

Kierail Finnane

(interview and translation)

‘Tear o f dying is also the fear o f not being able to die. The fact that we cannot experience reality to its very end renders death unreal, and this unreality condemns us to fear dying ‘unreally’, not really dying, remaining forever suspended between life and death in a state o f non-existence and non­ death, from which our entire life perhaps draws its meaning and its reality . . .

“This fear o f not being able to die is what religions have transformed into the hope to go on living; from this inexistence o f death they have made an existence beyond death — a transformation made possible by the ambiguity o f this fear which, in becoming desire, tries to overcome itse lf. . .

“Only indirectly do we desire to know what happens after­ wards: we want to be sure o f death as being achieved, as a real and true whole, and that is why afterwards interests us because ‘after death* would be p ro o f that death, if not surpassed, has at least well and truly passed, has been accom­ plished. We do not want a hereafter fo r itself, but, guilefully, we desire to be able to look at ourselves dead, assure our­ selves o f our death by directing on our nothingness [ . . . ] a veritable gaze from beyond the grave. That is why love, in so fa r as [. . .] it is death lived in advance and known to its very Director Alain Resnais, right, with actors Andre Dussollier, left, and Pierre Arditi.

CINEMA PAPERS December — 395

Alain Resnais

limits, is always afraid o f its tomorrows, o f its future, because it fears becoming its own awakening, this profoundly miserable m om ent when it discovers itself to be not finished and completed, but in its very end, incomplete, having never been that vain and interminable duration o f what, however, never was. A n d that is also why love so often appeals to death to achieve its completion, an appeal which is at the same time paradoxical, i f love can only expect o f death an unending incompletion. 33

such-and-such a subject. W hat I can say is that when I was finishing the editing of La vie est un roman, which is, I hope, a gay film, a film in which there are lots of smiles and laughs and a lot of characters, I had the desire to make a film which would be quite the opposite.

I said to myself, “ This time I must make a film with very few charac­ ters.” But I wanted to continue using music, which interests me greatly.

So I thought that perhaps we could make a sort of ‘chamber’ film, with just faces, very little dialogue and in which the music would continue the action and the dialogues, all of which would I can’t give you more explana­ make it possible for the film to be tions for this film than for any short. I wanted to do 90 minutes exactly and at the same time to other film I have made.

It was a string of coincidences. transmit a lot of emotion to the Before starting a film I don’t have audience. I wanted to make a film any precise intentions. I don’t say in which the music would have as that I am going to make a film on much importance as a character or as the action itself, a film in which the music would continue or 1. A chronology of Jean Gruault’s impressive screenwriting contribution precede the action but in any case to recent French cinema: be completely tied to it, not as I 1958 Paris nous appartient (directed had used it in my previous films in

by Jacques Rivette) 1962 Jules et Jim (directed by François which the music was often beneath the dialogues and always accom­ Truffaut) 1963 Les carabiniers (directed by Jean- panied an image. I wanted music Luc Godard) 1966 La prise de pouvoir par Louis that would be without images, XIV (directed by Roberto Rossel­ without dialogues and actors, music that would go on with the lini) 1967 La religieuse (directed by Jacques story without the participation of Rivette) 1970 L’enfant sauvage (directed by the characters.2

In “ L’amour à mort” you touch on subjects which these days are generally refused or avoided: a man returning from the dead; belief in God or in other absolutes, such as eternal love; the pain and fear of separation and death; and, finally, suicide. This is quite differ­ ent from your other collaborations with screenwriter Jean Gruault1: “ Mon oncle d’Amérique” and “ La vie est un roman” . In those films you treated themes one likes Maurice Blanchot, “Regards d >outre-tom be,,> to think of as contemporary: the Critique, April 1947, No. 11 [Translated by K.F.J. mechanism of human behaviour, education and so on. What led you words, written in quite another epoch and in to recount a story such as “ L’amour a mort” ?

Blanchot3s response to quite another work (Michel Leiris’ L ’age d ’hommeA are cited here not as a definitive interpretation but rather as pertinent reflections on themes arising in Alain Resnais3L 5amour a mort. This is Resnais3 most recent film , part o f the official selection in Competition at the 1984 Venice Film Festival and released in Paris on 5 September.

In the following interview, Resnais talks at length about his intentions and conceptions as the film 's director. For those who wish to read it, here is a brief resume o f the film 's narrative elements.

Simon (Pierre Arditi), who is loved by Elisabeth (Sabine Azema), whom he loves, dies in great pain.

Is it that Elisabeth’s cry reaches him in the land of the dead?

He comes back to her. Later, he will describe a sensation of being drawn back against his desires, away from this music, this extraordinary sense of happiness, this light, these others, dead, whom he recognizes, each and every one.

Elisabeth can listen to this: its language is close to the language of love. Simon’s closest friend, Jérôme (André Dussollier), a Protestant pastor, tells him that it was just a dream. Judith (Fanny Ardant), married to Jérôme, also a pastor and in her youth Simon’s lover and partner in a suicide pact, respects the uniqueness of the experiences of each individual and helps him discover, in sacred and other texts, words to give meaning to what has happened to him.

Elisabeth’s joy at having Simon restored to her, her pleasure in their love, reaches a turning-point when the dread of separa­ tion, or the dread of the degradation of their love by encroach­ ing old age, leads her to desire death for them both, death as the means of going to the end of their love, extracting it from the menace of time and rupture.

Simon is increasingly troubled by his memories of his death. It becomes a vertiginous obsession. He wishes to die again. It is a private desire which does not include Elisabeth despite his con­ tinuing love for her. Excluded from his desire, Elisabeth oscillates violently between her desire to be with him, as close to his experience as she possibly can be, and her desire to bring him back to her sphere, to their life together.

Simon dies, a second time and completely. As he is dying, he asks Elisabeth not to leave him. Her response exceeds his demand. She promises that she will go with him. They had been planning to leave together on a journey through Louisiana.

Simon is gone. Elisabeth hopes for a sign from him. She receives none and finally must rely on her own resolution, her own faith in their love. She prepares herself to die.

Jérôme tries to intervene. He defines his fragile faith with his knowledge of the texts and dogma. He insists that Elisabeth has not the right to choose to die. Judith, who also knows her texts but proclaims that to try to prove God is to deny Him, defends Elisabeth’s choice. She points out that nowhere in The Bible is suicide forbidden and that after all Jesus Christ chose to die for love.

Elisabeth explains to Jérôme and Judith that hers is not an act of despair, but an act of extraordinary hope.

Jérôme and Judith watch Elisabeth leave them; she disappears into the darkness. Judith comforts Jérôme with the words, “ We rise from the dead.”

396 — December CINEMA PAPERS

François Truffaut) 1971 Deux anglaises et le continent (directed by François Truffaut) 1975 L’histoire d’Adèle H (directed by François Truffault) 1978 La chambre verte (directed by François Truffaut) plus, from 1980 to 1981, Alain Resnais’ three most recent films.

2. Resnais declares himself to be a formalist. For him the form of a film pre-exists the characters and the plot.

In the case of La vie est un roman, his first desire was to make a film in which speech and song alternated, to push the voice to song without the film becom­ ing either a musical or an opera.

Jérôme (André Dussollier), a Protestant pastor, and Judith (Fanny Ardant), his wife and fellow pastor. Alain Resnais’ L ’amour a mort.

Alain Resnais

Elisabeth (Sabine Azema) and her lover, Simon (Pierre Arditi): y o u .” L ’amour a mort.

And then, I wanted to make a film about separation. For me, the film is more about separation than about the hereafter or about religion.

These are things which came about somewhat like . . . har­ monies . . .

For me, for everybody I think, the most im portant thing in life is meeting the person whom you are going to love, who becomes essen­ tial to you. From the moment that you meet this person you live in fear that he or she will leave you, that they will disappear, or go overseas, or that they will die.

So it was with this material that the first images were developed; these were the first ideas for the film.

This love, as it is lived by Simon and Elisabeth, is a very romantic idea of love . . .

Yes. I wanted it to be so.

These days, it seems that a lot of films, though I don’t see them all, explore the domains of crime and perversion. I thought it would be amusing to go and explore a less populated territory: romantic love, for instance.

For me, a film is always like a journey. It always means going to search out a milieu that I don’t know. Orson Welles once said something like, “ I prefer making films in places which haven’t been colonized yet.” Well, romantic love is pretty calm at the moment.

However, while we are talking about romantic love, one of the ideas for the film was to show that you don’t have to be a mythical

. . the most important thing in life is meeting the person whom you are going to love, who becomes essential to

hero, such as Tristan or Isolde, to die for love. This can happen to anyone.

This is how Gruault and I saw the characters. Elisabeth and Simon are not exceptional beings, though they are not “ standard” or “ average” either. That would be pejorative. She does research in a laboratory and he is an archae­ ologist. They are not exactly “ typical” but neither are they great romantic heroes. That was what interested me: to show that anyone at all can despair.

I wanted to make a slightly exaggerated film, a lyrical film which could harmonize with the music as a violent expression of the sentiments. So, in keeping with this idea of exaggeration, the most extreme, the most irremediable separation is death. And what can provoke great anxiety about death? Obviously, to escape it.

That is when I remembered con­ versations that I had had with actress Ellen Burstyn. She had read about people who had been in comas, in a state where the signs of life had ceased to the point of their being declared dead by the doctors, and who had come back to life, always with the same story to tell about their experience.

There are two hypotheses: either they had really experienced life after death — a very contradictory way of expressing it — or our brain is made in such a way that certain states correspond automatically to certain images.

Today, medical science can localize areas of the brain with greater and greater precision. I have always found it disturbing to

think that it suffices to prick with a fine needle a precise point in the brain and, while the person con­ tinues to be able to see and while his behaviour in general has not changed, one detail has: for this person everyone looks like every­ one else. He can no longer distin­ guish one human being from another. The faculty we have to distinguish the four billion indivi­ duals on this planet has, for this person, disappeared.

So, we can imagine that in a state of coma there are circulation problems that produce quite natur­ ally the same images and the same sensations. But, in relation to all this, I haven’t any statement to make. We will know more in 10, 20, 30 years . . .

But in the film it seems that you are not concerned with explaining the ‘naturalness’ of the event3 . . .

The doctor says it can happen.

Jérôme explains it as an illusion.

3. From viewing the film, this author had the impression that the spectator was specifically asked to accept the mystery of the event rather than its scientific plausibility. One has seen Simon dead in the upstairs bedroom and Elisabeth has cried out, “ Simon, don’t be dead!”

Then she goes downstairs to answer the phone, is on the phone, and it cuts to Simon coming down the stairs. It then cuts to Elisabeth, who is no longer on the phone, but the audience has not heard her put it down. She looks at Simon scarcely able to believe this in­ carnation of her desire.

There is a troubling break in con­ tinuity declared in the editing, a strange, ever so slight ellipse in time which seems to say that the moment and the event escape the ‘normal’ order of things.

But Elisabeth thinks that there is perhaps a doubt, a chance. She will have to take the risk, even if there is only one chance in a million. She is intrigued.

There is perhaps another aspect to the film, which is our need to believe, whether we are atheists, agnostics or believers. We always have to have faith in something: in our parents, in politics, in art. I feel that we are constructed to believe. The film also turns around this idea.4 But here I am giving you a whole lot of explanations, as if I were a spectator. When I am working it doesn’t happen like that. Images come and then, with the scenarist, we try to see what they are, what sort of themes arise from them.

Then, we try to bring them together.

For me, a scenario never starts from 15 lines on the back of a post­ card which are then developed, adding dialogues, and then, one day, you have 150 pages. Gener­ ally, it starts with part of a scene, a character giving a monologue.

Often that is to be at the centre of the film or at the end. From there we add things and then, all of a sudden, it becomes something we can show to a producer.

At the outset, I never have what 4. With La vie est un roman, Resnais made a film about what we could “ lay beliefs” . At the time of its release he declared that religion — Catholic, Pro­ testant and other beliefs — was so far from his concerns that he did not envisage ever treating it as a subject.

However, he did proclaim his belief in Paul Cézanne, in love and in the world as an enigma that has not been com­ pletely deciphered.

CINEMA PAPERS December — 397

Alain Resnais

you could call an argument or a synopsis. In this way I hope that the, let us say, “ unconscious” will manifest itself more easily. In any case, I haven’t any choice. Even if I wanted to work differently, that is the way it is.

Did the 19th Century romantic literature in flu en ce you or Gruault, particularly the ideas about death as the means of attain­ ing perfect and everlasting love?5 No. I think we were more in­ spired by the accounts of people coming back to life after having been declared dead. This is perhaps what happened to Arnold Schoenberg in 1946, an experience on which he drew to compose “ Trio” , which gave us images and themes. And then there was what people who come back from the dead had to say. All their stories agreed.

I also talked to a doctor, Jacques Ouvrier, who told me similar stories and who checked that Sim on’s symptoms were plausible from a medical point of view. These symptoms are ex5. Philippe Aries in his history L ’homme devant la mort notes two fundamental romantic attitudes towards death: One [sees death as] escape, deliver­ ance, flight into the immensity of the hereafter. The other, as an intoler­ able rupture which must be compen­ sated for in the hereafter by a restitu­ tion of what has been, at a certain moment, torn apart. [Translated by K.F.]

plained by the bursting of an aneurism. This causes intolerable pain but an X-ray will detect nothing. Simon would have had to have had a brain scan but, as he refused to do so, it is quite normal that two months later he should again experience, though to a lesser degree, a similar pain, corre­ sponding to the moment when the vein bursts and blood inundates the brain. Then death only takes a couple of minutes.

But all this is barely alluded to in the film . . .

Yes. For me, this is not the point.

But during the film one thinks of mysterious illnesses, romantic ill­ nesses6 . . .

6. Philippe Aries also comments on the 19th Century romantics’ attitudes towards medical science: No curiosity. No confidence in medical intervention. The doctor nurses [his patient], he does not cure [him], he cannot change anything. . . . Indifference, as if medical science were of no use.

This could be a resumé of Simon’s reaction in face of his illness and imminent death.

The film gives attention to his refusal of treatment but does not oppose it in any way. Simon and Elisabeth remain in ignorance of the physiological reality of Simon’s condition, as does the spectator. The illness and death are lived as instants of intense emotion.

Resnais’ use of the music enforces this, swelling the imperceptible instant to an eternal instant, a characteristic of romantic music.

Resnais, left, with Azema and Dussollier. L ’amour a mort is Resnais’ tenth feature

These romantic illnesses were only mysterious because medical knowledge was not as advanced at that time. When Mendelssohn died after the death of his sister, it must have been something of that order — he died suddenly, in terrible pain, with abominable headaches — but his and his sister’s illnesses were seen as mysterious.

To come back to what you were saying about the characters, Elisa­ beth and Simon. They are not at all “ standard” people; they are very surprising . . .

You are probably right. The spectator is always right. I am just telling you how we saw them, how we worked with them. In what way are they surprising for you? Their lives are very much everyday lives, calm, in the country.

Yes, but they seem scarcely attached to this world, rather ethereal, except in the intensity of their love . . .

I took as a model a couple whom I had met, whom I hardly know. In fact, they live exactly like that.

But it is rare these days to proclaim such a love . . .

I don’t know. You would have to conduct a survey!

It is much more common to hear the kind of discourse proclaimed

by Nora (Geraldine Chaplin) in “ La vie est un roman” . . .

Nora (Geraldine Chaplin) in Resnais’ La vie est un roman: a different approach; a different character.

398 — December CINEMA PAPERS

Yes, but Gruault and I are some­ times of one opinion, sometimes of another. For this film, we let our­ selves be guided by the characters such as they are; we allowed them

to come forth like that. We didn’t push them. We tried to render them as normal as possible. We didn’t seek to make them excep­ tional people.

How did you conceive the charac­ ters Jérôme and Judith, the pastors?

In so far as Simon and Elisabeth appear to me to be more or less like everyone else, they are unbelievers.

But I thought it would be amusing to also have people who actually deal with the hereafter. Obviously, religious people have always been preoccupied by what happens after death.

I had memories of Nice, of Protestant churches on the Riviera which had struck me at the time as a sort of contrast. Jérôme and J u d ith a ro se o u t o f th ese memories.

I received a very strict Catholic education in Brittany. But I don’t like to think about my childhood and if I had put Catholic priests in there I would have been bored. So, to avoid thinking back, I wanted them to be Protestant pastors. In this way, I would meet some new people and perhaps I would learn something. And they are charac­ ters whom you don’t often see in films. We made the most of that.

Jérôme is very recognizable and understandable, so rigid and fragile in relation to his faith. But Judith is more complex. Her faith is synonymous with a generous and liberal love. But what does it mean to her to believe?

You would have to talk to some pastors about that. I am not at all competent to answer.

What I feel about Judith is that

Alain Resnais

WÌmM-0i

Judith, Elisabeth, Jérôme and Simon: “I thought it would be amusing to go and explore a less populated territory [of the cinema]: romantic love, fo r instance. ” L 'amour a mort.

she has a very exalted faith and that she loves Jérôme for his certi­ tudes which calm her own anxieties. I can’t tell you any more . . . I believed in her. But a director is often not the best person to speak to about a film.

He is too much inside it to have the necessary perspective and distance.

In my opinion Judith is very aware that, let us say, The Bible or the words that we are obliged to use when we talk about religion are, especially in 1984, only the echoes of something that we cannot understand. She forefronts the mystery of faith. She is un­ doubtedly not very orthodox.

But I haven’t yet been able to meet pastors who have seen the film. I know they are interested, that there is some controversy, though not about the orthodoxy or otherwise of what the characters have to say: they simply find it an interesting subject of discussion.

So the way in which Judith ex­ presses her faith is your and Gruault’s invention?

It is G ruault’s, especially. I am only the director. As I have often stated, I don’t consider myself an “ auteur” ; I find directing already poses enough problems without h aving to th in k a b o u t the scenario.7 7. On this question of “ auteur-ship” , one day in a film-club an indignant member of the public apparently upbraided Resnais: You there, Monsieur. You make a film. You take the best cameraman, the best actors, the best musician, the best scriptwriter. So, where is the merit?

Resnais answered: I quite agree with you. There is no merit, if it is not in having brought them all together.

But you talk with Gruault about everything . . .

Of course. I have to. I could not, or at least I have no desire to, make a film of a novel or to use a ready-written scenario. I always need to meet the scenarist before­ hand and talk. We talk about everything and not only about the film that we are doing. Sometimes we talk every day, sometimes every week — it depends on how the work is progressing.

have given a certain unity to your work together. But, in spite of some shared themes, the three films are very different, “ L’amour a mort” more markedly so by the absence of the contemporary world . . .

We wanted to make a film with eternal themes. I fled from any­ thing that could become pictur­ esque, virtually from anything that could date the film. Rightly or wrongly, that is the way it came to

In relation to the locations, the place is strange. Where is it in France?

It is all set in and around the city of Uzes, a small city in the south of France where the majority of the population is Protestant.

Everything was filmed where such a story could have taken place, within a radius of five or six km — for economic but also artistic reasons. It was a pleasing constraint to know that we Concluded on p. 474

Is it exceptional for you to work with the same scenarist on more than one film?

I have made so few films that it is difficult to have a theory. I must have made only 10 features. If I had a principle it would be to change the scenarist with each film so as not to repeat myself. But circumstances were favorable to continuing with Gruault. We get on very well.

I have always got on well with my scenarists; I have only good memories of them. Except that sometimes when we tried to do a second film together it didn’t work; we don’t know why. We meet, we start talking about the film we might make and then it happens that after the equivalent of half an hour or three-quarters of an hour of the film it stops. We have to abandon it.

We never know when we start if we will actually get to a finished film. There is no certainty. That is why producers have to take such risks. They are very brave to ask us to do a film without knowing whether or not it will succeed.

One would have thought that the collaboration with Gruault would CINEMA PAPERS December — 399

êSeÈmÈiÈ*mÊÊM

Philip B rophy

A hysterical story bursts out of the banal theatrical scenarios of the three o’clock news: something to the effect of 10-year-olds stabbing other children in an English school yard, citing some incredibly violent videos as inspiration for their actions. A politician in British Parliament condemns “ video nasties” and tells of how he knows of videos that show eight-year-old boys being tortured and teenage girls being dismembered. And, of course, the reality-finale of such video fiction is incidents such as the school-yard stabbing. Next news item.

Meanwhile, I am in Melbourne, those children lie with stab wounds in an English hospital and, for the life of me, I really can’t make any substantial sense out of it all. The world might appear to be a global village, but it is more like a media supermarket where news becomes News: an indivisible, indiffusible block of information from a void, forming a dimension not unlike a lurid, 3-D postcard — flat depth. Marxism or moralism, one’s responses are probably a means to reaffirm that one is not as flat and one-dimensional as every­ thing that inhabits the “ world” one watches going by.

400 — December CINEMA PAPERS

It becomes increasingly difficult to relate to social dilemmas, such as the school-yard stabbing and the Parliament preaching, because the mechanics are pathetic in that one is hedged into dealing with media depictions of problems which have already been generated by the media, by pseudo-sociological rationale. When interacting with the Media, the game is loaded and any notions of engagement, intervention, subversion or even analysis are delusions. Some people attempt to play the game for keeps, and statistics are dumped like data-diarrhoea on top of the stabbing: x per cent increase in violent behaviour after subjects are exposed to violence on film or television according to latest figures from Alabama University. More chapters in more stories — half chewed-up and spat out; horrific and sensationalist — are continually calling up blurred explanations that help keep spinning the dizzy debate of “ Violence in Society” as the world turns. One gets the im­ pression that people are too sociologically ‘aware’ to realize that people are sociologically saturated, summing up the world as one big cause-and-effect, a place where everything has to have a reaction.

Scattered throughout London’s tube stations are billboards put up by the Advertising Standards Authority declaring how fair it is and what its standards are in accuracy and honesty.

And its most concrete example of an advertise­ ment that should not be displayed: the promo­ tion of Video Nasties. And it makes the claim in an off-hand way before it enters the debative area of how the advertiser and the consumer should confer with one another. Perhaps they really are serious in England with all their mocking, stiff upper-lip about violence getting out of hand, citing the incredible rise in home video usage as the germ for this social disease.

When the British vice squad confiscates a batch of video copies of Apocalypse Now mistaking it

for Cannibal Apocalypse, though, one is reminded that hysteria has power.

Meanwhile, back at the ranch, Australia sits relatively silent in the midst of a blood battle.

Taking cues from English conservatism and American psychology, horror movies are being posited as the bane of education, the seed of social disorder and the trash-can of cinema. But the Australian media has yet to devote signifi­ cant space to exploitation films as the latest scapegoat for all that ails society.

In February 1984, the “ X ” rating was introduced into Australia and mild debate on the exact legislative nature of the bill continues.

Both the press and the public seem to hunger for blood as politicians soft-shoe around the issues. It only took Victorian Premier John Cain to recently restate what everyone had already stated in February (i.e., “ We’ll have to look into this some m ore” ) for many news­ papers to attack pornography and censorship in their editorial'and letters-to-the-editor pages.

Ten months after the introduction of the “ X ” certificate, the community is still in the same stalemate1. * In reference to horror films, the “ X ” rating has not actually introduced anything “ new” .

But if public pressure becomes too strong against exploitation films in general, there could be a back-lash against how much sex and violence is allowed in by the “ R ” rating, or 1. There was agreement at a recent meeting of the state Attorneys-General that there should be an “ R + ” rating . to cover erotica at present rated “ X” and that all films showing violence too explicit for an “ R” rating be banned. Till the new rating is introduced, however, censorship is in a tenuous state, New South Wales with­ drawing the “ X” rating and Victoria doing likewise to 30 June 1985, so that the issues may be examined more fully. [Ed.]

The Horror Films You Think You Know

possibly even the “ M ” rating.2 There appears to be considerable confusion about the complex relationships between sex and violence (in horror movies, pornography, exploitation films and censorship) other than the superficial dis­ tinction that the U.S. is more concerned with the violent aspects of pornography, while England is more perturbed by the depiction of graphic violence. As for Australia, some might say that it is apathy that has maintained the comparative silence over the issues, although it is actually more like confusion. From mis­ informed petitioners in a Doncaster shopping centre demanding that videos depicting child abuse not be let into the country (they are auto­ matically refused classification) to a Northcote video shop doubling the late-penalty fine for its most popular tape (Bloodsucking Freaks), hysteria hangs silently in the air. Australia is probably just teetering on an edge waiting for the straw to break the camel’s back — or a school-yard stabbing.

2. This has happened in Victoria where some pro-censor­ ship campaigners, already enthused about the temporary withdrawal of the “ X ” rating, have stated that they want the “ R” classification removed as well. [Ed.]

Australia seems to be not too baulked by pornography. Australian culture has stained it with a fairly harmless image, despite there being a sense of repression that makes the Censorship Board quick to point out sexual perversions in the category of “ refused classi­ fication” under the new “ X ” rating. This entails all that one hears about, or finds out about, in American tele-features: incest, child abuse, bestiality, etc. Also included in this category is the amorphous notion of “ the graphic depiction of violence in relation to explicit sexual activity” . A perplexing problem arises here, in that the ghetto-like nature of sado-masochism as a sub-culture of sexuality is suddenly caught in an awkward position, because its related pornography has (like homo­ sexuality) infiltrated the channels of dominant sexual ideologies — and it isn’t welcome.

During the past decade, homosexuality has been establishing a relationship, on its own terms, with areas and levels of society which previously either ridiculed or were threatened by it. This is all to such an extent that the social stereotype known as the “ gay” is now a stable character device in many American sit-coms, and even enjoys its own genre in film (see the Gay Films entry in the Australian Film Institute catalogue).

In this liberal climate one might easily say, “ Hey, some of my best friends are gay” , but can we talk about sado-masochism in the same tone? Perhaps it is the next turn in the Sexual Revolving-Door (previously known as the Sexual Revolution) as homosexual jokes are replaced by sado-masochist jokes.

The sado-masochistic fetishism displayed in The Benny Hill Show and The Kenny Everett Video Show, or the groups Deutsche Ameri­ kanische Freundschaft and Frankie Goes To Hollywood, is cheap, but it is its very cheapness which checks it and diffuses its “ danger” .

Society’s wavering acceptance of sado­ masochism is clearly mapped out by Mel Brooks: from the humor of The Producers to the bondage scenes cut from High Anxiety, to the tacky video-clip for “ Hitler Rap” . Caught somewhere between iconography and porno­ graphy, sado-masochism remains a volatile, volcanic subject.

Of great importance and relevance here is the controversy (of which Australia was quite unaware) in Chicago about Friday The 13th and the films that followed in its wake, in par­ ticular I Spit On Your Grave. Gene Siskel and Roger Ebert proved to be the spearheads of an evergrowing movement of moralism in film criticism in their denouncing of “ slasher” movies (i.e., films inspired by the success of Halloween) as inferior cinematic works and repulsive in their violence towards women. The double-edged knife of such criticism is aestheticism on one side and progressivism on the other — value judgments for art and society. San Francisco, New York and Los Angeles soon followed suit with the condemna­ tion of exploitation cinema, despite there being no visible signs of a decrease in the films’ popu­ larity. It may sound obvious but there are two sorts of people who read this type of criticism: those who have seen the films and those who have not. These critical approaches (under the banner of sociological concern and action) do hardly anything to change the situation: it creates no reformed devotees and no enlight­ ened sceptics. So what, precisely, is the value of these public addresses when they only seem to be heard but never listened to? Fangoria maga­ zine in New York, with its photographs of grisly butcherings and captions such as “ Kids, don’t try this by yourself” , and the San Fran­ cisco Examiner-Chronicle’s “ Drive-In Critic” , CINEMA PAPERS December — 401

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Top: home-style brain surgery in Herschell G. Lewis’ Bloodsucking Freaks. Above: Gene Siskel and Roger Ebert, film critics fo r The Chicago Tribune and moralistic denouncers o f “slasher” films.

402 — December CINEMA PAPERS

The heroine (Camille Keaton) o f Meir Zarchi’s I Spit on Your Grave, formerly titled Day o f the Woman

Joe Bob Briggs, musing on his favorite drive-in memories (“ Maybe it was the little head-in-thetoilet joke in House on Sorority R ow ”), both provide an appropriate rebuke to the alarm bells of Siskel and Ebert. The rebuke lies not in disregarding the negative criticism of gory films, but in disregarding the sociological assumptions that instigate these criticisms.

In his enlightening and comprehensive book Splatter Movies, John McCarty provides an unfortunate move in the defence of exploitation cinema in the chapter he devotes to the SiskelEbert controversy. By presuming that there is a social effect to their criticisms, he critically breaks down their argument point by point and furnishes empirical data to discount their argu­ ment as a jumble of contradictory observa­ tions. What this serves to do is posit exploita­ tion films on the same level as the films which Siskel and Ebert’s criteria honor. A back-fire is produced when attempting to locate types of cinemas which are in opposition within the same value-determined realm, bowing to the power of hierarchical ordering and placement in the social evaluations of the cinema. The substance, nature, image and effect of different cinemas are valorized by everyone trying to defend “ their” cinema as good, valuable, worthy, artistic, right, etc. Exploitation cinema is none of these and probably doesn’t want to purchase such values. This is a very important feature which distinguishes it as a genre, or, rather, a contextual genre which many dominant modes of film criticism fail to perceive.

Seeing horror movies is undoubtedly an experience that can trigger a range of strong reactions, considering that hearing about these films does not afford an experience of any kind. Certainly the extreme nature of I Spit On Your Grave greatly influenced Siskel and Ebert’s assessment of the film, though one suspects they were as much revolted by audi­ ences enjoying it as they were by the film itself.

When reading their reviews and statements

about it and other splatter and slasher movies from around the same period, I thought it was a typical knee-jerk reaction. But after seeing I Spit On Your Grave, I realized that it wasn’t “ that kind of film” at all, and that my experi­ ence of viewing it greatly affected my views on the “ violence-in-society” debate.

It was the radio advertisement that did it: “ This woman has just cut, chopped, broken and burned five men beyond recognition . . . but no jury in America would ever convict her.”

The plot is simple: a woman is raped four times in four ways by four different men, each time with the audience thinking, “ Thank God, that’s the last.” The woman then methodically seduces the four men, one by one, and im­ passively kills them by various gruesome means (hanging, castration, outboard speedboat motor, etc.). In comparison to a film such as Lipstick, it is a different planet. In Lipstick it was great when Margaux Hemingway blew the balls off the rapist in the car-park: the whole theatre cheered, screamed and applauded. On the other hand, I Spit On Your Grave must be the only film I have seen at a drive-in during which no one bipped his horn. And at the snack-bar at intermission, normally the place where everyone is yelling and pushing each other, screaming “ And how was it when that guy gets the hypodermic in the eyeball!” , it was so quiet that all one could hear was the ringing of the cash register and the shuffling of moccasins. With Lipstick, the audience cele­ brated the drama of the rape as an actionpacked scenario; with I Spit On Your Grave, rape is portrayed as having no possible value through glorification, titillation or identifica­ tion. The revenge executed just did not com­ pensate for the harrowing experience of the rape scenes. In contrast to the lashings of slashings that it contains, I Spit On Your Grave is excruciatingly blunt.

I Spit On Your Grave does not concern itself with politicized notions of the socialized

Tales o f Terror

metaphor of rape (i.e., by a camera, by a picture, by a context, etc.) but instead opts for a mode of representation devoid of the type of distance with which Pornography: Not A Love Story tackles its issues. The latter does the AFI circuit in Australia; the former hits the driveins. Which is the more appropriate “ site for this social struggle” ?

I Spit On Your Grave is one of many films that cannot be accounted for by oversimplified, naive assumptions of how bad exploitation films are. This type of film presents a density in its interaction between film and society that does not rest on social-conscience emotionalism or good-versus-bad dramatization. There are equally problematic films, such as Brian DePalma’s Dressed To Kill (its codes of sexual identification are so convoluted they throw a real spanner in the works of sexuality in film) or Slumber Party Massacre (one’s notion of the “ male subject” in a woman-made film — directed and written by Rita Mae Brown — about a guy who drills a bunch of co-eds becomes a little foggy). Then there are the pre­ cursors to these films: Herschell Gordon Lewis’ She Devils On Wheels about an all-girl bikie gang called “ The Man-eaters” which goes around mashing up men; Wes Craven’s first feature, Last House On The Left, which is an extreme remake of Ingmar Bergman’s Virgin Spring (!); and anything by Russ Meyer. This is, however, a periphery, a grey area that lacks predictable socialized focus on how one makes connections and extrapolations with difficult

films. This clamping down on, or censorship of, exploitation films can only stem from a turgid parental concern which will not solve any problems (problems that are not clearly articu­ lated or delineated in the first place) but only create new ones due to their misguided direc­ tives and vague intentions. Film critics and sociologists alike should take heed of the two basic laws of the advertising-entertainment jungle — never underestimate or overestimate the public — and apply them to their flailing notions of what constitutes a “ film subject” .

Edward D. Wood Jr., the muddled genius that gave audiences Plan 9 from Outer Space and Glen Or Glenda, has a truly memorable line in The Sinister Urge about two rock-hard urban cops who bust a pornography ring. A tax-payer (sic) confronts the police sergeant and chastizes him for wasting the tax-payers’ money stamping out skin-flicks and girliemagazines instead of chasing robbers and murderers. His reply: “ Show me a crime and I’ll show you an image that caused it.” The comedy of such social analyses continues 25 years later, but it is not as funny anymore.

One of the most striking features of horror and exploitation films is how clearly they appear to be typified as a genre. For a long time now, genre criticism has been at the back of the stadium, blocked by the bulk of auteurism on one side and psychoanalysis on the other. And, as to the mysterious realm of public taste, films

“ these days” veer more to the presentation of a unique object, a self-contained event rather than a genre example.

Watching a contemporary (that is, post-1978) horror film, one can hear it talking to all other horror films, as the horror film since that time has constituted itself as a genre about genre — watching its own history in the making. It is this explosive and scattering nature of contem­ porary horror films which makes them a more interesting cinematic exchange than the implo­ sive, self-contained form of films which appears to elude such an obvious networking of categorization.

The precise workings of genre are sometimes hard to perceive from an Australian perspec­ tive. Witness the strange case of the Mad Max films. From the outset, there was nothing to differentiate substantially Mad Max from any other “ off-beat action flick” made in Australia, apart from it being drenched with fetishism and clothed in a tacky interpretation of Punk iconography. The overseas success of Mad Max must have surprised both those who did and did not like the film.

For Australia, such success poses an enigma.

Many have thought that the films need further analysis, or that director George Miller really is a genius. But the enigma is essentially that many people have not been able to clearly view Mad Max as a genre film, as a film that has a very specific relationship with many other films. It is this relationship, this configuration of tangents, that locates Mad Max and Mad

Top: Annie (Nancy Loomis). Above: Laurie (Jamie Lee Curtis) prepares to defend herselj John Carpenter’s Halloween.

JNEMA PAPERS December — 403

Top and above: Herschell G. Lewis’ Blood Feast. Left: Lewis’ 2,000 Maniacs!. Below: George Miller’s Mad Max and Mad Max 2.

Max 2 (The Road Warrior overseas), not their status as individual films by an individual director. Most overseas reviews that evaluate the films refer to this kind of placement of an off-beat film within the mysterious realm of “ cult movies” (see Cinefantastique, Vol. 10, No. 1, for the most accurate account of Mad Max in this respect). It seems that for many an overseas devotee to cult movies, the Mad Max films, with their bloated art direction and strained delivery of Aussie dialogue, provide a new slant on the gaudy and the grotesque in cinema. They do display originality, but only under terms of genre. (George Miller refers to Mad Max as a “ Western on wheels” .) The Mad Max enigma then is born of a strange meeting.

For overseas audiences, it is between genre expectations and the impact of permutations of Australian iconography. For an Australian audience, it is between an exposure to the sub­ stance of such action films (considering the European strain with which the prom otion of Australian Film Culture is so laden) and the audience’s familiarity with the modes of repre­ sentation in constructing a post-holocaust Aus­ tralia. Like the multiple car-crashes that fuel its fiction, the Mad Max films live a life brought

Tales o f Terror

Images from Frank Henenlotter’s Basket Case: “weirder than Eraserhead”.

about by a contextual collision between genre criticism and auteur appraisal.

Within the organically expanding confines of the horror genre, one can easily cite a number of directors who display a strong artistic identity or hold historical importance or do both in the development of the genre. Those who are currently still in business are (in no particular order): David Cronenberg, John Carpenter, George Romero, Larry Cohen, Wes Craven, Joe Dante, Lucio Fulci, Dario Argento, Tobe Hooper, Jean Rolin . . . the list goes on. This, however, oversimplifies the industry of horror films as two-bit auteurism, because the bulk of contemporary horror films (like exploitation films in general) exist by and large outside dominant modes of film produc­ tion. Many of these films are produced by independent companies, be they well consoli­ dated or virtually non-existent, and the economic structuring of their production in some ways differs from the workings of major studios, the latter being a premise upon which the basic functioning of the auteur theory rests.

Producers, for example, are less studioorientated in their relationships with directors.

Consider: the working bond between Carpenter

and Debra Hill; Romero’s Latent image and Laurel Group companies; Cronenberg’s rela­ tionship with the Canadian Film Board; Craven’s early days with Sean Cunningham; Dante’s grounding in Roger Corman’s New World company; and Fulci’s role in making spaghetti splatter for American audiences.

The real star-system in contemporary horror films, though, belongs to make-up and special effects. These areas are immensely important in the maintenance of filmic realism within a grotesquely unrealistic genre. The work of these artists includes the crafting of the physical mechanics that affect one’s psychological involvement with the film’s fiction, as well as the innovative twists that they provide on mangling bodies in a genre that has as its main concern the mangling of bodies. Stars are: Tom Savini, Dick Smith, Craig Reardon, Tom Burman, Carl Fullerton, Rob Bottin, Rick Baker, Doug White and more. Even at a most rudimentary level, the horror genre, contrary to the image of it held by those who have not entered its depth, is an intricately constructed framework of many different elements and many different people’s individual approaches to filmmaking.

The horror film belongs to a burgeoning ndustry. Having lived five years past its pre­ dicted death of 1979, it is a genre with a rela­ tively stable audience (those who love horror films) which thrives in a context other than, or at least not totally entrenched in, that of the flows of popular-blockbuster-broad-appeal cinema. This horror “ audience” in Australia probably makes up the bulk of drive-in patrons and home-video addicts, a market more orien­ tated towards action in film than anything else.

The “ cult-status” of horror movies, however, is more the result of context and aesthetics than numbers, as the media criteria that support the ¡elections and determine the runs of city cinemas work to a lowest common denomina­ tor in entertainment as well as being affected by a general aesthetic consensus of what is socially acceptable art. Logistically, this means that alms which only play the drive-ins or do con­ current runs in the city are often critically presumed to be irrelevant to any serious assess­ ment.

Then again, things are not helped much by the self-inflicted life that horror “ buffs” lead, their appraisal resting on criteria such as “ so bad they’re good” , “ Z-grade cinema” and ‘camp entertainment” . The Golden Turkey sentimentality (as imported by the Valhalla chain via Berkley film societies) is generally pathetic: its related “ buffs” seem usually to be able only to express their perceptive facilities through giggling and guffawing at screenings, reducing all B-grade cinema to a cardboard acade, much as they do with mainstream cinema. It is becoming increasingly difficult to sort out the “ trekies” from the “ trendies” as cult-film screenings turn into battles between respect and disrespect for the films being screened. England’s Channel 4 runs a series of alms, each hosted by Harry Medved (author of The Golden Turkey Awards) who even tele­ types his smug, unfunny wise-cracks across the television screen during films such as Terror From Tiny Town and Godzilla Vs. The Smog Monster. Such a sense of comedy (or lack thereof) puts these films at the mercy (either affectionately or maliciously) of a narrow sense of modernity and contemporaneity. The differ­ ence between laughing with something and laughing at it becomes meaningless.

Rock culture has greatly engulfed this area in the wake of the ever-growing merger of rock and film cultures in general) and, although a mob-rule presides over aestheticism here too, incisive moves have given this merger a real sense of excitement: the Ramone’s video clip to “ Psychotherapy” (banned in England, its gore­ rating sends Thriller home crying); the recent merger — a real financial one — between Rhino Records and Fangoria to produce the sound­ tracks to Roger Corman’s Little Shop of Horrors and Herschell Gordon Lewis’ 2,000 Maniacs! and Blood Feast; and the ultimate full circle that started with Russ Meyer’s Beyond The Valley Of The Dolls, con­ tinued on with the Cramps’ cover version of “ Faster, Pussycat! Kill! Rill!” (another Meyer gem) and finishes with Meyer’s reportedly going into production for an upcoming Cramps’ video clip.

An example of how consolidated this mani­ festation of trash cinema blended with rock ’n ’ roll humor is Frank Henenlotter’s 16 mm production Basket Case, a film that appears to have been designed from the outset for a cult market. It was no accident that it was adver­ tised as being “ weirder than Eraserhead” .

Eraserhead was ‘smothercated’ by cult sensi­ bilities (which are primarily obsessed with being cult rather than having particular qualities that mark it as being seen as “ cult” ) and firmly CINEMA PAPERS December — 405

established itself almost world-wide as the modern cult equivalent — by context, not content — of Salvador Dali and Luis Bunuel’s Un chien andalou. Just as hundreds of independent American producers tried their luck at hitting it big with a ‘cheapo’ slasher flick after the astounding commercial successes of Halloween and Friday The 13th, so too has there been many a film that has tried to plug into the cult market and status opened up and defined by Eraserhead. Basket Case tried too hard: great story to tell people about; not such a good film to see. “ Cult” these days is a stylistic category per­ taining to a specific life-style: communal inner­ city households; late night film screenings; alternative radio stations; individual haircuts; etc. — in other words, a ripe market. The con­ temporary horror film acknowledges its audi­ ence as much as a market as a cult; this makes

Top two: Charles Band’s Parasite. Centre and above: Steve Miner’s Friday the 13th — The Final Chapter. Right: Don Coscarelli’s Phantasm (retitled The Never Dead in Australia). Top far right: Tommy Lee Wallace’s Halloween III: Season o f the Witch. Bottom far right: John Carpenter’s The Thing.

406 — December CINEMA PAPERS

its audience-relationships, its modes of produc­ tion, and its critical evaluation as much a part of the history, industry and art of the cinema as any other strand.

In the cultural domain of film criticism (in magazines, journals, courses and manuals), the contemporary horror film serves as a tem­ porary geiger-counter for detecting where the ideological boundaries of dominant film culture rest. As such, it exists in the same realm of marginalization inhabited by practices characterized as independent, avant-garde or feminist. Currently, the contemporary horror film, at its best misunderstood, is further displaced due to its lack of social concern and political motivation as manifested in the stylistic rhetoric of many an alternative film practice. But effect is more interesting than concern, an area which is greater and more encompassing than the inevitable limitations of the notion of practice.

Horror films may or may not express these expected types of concerns, but some of them deserve the same amount of analysis accorded the more obvious streams of radical film prac­ tice. Of course, the problem is in finding out which are the films that could benefit from this attention, a hard task considering the lack of space given to their critical evaluation. One has to admit that there are a lot of films in this genre that are a pile of crap. They do contribute towards the genre as a whole but they are painful to watch. Unfortunately, the bad image of any genre is usually determined by all the “ bad” films of the genre, which casts a shadow over many a better film that has been over­ looked. Just during the past year and a half, there have been many films virtually killed by their advertising, extinguishing their potential to be realized as the strangely unique works that they are: Halloween III: Season Of The Witch,

Top and above: Michael (Paul Clemens) in Philippe Mora’s The Beast Within.

Video games derived to home in on the “big dipper effect”.

I only stumbled upon this difference in the contemporary horror film when a friend gave me a free-pass to the Melbourne preview of Friday The 13th. The invitation card was so tacky: a very bad illustration of an axe coming down on an empty bed with air-brushed blood (the worst way to depict blood) spurting all over the place. A nurse would be in attendance, it said, and if I survived the film I would receive a certificate of survival. I am hooked. The night comes — it actually was Friday the 13th — and a whole pile of free-loading bimbos like myself file into the cinema. There is a nurse at the door. Everyone is giggling and smirking at the cheap tactics — and loving them. Inside the cinema, the lights go out and a voice announces that there is still time to leave if anyone wishes to do so.

The film starts, and from the flash-back The major factor which determines the mis­ understanding of the contemporary horror film prologue in tasteful slow-motion to the is its nature as a second-degree genre. Many exploding credits, to the establishing of truly people think that recent gory films are the revolting apple-pie kids (not unlike Australian same, old, hand-on-the-doorknob, wobbly- physical education students), this film spells subjective-cam era-shot scream ing-w om an cliché. The audience was soon to find out that stuff, but with 10 times more fake blood and cliché would carry a new meaning in these some animal entrails thrown in. The fact is that films.

Within five minutes, the audience thinks it has the nature of these films is unique and specific, and not simply a magnification of cinematic encountered the central character who will codes. Their complex relationships with the suffer the film’s terror at the mercy of any one psyche, catharsis, society, the family, realism, of three possible lunatics. Wrong. Just when the the photographic, the body, humor, theatre, audience thought it had the film nutted out, this sexuality, etc., have very little to do with any “ central” character is chased through a forest previous historical phase of the genre.3 One and, devoid of any real suspense, has her throat only has to take an in-depth look at Howard slit. Her surprise equals the audience’s and, as Hawks’ and John Carpenter’s versions of The it tries to figure out the twist, her throat trickles Thing as evidence of a pointed delineation of a little blood and then falls open, gushing out gallons. Dissolve image and fade music. two poles of cinematic horror.

In a remarkably sublime gesture, this film has just displaced its audience into a void of 3. Philip Brophy, “Horrality” , Art & Text, No. 11, Spring meaningless clichés, clichés that do not even 1983, p. 85.

carry the very meaning upon which their nature as cliché resides. These clichés, as signifiers, are not simply emptied; they are possessed by a manic, anarchistic force wielding an undeniable effect. Sifting through the textual dimensions, one finds that just as every person-on-the-street is the potential lunatic and just as every character-in-the-plot is the potential maniacal murderer, so too is every cinematic cliché the possible effector of a shriek from the helpless audience. A third of the way into Friday The 13th the audience was one; one body being poked, tapped, spooked or fooled; there were no identification processes and no narrative suspense; the film actually offered its audience nothing. In short, it was attacked. Everyone left the theatre giggling nervously — nervously, because our nerves were a wreck.

Contemporary horror films are about this type of cinematic experience. It is the aesthetic of the “ big dipper effect” : a physical sensation brought about by an unsettling of mental stability that induces pleasure — the thrill of it all.

Wizard Video company markets two video games: The Texas Chainsaw Massacre (the first violent video game) and Halloween (the game in which he comes home). Without doubt, these games are homing in on the “ big dipper effect” .

As games, they afford the same experience as the films they honor. This is the crux of the contemporary horror genre that produces films psychotic in their purpose, superfluous in their form, manic in their deployment, irreducible in their effect. They can nurture an addiction beyond rationalization, because (in a sense) they manipulate the nervous systems more than the brain, fuel anxieties more than emotions, evoke fears more than opinions, ravage bodies more than imaginations. One might call this an abuse of the cinema. I simply call it the cinema.★

which had nothing to do with the first two and boasts an incredibly rich and complex screen­ play by Nigel Kneale of Quartermass fame; Parasite, a very quirky low-key, post-holo­ caust, erupting-stomach film that shows how originality can be born of genre-manipulation; Phantasm, Don Coscarelli’s first feature, released in Australia as The Never Dead, the title of which has nothing to do with this strange mixture of adult and child fantasy; or The Beast Within, the best film ever made by an Australian — expatriate or residential — director, Philippe Mora. And this is not even to start to mention all the undiscovered gems that are not available through video hire. As tire­ some as it is, seek and ye shall find.

CINEMA PAPERS December — 407

The cinema vérité documentary, in its purest form , is capable o f simulating ‘real life ’ without the contrivances o f a spoken narration, a fix ed script or even detailed structural planning.

But fo r this freedom, a price must be paid: a cinéma vérité documentary requires a high shooting ratio, a large budget, comprehensive camera ‘coverage’ and the ability to creatively develop the film during the editing process.

It is all the more surprising then to discover that Brian McKenzie, who has directed two o f Australia’s finest cinéma vérité documentaries, had little or no knowledge o f camera coverage until after completing the first o f these film s, A W inter’s Harvest (1980).

In a concise 37 minutes, A W inter’s Harvest details the traditional fo o d preparation rituals o f a group o f Calabrian

immigrants, resident in a barren outer Melbourne suburb.

The film methodically follow s their slaughter and pro­ cessing o f a pig into assorted salamis and other meats fo r the winter.

McKenzie’s precise and exact camera direction comple­ ments the balance, pace and rhythm o f the film , giving no clue to the director’s instinctive and intuitive approach. A Winter’s Harvest is drawn out o f centuries o f Calabrian peasant life and its timeless quality is reminiscent o f Ermanno O lm i’s recent fictional film s.

In fact, the Italian milieu is so strong that audiences can only locate the film through occasional glimpses o f a can o f Foster’s beer, or the odd perfunctory comment about VFL football.

Brian McKenzie

M cKenzie’s second and more ambitious excursion into cinema vérité is V ll Be Home For Christmas (1983), a film which more clearly displays the director’s struggle to resolve his intuitive technique with the need to achieve sufficient coverage.

In this new film , McKenzie delves into the world o f home­ less men: the (deros’ who have staked out their tu rf in M elbourne’s parks and gardens, sleeping in rubbish bins and nearby hostels, and meeting daily over wine bottles to fight, argue, laugh, ruminate and spin yarns to each other.

Unlike the Calabrian film , in which McKenzie focused on the workings o f a village production line, Fll Be Home For Christmas searches intently fo r the underlying humanity that binds this group together. Through this, the film manages to show the self-ironic, intelligent and insightful world created by the camaraderie o f these men. Despite their chronic alcoholic haze, or perhaps because o f it, these homeless men have a clear and penetrating understanding o f their social position.

Despised, but at the same time patronized by the rest o f society, these homeless men are unwittingly immersed in our liberal sympathy, and yet are not drowned by it. We take a certain solace in this, our curiosity tempered by our desire to keep them at arm ’s length — this fallen, degenerate minority on whom we can bestow our darkest fears.

The following interview with Brian McKenzie was con­ ducted by film m aker Chris Warner.

Rod Bishop

I have always been attracted to blokes who hang around parks.

Their situation is an incredible affront to our civilization: every­ one else is rhythms and business and traffic, whereas these blokes just rummage through bins, drink and swear, and smell and dress the way they do. It totally denies any­ one else’s sense of modernity. I used to hang around, taking photographs of them from a distance and then I got up enough courage to start chatting to them. I realized there was a pattern and sense in their sub-culture. I became interested in the routine of the community, the way they did things, how they got their fodd, where they stayed, what they did if it were a sunny morning.

This film is about a community of men who are living right in the middle of things but who are totally outside everything. I wanted to represent them in a genuine way, in a way that gave them a degree of dignity and, hopefully, provided a means whereby people could understand how they related to the rest of the world. I wanted to confront people with the idea that things are drastically wrong when there are poor blokes who live like that. And it is not a matter of “ It’s their fault” ; it is a matter of how cruel our world is. That is what I was originally leading towards, and that is what I think it ended up being.

I started filming with Dave and

Steve whom I had originally asked if they wanted to make a film. I always saw them as the key to the group no matter how its composi­ tion fluctuated; they were the first people I shot. But soon after that Steve disappeared; no one ever knew where he went. Most of those early guys weren’t in the latter part of the film; just Dave who con­ tinued right through to the end.

After a while, the rest of them began to trust me. I had been around long enough and they understood to some degree what I was saying when we talked about things such as families, jobs and so

John Cruthers (sound) and Brian McKenzie (camera) film three homeless men fo r I'll Be Home For Christmas.

on. Over the period of the filming, I developed fairly strong attitudes to what I thought their relationship with the rest of our society was, and the film tended to change somewhat. Now it has probably gone back to the way I initially planned it, in that I am not imposing as many of my ideas as I had planned to do.

At one stage, Dave talks about his having been an accountant but the idea of his going back to being one just seems ridiculous. Dave was really living his life more than any accountant ever would. I would feel more sorry for him if he reformed according to the expecta­ tions of our society than if he con­ tinued the way he is now.

writing while I was teaching in a school in the western suburbs. So my attentions were somewhat divided, which I didn’t mind; I knew that I could not make this film in a hurry anyway.

What sort of work have you been doing in between making the film?

When I left Teachers’ College I did a bit of teaching and drove taxis to support myself, and when I finished A Winter’s Harvest I got a job for a year as an English teacher in a technical school and then, for a year, at Rusden Teachers’ College. Since then, whenever I need to earn money, I drive taxis.

What sort of crew were you using?

After you started the first filming in 1981, were you filming regularly or just at weekends after work?

I didn’t film much in the first year. I wasn’t sure enough then in myself to film and my life was pretty demanding. I had a job and a child and had just moved into a house. I also had ambitions to make a feature which I had started

The homeless park dwellers o f Brian McKenzie's I'll Be Home For Christmas.

Mostly it was just me: I would take a Nagra and a still camera. I felt insecure even though I had done so much documentary photo­ graphy. Then, when I started film­ ing, I had this complex about being impoverished and never doing any­ thing properly. I used a crummy camera and I had a friend who had never sound recorded before. I asked him if he would do the sound recording, simply because I thought he was gentle enough and nice enough to fit in. I thought he would learn and we would go it together. But neither of us did a good enough job.

I wasn’t prepared to hire a pro­ fessional recordist and take him into a situation in which I had developed trust and understanding with the men. But it was just far too ambitious a project to have that sort of attitude. I really needed to have a sound recordist with me all the time, to document what was going on, whether or not I was shooting. Once I started using a good camera and super speed lenses, everything started to work much better. Then I met John Cruthers, who was a natural side-kick.

John first shot with me in November 1982. He was trained at CINEMA PAPERS December — 409

Brian McKenzie

making films. I think I am quite good at it and I am always working through my ideas about what is going on. So documentary is very natural for me in many ways.

M ost film m a k ers perceive drama as being the ultimate. Mind you, all the modern constraints — tax investment and so on — become such an imposition that dram a doesn’t have as much free­ dom as everyone imagines. Ideally, it is complete freedom because there is nothing but your ideas which you have to form into a finished piece. Most filmmakers, no matter in which areas they work, harbor the thought that one day they would like to have a bash at putting everything they think or believe in a film and doing it right from scratch. I know I certainly would like to do that too.

The style of “ I’ll Be Home For Christmas’’ is very much what used to' be called cinéma vérité.

You have a camera and a sound recordist and you follow what is happening. That seemed not to be as much a conscious decision as something that came out of the circumstances under which you were filming. But then there were very few or no cut­ aways in some scenes. Was that a conscious decision not to shoot them?

Calabrian immigrants slaughter and process a pig in outer Melbourne. Brian McKenzie’s A Winter’s Harvest.

the Australian Film and Television School and was used to everyone framing on a tight two-shot. I shot much wider, so he kept getting in the way. I was always telling him to fuck off out of the frame. But he didn’t mind; I think he really loved it. He appreciated what was going on and he really liked the men. They liked him, too. The only trouble was that he would go off to Sydney all the time.

Does trust and understanding determine the kind of film you make?

It would be fairly unpleasant if you just started blazing away with cameras, with the blokes not really being sure of you. There wouldn’t be any point to it really; you would make a totally different sort of film. And you would have to be a totally different sort of person to want to do that.

How do you feel about the extent to which you manipulate so-called reality when you are filming and the extent to which people you are filming understand what has been done to them?

Different filmmakers approach it in different ways. I have never had many moral qualms about what I do when I make documen­ taries. At times, I have felt very 410 — December CINEMA PAPERS

awkward and have been unable to cope with what is happening, so I haven’t done a shot. Then, later, I regretted that I didn’t have as much bravado as I could have had.

Mind you, I have probably got more than most people in those sorts of situations.

In terms of affecting the reality of the shoot, all filmmakers and all documentary filmmaking do that to varying degrees. There has to be some respect for and some identi­ fication or acknowledgment of that in your film.

Well, I certainly feel very at home with documentary. I spent a lot of my time at college taking photographs, nearly all of which was documentary work, and I developed my visual languages.

N o t h i n g h i g h - m i n d e d or analytical, I just became attuned to watching people in real situations, through a view finder, and it naturally progressed when I started

I have always done things that way. In A Winter’s Harvest, it was all cinéma vérité except that we worked out what the sequence of events were and when they would happen with everyone. When we were filming, the im portant thing was not just the sequence and the process, it was the people’s rela­ tionships with the process, their sense of communion and all the cultural and political things that came out of it, and their behaviour and music: that is cinéma vérité.

It is the same with I’ll Be Home For Christmas. I have no interest

What about organizing or con­ structing what you are shooting?

I don’t do much of that. Occa­ sionally, I will put up a light and feel as if I am imposing; I usually stop shooting then. If I think I am not wanted, I usually won’t shoot.

Other documentary filmmaking, such as 60 Minutes, is very mani­ pulative and exploitative, but it is hidden. In my films I have always acknowledged the process and I probably affect the reality to a minimal degree. If I thought I had a detrimental effect on people, I wouldn’t do it. Usually, it is just the opposite; it is a productive thing in which people like to become involved.

Do you prefer documentaries to drama?

Johnny Collins, right, lights the cigarette o f a friend in the park during his day o f drinking.

I ’ll Be Home For Christmas.

Brian McKenzie

Trevor Wilson leans on a cricket equipment box in Royal Park. The box is frequently used by homeless men fo r sleeping in. I ’ll Be Home For Christmas.

they just wanted to tell me that they needed love. I suddenly became confronted with all these blokes who wanted to tell me, “ We went to the Vietnam war, and now look at the Vietnamese all around us.” These blokes see themselves as being incredibly exploited. They went to Vietnam, they thought they did the right thing, they came back and they are nothing but petty criminals in and out of gaol all the time. They are so ‘m acho’ and ‘aggro’, and they have been trained to be that way. They are frustrated; they have no means of examining what it is inside of them that makes them so un­ happy, or of examining what has happened. As Roger said, “ No one Throughout “ I’ll Be Home For was there to greet us” ; it is a pretty Christmas” there is a strong sense corny line about people coming of the men caring for each other back from war but they were dis­ and of a little society that has its graced. It was a disgrace what support structures. Are these peo­ happened in Vietnam. So these ple aware of, or do they under­ blokes came back with their war stand, the effect that a documen­ injuries and their problems and no tary about them which is shown on one wanted to know about them.

And here I was with what they saw television can have on their lives? as a television camera. I was a From one shot to the next I had chance to tell someone and so they to ask permission of the men who did.

The underlying philosophy, were there. Often, people did not want me to film them — it became which I came to eventually, was obvious by their behaviour — so I that the less you had the more it would have to make the decision enabled you to be caring about whether to shoot or not to shoot. I people. I felt more at home with shot believing that what I was those blokes — disenfranchised, doing was not counter-effective. got nothing, nothing to be scared When some of the men would talk of, nothing to compete with and about their concern about being in nothing to lose — and they were the film, I would explain to them much more welcoming to me than what I was doing. I made a most people in most situations. I commitment to a few men that the find their company so much more film would never be screened on refreshing, so much more humane Australian television. I had to and gentle, than if I go into a social m a k e t h a t d ecisio n anyway or professional situation in which because so many of them perceived everyone is playing their cards television as a threat. Cinema, close to their chest and watching however, was not a threat to them. out for themselves. No one is really Once the initial relationship be­ being honest or open.

I just hoped in the end I would tween us was established and they worked out that I was all right, present this film and then people they just wanted to tell me things; could reflect on it. W hat has in constructing a film around a theory or a story. I have never been involved in thinking along those traditional lines, not because I have a radical or anti-traditional stance but because I have never been trained or brought up with a g roup of filmmakers. For example, I didn’t have the word “ coverage” in my vocabulary until I met Ian Pringle and went on the shoot for The Plains of Heaven, where that was everyone’s second word. So I started understanding what it was but, before then, I never realized you even needed it.

Generally speaking, I have an intuitive attitude towards my work.

Frank Pardy, a classic urban derelict, totally dependent on hospitals and institutional shelters. I ’ll Be Home For Christmas.

happened to people’s sense of altruism? How has it been ruined over the years? Why have people become hostile and inhumane to each other?

What was the reason for including the scene with Paul Makin?

So much of modern work is de­ pendent on other people’s mis­ fortunes, whether it be working in an insurance company, in a hospital or as a social worker. We develop ways of coping with each problem without really confront­ ing what is wrong in our world, in our attitudes. That is what Paul Makin represents: everyone’s com­ placent misrepresentation of other people’s tragedies. I am trying to suggest that we are all implicated.

The minute you become success­ ful, get a wage or do anything besides doing nothing, you are implicated.

What do you do once you realize you are implicated by the situation of these homeless men?

People should continue to re­ evaluate what they are doing every moment. I don’t think you can be a revolutionary. You can go and live in Nimbin, but I am not pre­ pared to do that. Given our socialization, education, culture and history, it is totally unreason­ able to expect that you are going to change people to that degree. That is why I think films about urban terrorism are a little misguided — indulgent pieces of bourgeoise activity fashion. All you can hope for is that, like many people who are trying continually to shake you up, you constantly re-evaluate what you mean to the person next to you, and whether the work you are doing should be done in the first place.

How do you feel about being a filmmaker and the life that goes with it?

On some levels I really like it. I probably enjoy making films more than a lot of my peers. I don’t Concluded on p. 470 CINEMA PAPERS December — 411

Niel Lynne Niel Lynne is the story o f two boyhood friends, tracing their fates and loves from the turbulent era o f the late 1960s to 1980.

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Niel Lynne is directed by David Baker, for producer Tom Burstall, from a screenplay by Baker and Paul Davies. The director o f photography is Bruce McNaughton, the sound recordist Phil Sterling, the editor Don Saunders. The film stars Sigrid Thornton, Paul Williams, Brandon Burke, Judy Morris, David Argue, Tony Rickards, Nicki Pauli, Alan Cinis, John Howard and Marie Redshaw.

Above: Niel (Paul Williams) and Mather (Alan Cinis) are held in detention cells after a mass student arrest. Below: Niel and Fennimore (Sigrid Thornton) await the outcome o f Eric’s shoplifting trial.

Opposite page, clockwise from top: Niel is disturbed composing an anonymous love letter to his cousin Patricia (Judy Morris) in Eric’s (Brandon Burke) studio; Niel, Tim (Tony Rickards) and Patricia discuss old times on their way to the student newspaper which Niel edits; Eric makes a point graffiti-style when students commandeer the vice-chancellor’s office; an impromptu party rages to farewell Fennimore, Eric’s girlfriend, to Katmandu; Niel returns to Ballarat and marries Melissa (Nicki Pauli), his law-partner’s daughter.

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41st Mostra del Cinema, Venezia, 27 August -7 September 1984 Vikki Riley

For any director, the opportunity to be represented at the Venice Film Festival must be met with equal sentiments of fear and anxiety. Renowned for its artistic and theoretical integrity (whereas Cannes is often criticized for its lack of it), Venice is a crucial testing ground which determines a film’s suc­ cess outside the festival situation. A hybrid affair with its fair share of glitter and glamour contrasting with its court-room style press conferences, it has become, through its evolution, a festival which proposes to construct paradigms of ‘good taste’.

If last year’s Festival aimed at re­ introducing the auteur theory as a van­ guard defending a forecasted trend of de-stylization and homogeneity, then this year the emphasis shifted further to the director’s responsibility for con­ tent and representation. Seen from an international perspective, the level of debate followed a course of juggling with contemporary issues of politics, humanism and economics, which from the first week set the tone for the atmosphere of the Festival as a diplo­ matic forum in which the films reflected social concerns.

For the Italians, thè problem of new technology (i.e., television film distri­ bution) was at the forefront of discus­ sion as this year’s Festival was used to promote the ailing Italian film industry (this Summer almost half of Rome’s cinemas closed down), accounting for the large number of Italian films in the competition section — six in all, as opposed to only one from the U.S. (“ The Festival can’t help it if Holly­ wood didn’t make any good films this year’’, stated the Festival’s director Gian Luigi Rondi.)

Rondi also expressed the desire to bridge the gap between film and tele­ vision, and to establish a flow of inter­ change between the two media, which could be achieved by remember­ ing the value of Cinema as Art, which like good poetry could transcend any problems between the credibility of either medium. Hence the real conflict of debate, albeit invisible, was the con­ tradiction between the endorsement of an indefinable antiquated theory of artistic licence (the cinema as a site for the flourishing of creative genius) and the question of its utility in the wider judgmental arena of criticism.

The Festival is a free port of call for trends from all countries, and this year, under the auspices of a post-war, pre-holocaust political atmosphere, the common reference drawn upon for the majority of films screened was the 414 — December CINEMA PAPERS

question of history. With so many films documenting historical periods in a variety of allegories to the present (particularly films re-addressing Nazism and Fascism), the Festival at times turned into a hot-bed of moral dilemmas, climaxing on the last day with Pasquale Squitieri’s Claretta, which caused more trouble than the film was worth.

So what happens to the auteur theory? For directors such as Jacques Rivette, whose film was largely ignored, and Sergio Leone, whose film was so revered that discussion was never entered into, there is no practical place at Venice, and their positions as stylists glaringly separates them from inclusion in talk about cinematic trends. Established directors are only as good as their last film and for a director such as Marco Ferreri, whose film received extremely harsh reviews, Venice more or less erases them from cinema history. Even video clips were given the auteur treatment, shown in block programming in a cinema environment in order to give some credence to their visual credibility and filmic roots. However, the audience usually consisted of Venetian teenagers hungry for Michael Jackson, who dis­ turbed the serene ambience of the cinema by singing along with the more popular videos. The symbolic retro­ spective film at the Festival was a newly compiled version of Metropolis, complete with color tinting, sound­ track by Giorgio Moroder, and a new system of sub-titles instead of inter­ titles, which while being released inter­ nationally did not receive enthusiastic attention from the press.

Amidst a great deal of confusion and superlative criticism one finally is left with the films themselves, which stand up well, making Venice like a carnival where cineastes can play.

Films in Competition The opening night film was the only American entry in Competition, Maria’s Lovers, directed by Russianborn director Andrei MikhalkovKonchalovsky. While making strong efforts to do some sort of study of the psychological problems which faced returning soldiers from World War 2 (the film begins with excerpts from one of John Ford’s disturbing documen­ taries), the film is also a vehicle for Nastassja Kinski. As Maria, the woman whose overcharged sexuality cannot be reciprocated by her husband

Ivan (John Savage), because he had dreamt of her too often during the war, Kinski’s acting ability is camou­ flaged by a blatant exploitation of her physical charms. Like Tess, Maria’s spotless moral image is reinforced by her virginity which is broken by the wrong kind of man — in this case a wandering minstrel. When she falls pregnant to him, she tracks down her husband who has fled, unable to cope with his impotency, but she is met with disapproval — she is now the scathed adulteress. After many nightmares and a visit from his father (played by Robert Mitchum, who is not used in the film except as a wise father-figure), Ivan finally returns to Maria, at last able to consummate their marriage, thus satisfying the monogamous notions this film so desperately tries to enforce.

Maria’s Lovers marked itself as dif­ ferent from many of the Competition films, which represented a definite body of style, although diverse within itself, that was distinct from and perhaps opposed to Hollywood.

Venice still proudly upholds the con­ cept of the European Art film (the event is a mostra, an exhibition rather than festival) and the real competition is between the French and Italian product. This year the French entries were absolutely model films by Alain Resnais, Jacques Rivette, Eric Rohmer and Jean Rouch, who are, of course, all figureheads from the New Wave.

Bearing all the stylistic earmarks of a Resnais film — beautifully orches­ trated scenes interrupted by flashes of black or an image of soft snow falling across the frame and counterpointed with symphonic music — L’amour a mort (Love Unto Death) is quite simply a love story with the same intensity as Hiroshima mon amour but without the profound discourse on memory and time. With an excellent quartet of actors — Sabine Azema, Fanny Ardant, Pierre Arditi and André Dussollier — it is a film charac­ terized by passionate moments of emotional exchange. As with La vie est un roman, L’amour a mort is a clear indication of Resnais’ stance in the 1980s, concentrating on the theme of love and hope which triumphs over all, even in the face of death.

The film begins with the death of Simon (Arditi), who is the lover of Elisabeth (Azema), but after several minutes Simon magically returns to life, rekindling their love for each other and amplifying it by the know­ ledge that Simon will soon die again

and separate them forever. Their closest friends, Judith (Ardant) and Jérôme (Dussollier), are married, but both are Protestant ministers with dif­ ferent concepts of their faith. Belief in love, God, life and death is continually discussed between the couples, and Simon’s eventual, final death is more or less explained by his obsession with it. For Resnais, the division between the living and the dead is transcended by a spiritual notion of eternal love.

After Simon dies, Elisabeth wants to join him but is convinced by Judith and Jérôme that she must keep living for Simon’s sake.

Contrary to popular consensus, Rohmer’s Les nuits de la pleine lune (Nights of the Full Moon/Full Moon in Paris) did not win the Golden Lion, but was definitely one of the best films at the Festival. Continuing Rohmer’s series of “ Moral Tales and Proverbs” , Rohmer’s film begins with a French motto: “ He who has two wives loses his soul. He who has two houses loses his reason.” Both comedy and tragedy, it is a compact character study of a young woman who cannot decide for herself the type of life she wants to lead.

Louise (Pascale Ogier) loves seduc­ tion, but does not like the restrictions of her relationship with her lover, with whom she shares a house in the suburbs: she likes to party all night while he likes to stay at home. So she decides to rent an apartment in Paris, which she justifies to her lover as a place where she can work (she is a lamp designer), and party on the week­ ends without disturbing his lifestyle. In reality, she wants it for a base to arrange her appointments with prospective lovers and male friends.

After a few months of leading this double life and a one-night affair in Paris, she decides to return to her house in the suburbs, but is horrified when her lover confesses that he has been up to similiar games and wants to sever their relationship altogether. Dis­ illusioned, she returns to Paris where the film ends.

In the role of Louise, Ogier has been allocated the task of being not only an actress, but also a kind of interior decorator. Rohmer’s rigorous use of sets and his employment of entries and exits makes this a film of portraits of people in domestic situations and their consumption of time. Much of the film consists of Louise’s arranging and re­ arranging herself in her apartment and organizing meetings with friends over the telephone. In so many ways, Les

Venice Festival

II futuro e donna (The Future is Woman) is Ferreri’s exhausted and

Louise (Pascale Ogier), “a young woman who cannot decide fo r herself the type o f life she wants to lead”. Eric Rohmer’s Les nuits de la pleine lune.

nuits de la pleine lune is reminiscent of Godard’s Vive sa vie, both in its

austere style and the way in which Ogier plays a woman similar to Nana: trapped by her self-created fiction, she cannot release herself from it because she believes she is in full control of and, hence, liberated from it. Ogier won the award for Best Actress at the Festival.1 Although already discussed in Geoff Gardner’s report on Cannes2, Rivette’s L’amour par terre held an interesting and therefore important place at Venice and deserves special mention.

Rivette’s concerns still rest heavily with the representation of his obses­ sions with cinema as a self-referential medium, and in this respect L’amour par terre is his most accomplished film. Two actresses, Charlotte and Emily (Geraldine Chaplin and Jane Birkin), assign themselves to a play­ wright who produces a strange type of theatre called “ apartment theatre” .

The action takes place in the rooms of a house and the audience watches from the doorways. Whereas in Celine et Julie vont en bateau (Celine and Julie Go Boating) where two girls watch the

fiction which evolves in the house, in this film Rivette has reversed the situa­ tion, and Charlotte and Emily are in a position in which they might be the ones to turn grey and float down the "river in the boat.

L’amour par terre, with its clever dialogue and internal mysteries in the house where the theatre is played (here Rivette projects his belief in the Surrealists: even objects possess motivations and the girls experience a number of visions which emerge later as concrete obstacles in the game the playwright has set up), is a supreme statement on the function of fiction in 1. Pascale Ogier died in October of a drug overdose.

2. Cinema Papers, No. 47, p. 221.

film, and for this reason provides a sublime mirror with which to reflect the worth of numerous films whose narrative capability is in an obvious state of poverty.

Jean Rouch’s Dionysos — a very different Rouch film — also places in perspective the idea of recording the imagination. In Dionysos, the ritual of dance and music is displaced from its indigenous environment (Rouch has brought together a variety of perform­ ers of diverse race, age and sex) to a machine shop, where an American professor is demonstrating his thesis entitled, “ The Need for the Nature Cult in Industrial Society” . Guided by the message of Dionysos who has taught them to share their dreams, these people construct a car and then celebrate its completion with a feast of collective talents. In this extraordinary and quite bizarre film, ethnography and the staging of reality and myth are merged to produce a spectacle which reveals itself as an act of invention.

Pitted against the French entries, the Italian selection appeared as a block of carefully chosen films aimed at pro­ moting the industry as a diverse and prosperous medium, in which inherent cultural discourse could be played out.

For the Italians, the formulation of a definable identity with regard to film is still a major priority, and a problem firmly embedded in economics and dis­ tribution. The local industry is only now feeling the pinch of the intro­ duction of video and the popularity of television over cinema — even direc­ tors such as Michelangelo Antonioni and Federico Fellini are finding it hard to raise money for new projects — and many films are being produced with­ out English sub-titles in order to boost local consumption. A great deal of faith is placed in internationally known directors, and this year the failure of Marco Ferreri to deliver the goods caused much heated debate.

absurd attempt at portraying feminism and motherhood as a concept rather than a biological state. Depicting the relationships between a threesome, it is a simple play with human archetypes which Ferreri sees as analogous to some kind of sexual and communica­ tion problem in the 1980s.

Anna (Hanna Schygulla) and Gordon (Niels Arestrup) have no children, a decision they have con­ sciously made because they fear they could not offer a child a secure future, with the clock of nuclear escalation drawing closer to midnight. However, they meet Malvina (Ornella Muti) at a disco, who is not only pregnant but homeless, and from here on she is accorded the same attention as a chocolate dessert in La grande bouffe.

When Gordon is killed by rioting teen­ agers at a rock concert, the two women relieve their grief with the prospect of Malvina’s soon-to-be-born child.

When the baby arrives, Malvina sets off to resume her wandering life-style, leaving the child with Anna to be raised independently, ending the film with a facile conclusion which not only reinforces Ferreri’s misogyny, but also excuses itself with a vague faith in the pursuit of humanism.

Needless to say, at Ferreri’s press conference he was verbally decimated by the Italian press, but then the credi­ bility of almost every Italian film was questioned.

With so many films dressed in period costume, political ethics became a key sore point and source of confusion. Pupi Avati’s Noi tre (We Three), a well-crafted, fairy-tale treat­ ment of Mozart’s adolescence in a villa near Bologna, Luigi Comencini’s Cuore (Heart), the first part of a series intended for television which documents the life of a young man from the turn of the century until World War 1, and Florestano Vancini’s La neve nel bicchiere (A Glass Full of Snow), a Taviani brothers-style peasant life epic, all testified to the importance of recapturing a lost social history. With the exception of the new Taviani brothers film, Kaos (Chaos), these films are characterized by an obsession with recalling the past through the narration of a personal

Jean Rouch’s “extraordinary and quite bizarre” Dionysos: the need fo r the Nature Cult in industrial society.

history or memory.3 But, as Kaos bril­ liantly demonstrates, history is compli­ cated with provincial myth and identity. Divided into five tales (bearing in mind this film is also scheduled for immediate broadcasting) and set in Sicily, these vignettes of superstition, passion, sickness and the rebellion of men are more like visions than transpositions of an oral or written history.

3. These films also reflect the means of production which have now become standardized in the telling of history: un­ obtrusive camera movement, diffused light and a minimum of editing, with time preserved as uninterrupted — a complete memory.

Recapturing a lost social history: Florestano Vancini’s La neve nel bicchiere.

CINEMA PAPERS December — 415

Venice Festival

In Kaos, there is also the sense of connecting with history rather than reflecting on it, and there is a wonder­ ful scene in the epilogue in which the writer of these tales meets his dead mother who says to him, Learn to look at things also through the eyes of those who don’t see any longer. You will certainly find pain, but that pain will make things more sacred and beautiful.

The last film in Competition was Pas­ quale Squitieri’s Claretta, starring the glamorous Claudia Cardinale as Clar­ etta Petacci, Mussolini’s last mistress who chose to die at his side when partisans captured him while he was fleeing to Switzerland. Documenting Claretta’s faith in and devotion to the dictator, the films says very little about him (as with the frequent representa­ tion of Hitler, Mussolini is rarely seen and, if so, shot from behind) and the general ramifications of the years of Fascism. It is a harmless glimpse at Claretta’s sentimentality and her family’s struggle to save their own skins when the empire crashes.

The morning after the screening, the jury announced that it felt it neces­ sary to make a statement about this film. Defying all ethical codes of judicial conduct, some members of the jury (including Giinter Grass, poets Raphaeli Alberti and Yevgeny Yev­ tushenko) denounced Claretta as a literally disgusting, pro-Fascist film which they refused to consider as a legitimate entry in Competition.

With the press room resembling a zoo, Squitieri had little chance to defend himself but managed to personally insult Grass publicly — the general view of Fascism in Italy is that it was an unfortunate aberration, in any case attributable to the Germans. For a moment, notions of a liberal demo­ cracy which can afford the luxury of looking backwards were absolved, and Claretta was used as a scapegoat for exaggerated prejudices which obvi­ ously have yet to be erased.

The remaining entries appeared more eclectic and easier to discern.

Edgar Reitz’ Heimat (Homeland) was, from what I saw of it — the film is 15 hours and 24 minutes long — visually stunning with a kind of accumulative narrative which sustains interest. It roughly covers the years from the beginning of the century until the present in a small German town, heimat vaguely translating as “ home­ land” . A mixture of different film stocks of black and white and color, this film has an incredible feel of sensuality to it, with every shot meticu­ lously framed, resembling a series of old photographs. As this film and other German productions (outside the Competition) showed, the problem the Germans experience with history is their inability to remove the moral blanket of secrecy which shrouds an acceptance of the past. Heimat con­ tains stories with a sense of guilt — the difference between those who leave their homeland and those who stay forever — just as history is created to forget or not to forget.

An unusual and singularly stylized German-Portuguese production pro­ vided a macabre counterpart to Heimat: Jorge Silva Melo’s Ninguém duaz vezes (No One Twice). With stark interiors, discordant music and enough obscure quotations to turn it into a mess of clichés, this film surfaces with considerable worth. As in Wim Wenders’ Der stand der dinge (The 416 — December CINEMA PAPERS

State of Things), the city of Lisbon

becomes a place where only memories and displacement of people can be found, a kind of airport transit lounge where waiting becomes a fixed occupa­ tion.

A German artist returns to Lisbon 10 years after the revolution of 1974 to show his paintings in a joint exhibition with his girlfriend, whom he thinks has not arrived but who has been in the city the whole time, covering her tracks. As much as it is about this frus­ tration of communication, these people are without a story, a future, and are still harboring nostalgia for the time when they believed they held power in the Revolution. Their only course is inhabiting a void, a kind of zone of silence. Painting is seen as the product of these circumstances, in which there is a wealth of gesticula­ tion which guards secret emotions ex­ pressed in violent, forceful structures of color. In No One Twice, the absence of things — dialogue, action, motiva­ tion, of happiness which is now a charity — somehow makes it an illustratory replica of all narrative, in which things are reduced to gestures.

Krzysztof Zanussi’s Rok spokjanego

are seen establishing friendships — respectively with a bus driver and a fisherman — but these are soon terminated when the bus driver is sacked and the fisherman realizes his desires are too strong to continue rela­ tions. The girls decide to commit ‘suicide’ publicly, but with the assur­ ance that someone will surely save them. They board the subway and sit

with a sign propped behind them which explains their actions — “ If you don’t do something we will die” — and then proceed to swallow handfuls of pills. They die, as the train stops when a strike is called and they go un­ noticed, ending the film with a feeling of life abandoned for a spectacular moment of death that never eventu­ ated.

slon’ca (The Year of the Peaceful Sun)

won the Golden Lion, but as I did not see it I will report instead on the runner-up: Sonatine by FrenchCanadian Micheline Lanctot. With a Robert Bresson-like air of futility and loneliness about it, this almost dialogueless story of two young girls whose only reliable source of happi­ ness is their Walkman machines must have been the saddest film at Venice.

Both girls, in the beginning of the film,

Top: Paul (Dieter Schaad) and Maria (Marita Breur) in Edgar Reitz’ 15-hour-and-24-minute Heimat. Above: Micheline Lanctôt’s Sonatine: two young girls on a path to suicide.

Venice Festival

Films Outside Competition Films screened outside the Competi­ tion are not necessarily deemed ‘avant garde’ or even independent, indeed far from it, as each film is placed in a section which vaguely defines its conditions of production and viewing.

More or less, these are recommended guides for criticism: “ Venice by night” (films for the masses), “ Venice TV” (self explanatory), “ People” (usually ethnographic shorts), “ De Sica” (up and coming Italian directors), “ Week of the Critics” and “ Special Pro­ grams” (political and social themes).

The only Australian entry at the festival was Richard Lowenstein’s Strikebound, as Paul Cox’s My First Wife was rejected for “ lacking sufficient quality” . Strikebound was screened in the Critic’s Week section and was more than a success, no doubt due to its stunning visuals, as much of the intricacy of language was lost in the translation. A film documenting such a sensitive event would otherwise be severely questioned at Venice, but the only major criticism came from Manifesto, the newspaper of the extreme Left, which complained that the miners did not appear to suffer enough to justify the importance of such a strike. At the press conference, Lowenstein was encouraged to pursue his career on a grander scale (“ You’d better move to Sydney” , the chairman suggested) and the Festival expressed interest in including his video clips in the “ Video and Cinema” section. RAI (Radio and Television of Italy, a national network), however, had already snapped them up, and Lowen­ stein was interviewed that night on live television from the Festival.

Also well received was Richard Eyre’s Laughterhouse. As with his The Ploughman’s Lunch, Eyre’s quick witted and sharp-tongued criticism of his country has been developed as his individual trademark. This film is more of a comedy: its family-appeal story of a Norfolk farmer, who walks his geese to London for the Christmas market after his plucking team go on strike, represents English eccentricity as a confusion of reactionism, intoler­ ance and complacency. As in The Ploughman’s Lunch, the media are cynically viewed as persistent and absurdly sensationalist; in this film they follow the farmer and his entour­ age, reporting on their every step and speculating on the symbolics of the geese: victims of humanity or political pawns?

Clearly, the most politically prob­ lematic films were two films sharing the same subject and identical scenario: Unser Nazi (Under Nazis) by Robert Kramer and Wundkanal by Thomas Harlan, son of the famous propagandist, Viet Harlan. Both are quasi-interrogative documentaries about an ex-Nazi criminal. With often tense and dramatically potent inter­ views with this aging, anonymous relic from the Third Reich, both films severely question latent attitudes towards persecution and responsi­ bility. For Kramer, this was a case of dealing with German history from an American perspective, of employing a judgmental style of interrogation whereby the Nazi becomes the mirror for provocation and the dehumaniza­ tion of political action. For Harlan, the film became more of a direct his­ torical question. With the advent of

Top: director Thomas Harlan on the set o f Wundkanal: pillaging the past. Above: Elizabeth McGovern as “Noodles” ’ idealized love in Sergio Leone’s C ’era una volta in America.

the popularity of the Wenders aesthetic of the past as irretrievable, the film becomes a question of pillaging the past and relinking, dialectically, the connection between generations.

Former Festival director and con­ temporary critic and essayist, Carlo

Lizzani, presented a fast moving intelligent thriller, Nuclear Zero, which is a study of a group of terrorists in Rome during the late 1970s. Neither condemning nor endorsing the pheno­ menon of terrorism, this film deals specifically with its operations and strategies rather than its motivations.

The terrorists, headed by an ex­ activist of the 1960s, decide to change tactics, rejecting secrecy and armed combat and adopting perfectly legal and credible covers which enable them to simulate completely normal lives, while they execute sophisticated and highly detailed robberies. They are idealistic, but their reasoning and rationality allows each of them to be part of a precise organization which always runs smoothly until the father of the youngest member steps in and threatens their exposure, and their plans succumb to nervous tension.

Criticized for being out of date (this narrative model of the gangster opera­ ting within society has indeed been over-used in countless television series), it is nevertheless an intriguing play with the question of identity and the contradictions it produces in a society which finds it increasingly difficult to isolate and respond to terrorism.

Finally, I am leaving the best until last. Occupying no real serviceable position in the Festival (initially received in Cannes and screened here on the eve of its Italian release) except as a celebratory homage to both the director and his national roots, Sergio Leone’s C’era una volta in America (Once Upon a Time in America) is, in so many ways, the intellectual block­ buster that any self-professed practi­ tioner of “ Cinema as Art” would kill for. Not only is it designed for masscult consumption on an international scale, but it must go down in history for perverting and twisting every narrative trick of the trade. With flash­ backs within flashbacks, a plot which continually explodes into a thousand directions, and with memories and des­ tinies colliding at the moment of choice and decision, the dexterity o f this film is breathtaking. Leone said of it: Time is a great character in the film.

Above all it is about memory and nostalgia, and a grand story of the friendship between two men. It is not the eighteenth part of The God­ father. It is not [as] concerned with events as with sentiments.

Beginning and ending in an opium den, the film is composed as a dream and, for Leone, America still repre­ sents a fable, a mythical place where things materialize as the result of a kind of unattainable, but definitely locatable, almost child-like desire.

And, like his spaghetti Westerns, the universe is a cruel, often unfathomable place which can only be overcome on the condition that death is pre-negotiated and arranged by contract, and, in this case, pre-paid, but always in meticulous, incredibly orchestrated games of friendship and betrayal. As “Noodles”, from whose eyes the film is projected, Robert De Niro as an actor is ironically placed in a situation in which he is no longer “the man who could take no more” , but rather the man whose personal control of life has been extracted and replaced by a generic replica of himself, who must contend with an infinitum of traps systemically designed for his exter­ mination. There are the definitive Leone trademarks: close-ups of eyes, attention to minute detail and toying with visual clues of identity. Reflecting here on a Festival determined to make its identity invisible by convoluting it with the present and the “ natural” , the artificiality of C’era una volta in America seems at least more real and more tangible. ★ CINEMA PAPERS December — 417

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■ ■ H i

Jim Schembri interviews the award-winning actress about her role in Annie 's Coming Out, a film based on Rosemary Crossley and Anne McDonald's account o f their fight fo r Anne's freedom.

Many of the women you have played have to assert themselves to either cope with or transcend the social circumstances in which they are trapped. Fay in “ Newsfront” is trapped in her home and has to restate her Roman Catholic values to Len (Bill Hunter) to get him to spend more time with her.

Jeannie in “ We of the Never Never” stands up for herself against the men who didn’t think she belonged in the outback. And Jessica, in “ Annie’s Coming Out” , fights the prejudices and attitudes of a Victorian mental hospital system. Is that theme something you have deliberately tried to follow through?

No, it is not at all intentional.

You try to get roles in films you think will be the most successful artistically, films that have some­ thing to say and are entertaining.

And those films tend, very often, to be the ones with social issues in­ volved.

Another reason is that I am not a commercial actress in the Bgrade sense. I don’t get a lot of Bgrade offers, so I really don’t have a choice. The area that I am in, which is known as socially aware or art house or whatever, is why those characters have probably overlapped.

Annie's Coming Out Most of your work has been in period or genre films. “ Annie’s Coming Out” is your first contem­ porary film, both in its setting and in the issues with which it deals.

Did that influence your accepting the role?

No. I took the role of Jessica because it was a very good one — and challenging. The reason we are doing a lot of historical films is because we have a lot of history to get through. Contemporary films are in the minority.

So you don’t think it significant that the heroine in “ Annie’s” is contemporary?

them in the film. They didn’t have the money to do that, so I said there was no use offering me the part. I had my doubts as to whether it would go.

and be relaxed when communi­ cating with them. But I also had to know how to feed them, lift them and carry them, because there are very particular ways of doing that.

Your preparation for the film in­ volved working with spastic child­ ren and consulting with Anne Mc­ Donald. Why did you go into that high level of involvement?

One imagines many actors would shirk from that, preferring to imagine what it is like . . .

Looking after handicapped people was something foreign to me. I basically did a crash course in physiotherapy, occupational therapy and speech therapy with spastic kids in Sydney so that I would have confidence in myself

I don’t work like that. I like to get involved, to do my job well.

How much time was allocated to rehearsal on “ Annie’s” ?

Gil Brealey [director] demanded a week’s rehearsal, something other directors are now also doing,

I have never looked at it that way. The feminist cause is some­ thing that belongs to the 1970s and is dying down in militancy, and, hopefully, settling into a healthy future in the 1980s. But the Aus­ tralian woman is a strong species and her history is an interesting one. We came out as convicts and were battling, from the start, not only authority but also the convict men who probably took advantage of us in many respects and made us pretty tough. Ironically, Rosemary Crossley is English!

I am thankful that there are good Australian roles for women.

We are still a strong bunch in 1984.

When you say you are “ not a com­ mercial actress” , do you mean you go for roles you are happy with rather than roles in films you think will be successful?

When were you offered the part of Jessica?

No. To be very crass, I am basic­ ally not tits and ass! I had an identity crisis about that a few years ago, but you have to live with what you are. You can’t be what you are not.

I screen tested for the film nearly two years ago but it was 12 months before we actually shot it. They offered me the role and, as happens now, you have to put a deposit on Australian stars to keep

Jessica (Angela Punch McGregor) and Annie (Tina Arhondis) in Gil Brealey’s Annie's Coming Out.

CINEMA PAPERS December — 419

Angela Punch McGregor

Gilda (Angela Punch) and husband Jimmie (Tommy Lewis) at home in Fred Schepisi’s The Chant o f Jimmie Blacksmith.

Fay (Angela Punch), centre, with her husband Len (Bill Flunter), left, outside church in Phillip Noyce’s Newsfront.

thank heavens. Appalling as it may sound, a lot of film directors don’t know what rehearsing an actor is.

And it is not only in this country.

So you are left to your own devices.

Really the whole point of being a director is knowing how to correct what is wrong in an actor’s per­ form ance, in an actor’s line delivery. And I know some direc­ tors, such as Di Drew, who have that talent. I don’t know if it is a talent you can learn, but I am sure it is one you can improve.

I was an innocent in the film in­ dustry in 1978 when I did the role of Gilda in The Chant of Jimmie Blacksmith. Thank God Fred Schepisi was the director. I was taught by him and he brought a performance out in me for which I am grateful.

Still, it was kind of lucky we had a film at all.

So most Australian directors have left you on your own?

Yes. In this country, if you rely on the ability of the director, you’ve had it.

At the same time, it is impossible to rehearse by yourself: every actor needs help, and very few actors get it.

Film acting is a strange craft. I am naturally a character actor; I am not a personality actor. It is instinctual for me. Humphrey Bogart you would describe as a persona actor; Meryl Streep is a character actor.

Character acting on film causes a lot of problems for the person in­ volved. I have to learn, and I am still learning, how to project my personality better on the screen because screen acting demands a lot of the person. That means opening up oneself as a person.

With certain parts of my person­ ality I find that hard to do. But I am getting better in some areas.

420 — December CINEMA PAPERS

“ Annie’s Coming Out” is a com­ mercially structured film: the characters and the situations are clearly defined so that the audience can identify with them. In some situations, the characters are stereotypes. Jessica, for example, is rather two-dimensional and not well-rounded . . .

That is my fault. But it is of no value putting my qualms about the performance into a publication because the public would not know what I was talking about.

If the characters are cardboard cut-outs in Annie’s, it is probably because it was shot so quickly. All the actors were asked to do a lot of work in a very short time. I was sometimes shooting six scenes a day, which is a lot of work. I think more money should have been allotted to the film; it is a good enough story to have had more time and money spent on it.

Some of the shortcomings may also be due to miscasting. That happens because casting is a direc­ to r’s prerogative.

Jeannie’s character doesn’t de­ velop and is a bit patchy . . .

Yes, but it was shot that way.

We went home without finishing the film, so I knew it would be patchy and that a lot of it would not stand up.

W hat we have still to learn in this country is that you cannot fix up a film in the editing room. It has to be done beforehand, before it is shot, even before the story­ boarding. Some of us are starting to learn that preparation is every­ thing.

Are scriptwriters part of the prob­ lem?

I think more humility on the part of the scriptwriters about what their shortcomings are in the script is required. A lot of script­ writers don’t understand there are basic rules for writing a piece of entertainment. I don’t think they concede enough to what an audi­ ence will and will not sit through.

We fight the Los Angeles formula for making films, which admit­ tedly goes to the one extreme with action and sex, but I think we could adopt a little of the Holly­ wood system.

Do you think Australian films are too elitist?

I don’t know about elitist. I would say the French were elitist: they come out towards the other

We o f the Never Never Jeannie’s character seems con­ stricted by the narrative of the film. She tends to vocalize her dis­ approval of the men without actu­ ally doing anything. Did that restrict the latitude you had in per­ forming the role?

W hat the public is probably un­ aware of is that only half of the script of We of the Never Never was shot. A lot of good action scenes were cut because of the restrictions on time and budget, much to my disappointm ent and anger then.

We ended up with a very slowmoving narrative and a more intel­ lectual film than I had anticipated.

Jeannie (Angela Punch McGregor) and husband Aeneas (Arthur Dignam) at a funeral in Igor A uzins’ We o f the Never Never.

Angela Punch McGregor

end of the spectrum. But we are still very provincial. We have a lot to learn.

So how did you feel when you saw the finished film?

I am very proud of the quality of the film. It is an A-grade picture because of the people involved.

Gary Hansen, who died tragically last year, was almost a genius with lighting. You couldn’t go wrong with him. Jo Ford, the Melbourne girl, the art designer, was extra­ ordinary. And a lot of the actors were, I think, very good.

Igor [Auzins], who is a very talented director, gathered the creme around him so we had to end up with a quality picture of some sort. But, as I said earlier, I knew what was happening while we were shooting, and I got very worried. I fought very hard to do more dialogue scenes because we were shooting panoram as of horses trudging across the desert.

There was no conflict and all I could do for myself was to play a love story.

they really didn’t like, and how I can fix it. Of course, if I don’t agree, then I ignore it.

I don’t like actors who get up in arms because a critic has said something against them or their play. Australian critics may not be good at analyzing what is wrong with a film or a play, but the fact that they don’t like it leads me to suspect that something is wrong.

What about film awards? Are they important?

A lot of people don’t like the artistic competition in films or theatre and I see that point of view clearly. W hat I do like about awards is the publicity for the films and for the individual performers.

If we don’t keep ourselves in the forefront of the minds of pro­ ducers and directors we will not continue to work.

It is a hard job doing publicity, but I regard it as a job that has to be taken very seriously. I have loyalty to the films I make to help them go.

Award nights are primarily pub­ licity events. Getting an award is a But, even on that level, the rela­ great moment, a great thrill and tionship between Aeneas and compliment. Everybody loves you Jeannie is very slight . . . for a night; the next morning it is usually over.

That was because of the patchy editing and the continuity prob­ lems.

Other Roles

Many critics panned the film and attacked your performance. Do you take any notice of reviewers?

Yes. You get hurt when someone doesn’t like you, especially if it is on the printed page: it is more per­ manent and you think, “ My God, the world is going to read this!”

I find that the critics are not par­ ticularly good at analyzing why something is wrong. I try to deduce from what they have written what

You have appeared in three failures: “ Best of Friends” , “ The Island” and “ Double Deal” , which were in the comedy, adven­ ture and thriller genres respec­ tively. Was the opportunity to work in different genres part of the attraction?

I took those roles for various reasons. With The Island, people ask me if I was disappointed it was

Tom (Graeme Blundell) and Melanie (Angela Punch McGregor) act out the dilemma o f whether good friends can become lovers. Michael Robertson ’s Best o f Friends.

a B-grade movie. I knew it was a Bgrade movie when I read the script.

But the chance of working with Michael Caine, of being in a film produced by Zanuck and Brown, the producers of Jaws, and doing an overseas movie was irresistible to me. Whether it was a mistake, I still don’t know. Any performance that doesn’t take you anywhere is regrettable, but the experience was irresistible to me.

What did you get out of working on “ The Island” , an aesthetic and commercial disaster?

I don’t know, but I remember that at the time my eyes were wide open every day at the Hollywood buzz. I was 25 and had done only two films. It was a great event: they were tipping their chauffeurs what I was earning. It was like travelling to Mars.

Was it your big shot at inter­ national stardom?

No, that came to me later with We of the Never Never. I wasn’t even a star in Australia then, so that idea hadn’t entered my head.

The fact that I covered myself in mud means I couldn’t have been too desperate.

How did you get the role?

Michael Ritchie, the director, wanted to use an actress who wasn’t American, so she had to be either a Briton or an Australian. I think the interest in Australia helped him decide. By coincidence, Newsfront was showing on the plane on his way over here, and the role of Fay interested him. He called Fred Schepisi and asked if he should use me. Fred said sure, and I did a screen test.

I hadn’t studied censorship in any detail, but I thought that was ridiculous. I didn’t think the violence was any grimmer than in other adolescent movies.

What about “ Best Of Friends” ?

I did Best Of Friends because it was an excellent script. It was then mutilated by all of us. Donald Mc­ Donald [the scriptwriter] was very upset about it.

The film was badly handled and I was miscast, but I took it because I wanted the challenge of doing comedy, which I hadn’t done before. I thought my role was well written and wasn’t cardboard.

How was the script mutilated?

The director wasn’t up to it, the film was miscast, the budget wasn’t good . . . there were several reasons. I don’t think Australians are very good at doing comedy, yet.

Do you plan on trying comedy again?

I baulk at it! I probably would if I were asked, but I probably won’t be asked!

How did you get involved in “ Double Deal” ?

I was offered the role of a model, which amazed me. It was a long time since I had made a film and I feared that if I didn’t do it I would go down the plug hole. The role was a mistake; the film was a mistake. But I didn’t know that at the time.

Brian Kavanagh turned out to be one of the most sensitive directors to actors that I have ever come across, but I don’t think he should write his own scripts.

What do you think of the film?

Blair (Michael Caine) and Beth (Angela Punch McGregor) in Michael Ritchie’s The Island, Punch McGregor’s first foreign’film .

It is quite an interesting story. It was a disaster at the box-office because it was aimed at 13-to 18-year-old male teenagers, and they were the people who were not allowed into it [in Australia] because it received an “ R ” rating.

Louis Jourdan’s performance on screen was terrible. What was he like to work with?

Interesting. He is very much the romantic screen idol and was pro­ fessional to the toe-nails. It is what

Concluded on p. 471 CINEMA PAPERS December — 421

NEVER NEVER Almos Maksay

This shot is remarkable for its explicitness.

A t the outset o f this article, I want to On the screen, there is the underbelly of a male acknowledge the stimulus provided by animal, stretched out and opened for the two sources: first, Tom Ryan }s article in camera. A hand, the left hand of a man, Film Year Book 1984 in which he names reaches in to grasp the scrotum. Then the right hand intrudes into the frame, holding a small We o f the Never Never as one o f the pocketknife that is hardly visible. In a single “Australian Films o f the Year”; and, movement, the knife opens up a gash in the skin. The cut is real. There is a spurt of blood second, a seminar discussion recently and the wound reveals the white edge of fatty held at the Ballarat C.A.E. I think I am tissue under the skin.

From the narrative point of view, the act of correct in characterizing the general castration is linked with the arrival of Jeannie, response at the seminar to the film as the White ‘Missus’ and wife of the new Sta­ favorable. The feeling was that it tion Manager. There are, obviously, enormous consequences which stem directly from approached important themes which political this fact. Jeannie’s understanding of this situa­ must be seen as central to Australian tion remains problematical throughout the filmmaking; yet, ultimately, the film film, and it is possible to make the criticism that both the character and the film remain far too loses its way and wanders aimlessly, engrossed in the superficialities of dress and without suggesting a clear resolution to hairstyle. Yet, at the point of her arrival in the camp, there is one of the most meaning­ the complex issues it touches on within cattle ful shots of Jeannie in the whole film. There is the narrative context. The following an air of confidence in the way she sits on the article attempts to explore the reasons horse, and she gives the impression of having enjoyed the physical experience of the journey behind this judgment. which has been shown in some detail. One

The dominant surface quality of the film is one of gentle self-indulgence. The visual mood is Arcadian, an impression also emphasized on the soundtrack. Yet there is a point in the film when one encounters an eruption of violence of such absolute proportions, in physical quality and symbolic value, that the sensibility of the film is profoundly and irrevocably disturbed.

This point coincides with the arrival of Jeannie Gunn (Angela Punch McGregor) on the Elsey Cattle Station. The specific shot records the emasculation of a young bull.

422 — December CINEMA PAPERS

might almost speak of an air of triumph in Jeannie’s face as one watches her ride, the tele­ photo shot helping to accentuate the stature of her presence mounted on horse. The shot is most appropriate because her arrival at the camp is literally a triumph over the opposition and resentment to her presence expressed by the men from the beginning of the film.

The reason for this opposition and resent­ ment remains one of the central questions of the film and the audience approaches it only hesitatingly, as if through Jeannie’s conscious­ ness, of her slowly growing realization of the position she occupies within the social microcosm at Elsey. The circumstances of

Jeannie’s arrival extend the dimensions of this question because, ultimately, when one starts piecing together the various clues supplied by way of answer, one realizes that the problem of the resentment shown to Jeannie, and its explanation, actually provides the key to the interaction of the two racial groups in the film: Aboriginal and white.

Jeannie disturbs the balance of power on the cattle station simply by her arrival. Her presence in itself is sufficient to produce this effect. She becomes the interdiction that the white cattlemen feel, and her friendship with the Aboriginal women, and the partisan manner with which she supports them against the Aboriginal men, serves to establish the significance of her influence in a truly political

Jeannie (Angela Punch McGregor) and Mac (Tony Barry) pause on their way to Elsey Station. Igor Auzins’ We o f the Never Never.

We of the Never Never

Mac, Jeannie and Aeneas (Arthur Dignam), mud­ splattered, just before their arrival at Elsey. We o f the Never Never.

Dan (Martin Vaughan), with Aboriginal assistants, looks up after castrating the bull to see the White ‘Missus’ and party arrive. We o f the Never Never.

sense. And so, the act of castration, which in a documentary sense is primarily a literal act, now becomes a symbolic force in the film. This shot is the single most im portant one in the film, because of the way in which it controls the entire narrative. It is also significant that the last shot of the castration sequence — the shot of Jeannie riding into camp — is established with the gaze of the man with the knife.

At this point in the discussion, the next most important step is to recognize the oblique or un­ accented narrative style of the film. There is in fact nothing remarkable in the progression of shots within the sequence being discussed. In the first shot, one sees a couple of Aboriginal stockmen wrestle an animal to the ground.

Meanwhile, Dan Sutty (Martin Vaughan), the white cattleman, is jokingly giving instructions from behind the railing fence: “ T hat’s right, get him down” , he says. “ H e’s only a little fella.” His bearded face shows that mocking laugh which becomes the most characteristic feature of his individuality in the film. As he walks around the rails to where the animal is now trussed out, one of the Aboriginals replies: “ You want him boss, you catch him .” Dan, who is never outdistanced in this kind of exchange, makes a joke about having to keep his hands clean for the operation that is to follow.

The castration shot which comes next has already been described in sufficient detail. When I first saw the film, I remembered it as a highly dynamic point in the montage. In fact, in terms of actual time on the screen, the shot is quite long and, in a technical sense, it is entirely con­ sistent with the style of the film, which tends to favor the long take (often incorporating camera movement) and a smooth continuity from shot to shot. And so, once the audience has had enough time to see what has happened, the film cuts to one of the Aboriginal stockmen who has noticed a group of travellers riding out of the bush. He draws D an’s attention to their arrival.

Dan stands up, in a tightly framed shot, showing surprise on his face that the new boss and his party have managed to get through despite the flooded rivers which have risen with the arrival of the wet season. As Dan calls out to the approaching party, the camera cuts to an overhead shot looking down into the cattle

yard. The emasculated beast struggles to its feet with a bellow of pain and the film cuts to a long shot of the group of riders approaching, then, finally, to the tele-photo shot of Jeannie riding into camp.

The actual castration is therefore fitted into a sequence of actions which is entirely natural; when it is over, one’s attention is deflected from it in a totally natural way. In other words, there is no obvious signal given that the central shot of the sequence has any special narrative status. This could have been achieved in many ways, perhaps most obviously by a much more dramatic montage using, for instance, a closeup of the sharpened blade of the knife, fol­ lowed by some direct cross-cutting with the shot of Jeannie’s arriving at the camp. Music could also have been used to accentuate the im port­ ance of this point in the film and, noticeably, later on one becomes familiar with a tense musical theme which is established as one of the dominant motifs on the soundtrack, intended to highlight certain dramatic aspects of the action.

To establish the special status of the castra­ tion shot, it is necessary to stress the absolute violence of the realized act recorded on screen.

It is not performed as though by implication, built up through a shot of the sharpened knife, followed by a close-up of D an’s grimacing as he performs something out of frame, then a bellow of pain on the soundtrack. The shot has a documentary directness in its framing and editing which contrasts with the way in which the narrative has proceeded to this point. The film so far has had its colorful moments, its humorous moments, but, above all, it has observed a decorous gentility that would have averted its eyes from such an act. As it proceeds, the film becomes more and more committed to this decorous gentility. And so, the shot of castration becomes marked primarily by its absolute realism. From the point of view of the narrative, the castration is marked by the exchange of glances between Dan and Jeannie, effectively operating as a link, despite the distance that separates them and despite the other shots interpolated between Dan and the trium phant white woman who is the object of his gaze.

The sequence of Jeannie’s arrival at the Elsey

Station can now be clearly identified as the point from which all of the codes of the film radiate outward to penetrate the networks of the film text. It is crucial, however, to point out that one has not found a meaning for the sequence: no interpretation has actually been attempted. Essentially, something else has happened, something which is much more important than the determination of a fixed meaning: an enigma has been proposed at the symbolic level of the film. The essential feature of this enigma is the link between Jeannie and the act of castration, established by a number of displacements from shot to shot within the sequence, and supported by the indirect narra­ tive style of the film. It is highly significant to note that Jeannie does not actually see what the audience sees on the screen and, therefore, the overall effect of the shot is a product of the narrative.

And so, what are these codes which radiate out from this point? There are, in fact, a host of them and, rather than wade knee-deep through the slippery morass, I simply want to look at one of them, the one I find most

Jeannie finds friendship with the Aboriginal women and children. We o f the Never Never.

CINEMA PAPERS December — 423

We of the Never Never

Dan and Aeneas: proving oneself on horseback. We o f the Never Never.

amusing. It unwinds around the story of Jack’s (Lewis Fitz-Gerald) resentment toward Jeannie Gunn.

Jack is singled out as the one who most resents the presence of the White Missus from the beginning of the film, even while the wedding is still taking place and the news of the event reaches the remote cattle camp in the Never Never via the telegraph. Jack grumbles about the flies, the heat and the dust, and resents that a woman has also been added to the sum total of his burdens. He is waiting at the Elsey Homestead to see the New Boss and his Missus when the party arrives. The camera singles out Jack’s unyielding, surly presence, standing apart from the other stockmen with his arms tightly crossed around his chest. Later, after Aeneas (Arthur Dignam) proves himself and wins the m en’s confidence by demon­ strating his skill on horseback, Jack is seen at

the edge of the group, tightly coiling a stock­ whip. The camera singles him out once more in a forward movement, and he speaks his resent­ ment by quietly telling Aeneas that he will be leaving after the wet season.

The next link in this chain of incidents actually brings Jack and Jeannie together, although the confrontation is never direct.

While Aeneas and the other stockmen are away from the homestead, Jeannie climbs up on to the rails of the horseyard to watch Jack working a young horse. She begins to question him about what he is doing. His short, clipped, terse replies indicate his annoyance at her presence. He explains that he is “ bagging” the horse, flicking a piece of old sack to frighten it, but holding tight on a long rein at the same time as trying to teach it to remain calm despite the disturbance. Jeannie’s questions eventually give Jack the cue for the cutting remark that brings

The Oedipal triangle: Aeneas, Jack (Lewis Fitzgerald), in the background, and Jeannie. We o f the Never Never.

424 — December CINEMA PAPERS

the conversation to an abrupt end. She points out, rather naively, that the constant flicking of the cloth near its forelegs is only making the horse’s nervousness more pronounced. Jack retorts sharply with a direct rebuff: “ Beggin’ your pardon Missus. It’s you th at’s m akin’ him nervous. He never ain’t seen a white woman before.”

At this point, it is necessary to note the emphasis on “ white” , not just on “ wom an” .

This provides a clue for solving the enigma that has been proposed. Later in the film, two more clues are given. One is dropped in an interesting conversational exchange between Jack and Dan, just after the discovery of a previously unknown and unnamed waterhole. The other major clue is given in a subsequent conversa­ tion between Aeneas and Jeannie concerning Bett Bett’s (Sibina Willy) presence inside the house. One need not pick up these clues now and work them into an interpretation. For the moment, let’s move to the point in the film where a break occurs in the strained relations between Jack and Jeannie. This comes during the big cattle muster which involves the whole of the station community. Jeannie is taken along, as a spectator rather than as a participant. The camerawork at this point is wholly appropriate. The audience watches the stockmen galloping and wheeling from behind a screen of green foliage. Shots of massed cattle moving slowly in the dusty heat are interspersed in the sequence. Finally, as a visual showpiece, two horsemen are seen chasing a breakaway beast across an open spread of brown earth and grass. The camera sweeps across the flat space following the riders. They are, in fact, Jack and Aeneas; the latter reaches down at full gallop to catch the beast by the tail and, with a burst of speed, he wheels around in front of the animal, dragging it off its feet from behind.

Just as this movement begins, the camera cuts to one of those high, overhead crane shots which stand out so distinctively in the film.

These shots often occur at moments of fast­ paced action; they create an arena effect, enclosing the action within a distinctly delimitated space. Now, as the two riders quickly dismount to immobilize the fallen animal, the camera cranes down smoothly; the perspective flattens out to give a view of the two men against a distant horizon. The camera movement downwards, coming to rest near the ground, is very effective because it functions like a formal arabesque at the closing of a visual phrase.

Continuity to the next shot is carried verbally through the conversation between the two riders. Jack speaks first and makes one of those typically off-hand comments that are so true in detail to the Australian outback. “ Did you learn that one in the library?” , he asks of Aeneas, alluding to the fact that the New Boss had once previously worked as a librarian. Jack is obviously poking fun, but the comment also effectively indicates his approval for the way in which Aeneas has been able to work in a co­ ordinated team to perform a textbook demon­ stration. Aeneas answers Jack’s sardonic jibe in a serious manner. “ I do wish you’d think about staying on” , he says. “ I reckon I m ight” , Jack replies.

The most curious and most obvious thing about the triangle of characters, Jeannie, Aeneas and Jack, is that it is Oedipal. It is also possible to make the claim that, despite a very strong element of cliché, the shots that com­ plete the sequence have mythic dimensions, whether one wants to define this in terms of the classic Western or the classic fairy-tale. After the excitement of the chase, the film returns to Concluded on p. 472

Ennio Morricone has written some o f the cinema's mostrecognizable and best-loved film scores, fro m those fo r Sergio Leone's Per un pugno di dollarb (A Fist Full o f Dollars) and Bernardo Bertolucci's Novocento (1900) to Leone's Once Upon a Time in America. Here he is inter­ viewed by Sue Adler.

Did you have a formal musical education?

Yes. My father was a musician and he wanted me to be one, so he sent me to the Conservatorium of Santa Cecilia in Rome. I wanted to follow the profession of a musician and composer of serious music, so everything I did was to realize that aim.

You were also, at one point, the leader of a light music orchestra Before writing film music, I did many different things. I started by doing arrangements and orchestra­ tions for the RAI, for television, for records, for the theatre and for composers who didn’t want to write because they were lazy.

Gradually, I was sought after in my own right, and I was able to realize my dream of writing music under my own name.

You wrote under the name of Dan Savio for “ A Fist Full of Dollars” .

Was this because you were writing serious music and didn’t want to compromise yourself?

No. I took a pseudonym, chosen at random , because the producers wanted the film to appear to be an American production. Obviously I couldn’t use my name.

When was your debut in the cinema?

In 1961, with Luciano Salce’s II federale (The Federal Man).

Was writing for the cinema a natural musical progression?

Actually, it was the problem of how to live when you are not inde­ pendently wealthy. I earned so little from classical music that gradually I started to do arrange­ ments and little by little this led me into the cinema. It wasn’t some­ thing I had planned; I have never determined anything in my life. I always just keep going. This is how I ended up.

Are you a filmgoer?

without renouncing the ideals of a serious composer of the sort of music I have wanted to write since I was young.

What were the influences in your musical formation?

Stravinsky is an extremely im­ portant composer, because of what he put into his music, because of the positive force with which he always imbued his sounds, and because of his clawing, trenchant creativity and the way in which he acquired folkloric influences of Russia at that time and used them.

He is one of the fundamental com­ posers of contemporary music.

My maestro, Goffredo Petrassi, and several other composers — S to ckhausen, Boulez, N ono, Berrio, Palestrina and Monteverdi, and Bach (another one I adore) — all have left very positive marks in

the course of my musical develop­ ment. These composers are part of me, in that I have digested and filtered them. I can quite easily reproduce them, but in a manner completely revised by my non­ passivity towards them.

One’s taste derives from the influences of these composers; the things one loves; everyday occur­ rences; coniemporary music; and childhood memories. These form experience and experience forms technique, and from technique comes style; they come uncon­ sciously and are therefore beyond our control. So I, and others, write in a certain way and only other people can define it. Maybe in years to come I will be able to hazard an appraisal of my produc­ tion, artistically and technically.

But I don’t have the time to stop and reflect on things I have already done. I have to think of the future.

I don’t go to the cinema very often, but I do like films. I prefer the ones which are least commer­ cial, those which are on the level of art.

In the 1960s, how strong was the American influence on the Italian cinema?

It was very strong from 1960 to 1970. It was important from the artistic point of view: that period threw up some very important directors, and, what was funda­ m ental for m e, the Ita lia n Western. Some very beautiful Italian films were made during that time, too.

What about the general atmo­ sphere in Italian cinema then?

I don’t remember it that much. I was in a formative stage, worried about subsistence and the basic problems of day-to-day life. The financial problems seemed impass­ able. I didn’t even notice politics, the economy of the Italian nation and the “ economic miracle” . My biggest problem then, as it is now, was how to serve the cinema in order to earn money and yet do so CINEMA PAPERS December — 425

Ennio Morricone

It seems as if you keep your distance socially from the cinema Yes, I am cut off from it.

Recently I have become friends with certain directors and, as good friends, we go out to dinner. But in the early days I was at home, and that was it.

I don’t go out looking for work; directors have to come to me. In the early days, after The Federal Man, the same director offered me another film and then the producer recommended me to another direc­ tor and the circle started to enlarge. In my first five years I did about six films, more or less one a year.

You have worked with many Italians, but also a few Americans: for example, Don Siegel. Is the approach different?

Sometimes I have done Ameri­ can films without even meeting the director. This was very difficult because I am used to working with the director, having him hear the themes and comment on them. In the absence of a director, there were times when I have felt rather lo st. F o rtu n a te ly , it h a s n ’t happened too often.

With Don Siegel there was prac­ tically no collaboration. He came to the recording session but didn’t know what I should record. It was strange and it happens — but not with Italians. There, the director chooses a particular composer because he knows he can work with him.

differs with theatre in that there are fewer possibilities for music to be heard; sometimes it serves only to fill in between the action and sometimes it serves as background, but you really don’t hear much because it can’t drown out the actors. There isn’t a definitive mix like in the cinema.

Also, in the theatre, there isn’t the scope for long pieces of music.

So it is difficult to express a musical idea. But these are all small problems. Basically, I don’t find writing for the theatre very different from writing for the cinema, other than having to bear in mind the theatre where the music will be performed and the manner in which it will be repro­ duced: that is, the equipment.

Your first big film success was “ A Fist Full of Dollars” , whose score is very different from that of the Hollywood Westerns. Your cul­ tural perspective is obviously different. W hat were the stimuli?

The stimulus was the film itself.

Leone had made an ironic and, in a certain sense, a grotesque film in that it was funny, a caricature. It was necessary to respect the clarity that Leone wanted for his charac­ ters. Besides, I was not, and am not, a specialist in American folk music, so what sense was there in my treating the characters like Americans? If that is required, use an American composer.

So, I treated Leone’s characters by attempting to re-invent, in my way, American folk, bearing in mind certain musical and technical data. And then the caricatured treatm ent of the characters encour­ aged me to introduce strange sounds into the score so that the character would have the charisma Leone wanted.

The music for “ Once Upon a Time in the West” and “ A Fist Full of Dollars” was, in its way, quite avant-garde . . .

For a soundtrack it was avant­ garde, but in itself it wasn’t avant­ garde music.

In “ Once Upon a Time in the West” , the theme of th e‘West’ . . .

The West existed and we had to bear this in mind. So Sergio Leone a n d I focused our attention on the characters and, therefore, on the feelings. I would say that an act, or a thought, of love is basically the same in Lapland, the U.S., Aus­ tralia or Africa. Certainly there are cultural differences, but what com­ mands in film is the way in which the audience comprehends the music: that is, what the music is saying, which isn’t what the dialogue is saying.

Music must be international and you always have to bear in mind what the public is capable of understanding. For this reason

How do you go about scoring a film?

Once the composer accepts the task, discussion begins — either about the screenplay, during the shoot, or about a film which has already been edited. At this point a consensus is sought with the direc­ tor, according to his ideas and the exigencies of the composer. Once this common direction has been established, the composer starts thinking and translates the concept which has been agreed upon. The music is thus born.

Do you work with an orchestra conductor?

Not since 1975. Once the music has been written, I go into the studio and conduct the orchestra, listen to the recording, do the mix and then, if I have to edit the music, do so over the image.

Does your approach differ when writing for a live audience and for the cinema?

Fundamentally, the two fields aren’t that different; the exercise of writing music is always the same. There has to be a way to understand what the director is saying and then to translate it. It 426 — December CINEMA PAPERS

Claudia Cardinale in Sergio Leone’s C ’era una volta di West (Once Upon a Time in the West): the score focused on the characters rather than the theme o f the West.

Sergio and I concentrate more on the characters and their feelings; these feelings have to be inter­ preted musically so that the audi­ ence is able to understand them.

For example, for a bad guy one uses music which is dissonant, gloomy and dark. The choice of instrument doesn’t come into it that much; I can create music for a bad guy with the brightest of instruments.

Do you have an “ alphabet” or code which you use to depict cer­ tain sensations or ideas?

I don’t have an “ alphabet” but rather what I would call the com­ poser’s stilemo [unity of style]; that is to say, what I feel dram atic­ ally for that character. So inde­ pendently of how the character is written, I insist on my style for interpreting a character.

How would you define your style, and how does it come about?

Well th a t’s a difficult question for me. The exact moment when the musical idea occurs is quite elusive. Sometimes I spend days pursuing that moment and I can’t find it; then, just when I least expect it, it hits me.

So, it is very difficult for me to tell you how that ‘magic’ moment comes about, when a musical idea takes form and resolves a situation of creative difficulty, or the initial crisis when writing any sort of music. It is like love between a man and a woman: the first moment is something unqualifiable.

I would have to say that it is the unconscious sum of all the things I love: from the music I love to people, things, experiences from childhood. The sum of all this is combined with study and guidance of my maestro and the condensed technique acquired from certain composers.

In the cinema, you have to create sensations and to do this you have to have recourse to various modes of communication, but not to the sum of the various , modes, rather the synthesis of them. For example, with Once Upon a Time in the West, I wrote a piece for Henry Fonda that em­ ployed the pointillistic use of per­ cussion to create a certain sensa­ tion: tension, and a sense of hidden and growing danger. The use of the viola, when Fonda is trying to make love to Claudia Cardinale, was intended to create an atmosphere of tenderness.

I can talk about the results, but technique only expresses itself and evolves as I write. Terms like “ pointillist” are perfectly correct but it is not really necessary to use them.

How do you treat the music in films such as the “ Battle of Algiers” and “ Marco Polo” so that it remains faithful to the ambience?

Ennio Morricone

'v

%

Max (James Woods), one o f the ruthless crime figures in Sergio Leone's Once Upon a Time in America.

There are two distinct divisions.

One is the music of the characters, which expresses them quite apart from the ambience in which they are situated. The other type is about the ambience of places, and is suggested by the circumstances and reality of where the action is situated. These are two completely different types of music. The first deals with the interior aspect of the character, and is done by the com­ poser. The second is less the music of the composer. If I write music on Chinese folklore it is my music only by chance; Chinese folk music has been in existence a lot longer than I have and is part of a historic process. I can’t use authentic instruments.

listens with the mind and ears of today. The division between the historical music and the charac­ ter’s music doesn’t occur; the music is very precisely one type: music of today, for characters of today, for a film which takes place today.

Have there been instances where you have had carte blanche?

There have been instances when directors have said to me: “ I don’t know what to say to you, do as you think best” — for example, with Roberto Faienza on his first film.

This doesn’t mean that the director doesn’t want to discuss the matter, but that he wants the composer to go away and think about it, and With the film you have recently then come back with suggestions. worked on, “ Once Upon a Time in Then if he likes the idea he agrees; America” , the action commences if he doesn’t, it becomes the basis in the 1920s and finishes in 1968. for discussion. I rather like this This must cover a wide variety of liberty because it is an encourage­ musical types, such as the 1920s ment, an act of faith, which most jazz . . . of the time doesn’t occur.

I can write jazz very well; it isn’t a problem for me. But it doesn’t involve much invention because jazz is something already historic­ ally acquired. It would be the same if I had to do a film about Mozart and write music alia Mozart; that would be an exercise of pure craftsmanship. But it wouldn’t be my music, it would be the music of Mozart.

If I were to compare the jazz music in Leone’s film with my them es, m ine are far m ore important: they come into the film when the camera looks into the eyes of the character. The theme then singles out what he is thinking at that moment, what is going on inside, what he is about to say. The pain and joy inside a character is what my music is about. The jazz themes don’t function like that; they are atmospheric and casual music, incidental to the story and the places.

Not all films pose this problem of historical music and character music. For example, A Man and a Woman takes place in a contem­ porary setting and the audience

What is your working relationship with Sergio Leone?

There is a lot of talking, of listening to things. Quite fre­ quently, everything is scrapped and we start again from scratch.

Often when everything has been accepted Sergio starts to doubt the decision and then more doubts come. It becomes a very compli­ cated process that has to be endured. But it is quite normal that it should be like this; it doesn’t upset me, or even bother me, because it means that when a decision is finally made it is the right one.

What about with Elio Petri?

There was something which hap­ pened on the last film of Elio Petri, Buone notizie (Good News), with Giancarlo Giannini and Angela Molina. Elio wanted me to write music, drawing on the spirit of a theme from Schubert’s piano sonata. I listened to this sonata on a tape borrowed from the RAI.

Noodles” (Robert De Niro) and Carol (Tuesday Weld). Once Upon a Time in America.

[This sonata has only recently been discovered.] So for trial purposes I composed three variations for Petri, which were to refer just slightly to the Schubert theme to interpret the grotesque quality and humor of the film. I wrote these three pieces, recorded them and then set about editing them with Petri.

B u t th e e d ito r , R u g g e ro M astroianni, a friend of mine as well as of Elio Petri, said to us, “ But the film disappears here because of the music.” He was right. Petri and I agreed to scrap that music and I wrote other music which was recorded and cut, and worked very well.

It is not as if everything proceeds with enormous ease in the cinema.

There is always a lot of toil. The difference between something which works well and something which doesn’t is often quite small.

If Ruggero’s judgment in that case hadn’t been so explicit and lucid, then the music for Buone notizie would have been that of Schubert rather than what subse­ quently was written. The film would have suffered.

What was the collaboration be­ tween you and Pier Paolo Pasolini like?

Very good. He was a quite extra­ ordinary person in his manner of working. My first meeting with Pasolini happened through a mutual friend, his director of pro­ duction, Enzo Occone. He called me in for Uccellacci e uccellini (The Hawks and the Sparrows), and Pasolini arrived with a list of music that he wanted me to use, such as M ozart. I said to Pasolini, “ Look I think you’ve made a mistake in calling m e” , because I wasn’t one who applied, re-did or re-worked music — I wrote it. So he said to me, “ Okay, you are right, go ahead and do what you th ink.” He let me do what I wanted and the only piece I had to re-do was a reference to a piece from “ The Magic Flute” for one instrum ent, I can’t remember which. He was very happy with

what I did and with the scores for Canterbury Tales, Arabian Nights and the Decameron.

I did very little of the music for Salo; Pasolini wanted music of the period and so I helped out. But it is not as if I wrote the music; it was more like a technical consultation.

The only piece of mine, which is five or six minutes long, is the music of the pianist who attends all these terrible situations and then eventually throws herself out the window. It is, shall we say, dodecaphonic.

I also re-worked old music for Canterbury. There is virtually nothing of mine in Canterbury.

You have done so many different scores that you now must be able to treat just about anything . . .

I am capable of doing anything.

This can also be negative in the sense that I could be accused of qualunquismo [a jack of all trades and master of none]. However, I believe that because I can do any­ thing with a certain ease it makes me capable of aspatial fantasy and using aspatial technique more freely. By varying what I do I always have the possibility to express myself and to rediscover things. I would say that this is a need of mine, because I am not a musician and composer limited to one thing, such as Westerns. Cer­ tainly I have had success with Westerns and I am perhaps better known for these than for other things. But I have done many things. Certain art films in the Italian cinema use music I have written, which is certainly worthy of respect.

Do you feel that today you are recognized more as a composer for the cinema?

Yes. Those who like me, who have heard me and who have studied me know that the other aspect also exists. But most people think I am a composer for the cinema and that is all. I would like everybody to know that I am something else. ★ CINEMA PAPERS December — 427

Adrian Martin

A Practical Film Student's Guide to Cliche

Warning: this is a somewhat slanted review of some films made by students graduating in 1983 from the Swinburne Institute of Technology Film and Television School (Swinburne) and the Australian Film and Television School (AFTS). It makes no attem pt to describe or evaluate the training offered to students at these institutions, nor does it enter the current debate about which is the better film and tele­ vision school or which is more worthy of government money and public recognition.

These squabbles are left to others with their fiery PR campaigns. The slant of this article is that, whatever the differences that may be con­ structed through a comparison of the produc­ tions from the two schools, they pale into lasting insignificance beside the numbing sameness.

In fact, after seeing the films and videos in a short space of time, they blur into one another more and more in the memory, so that one feels the need to give up, for a moment, the ghost of “ Australian film” — the phantom of its fabulous future — and register a number of fundamental disappointments and painful feelings which relate not so much to these particular films, students, teachers, courses and institutions, but to a general problem in the Australian “ film culture” . (The words “ film culture” are in quotation marks because, being neither the first nor the last person to attempt a diagnosis of some fundamental, nagging problem in Australian film, this author treads a weary path of critique which can fool itself no longer that its very utterance will serve a new, improved vision of tomorrow — a healthy, happy, diverse, smart, complex film scene in Australia.) These comments are situated flatly, and a little sadly, in a trough — the trough of “ local degree zero” as Ross Harley has so brilliantly dubbed it in a recent Filmnews article.1 W hat is going to change as a result of anything remotely smart or penetrating that I or anyone will ever manage to say about Aus­ tralian films? Not, I fear, anything coming out of Swinburne and the AFTS. This is, therefore, a risk: to venture a general impression of a largely undifferentiated body of graduating student work. To begin with, a few wise words from Roland Barthes:

grasping of the supposed subject m atter of the film or video. The problem is simply the massive recourse, over and over again, to cliché and stereotype, a recourse which appears, as far as one can sense it, to be an unconscious reflex on the part of those who conceive and execute the work. That unconsciousness is the really frightening thing to consider.

What is a “ cliché” in this context? It is a con­ gealed, ready-made way of treating or repre­ senting something, be it an issue, a theme, a situation, an emotion or an effect. When a cliché appears in a film or video, it often signals a failure on the part of its makers to think further than the immediate given solution as to how to say or show something. By “ given” I mean given by the culture at large and, more particularly, by the most stream-lined and encrusted conventions which dominate and define the use of the medium at hand. A cliché, in fact, is rarely able to say anything precise or specific about a particular subject or idea; cripplingly, it points ever inward, to its own comfortable reproduction of a diffuse, soggy and indeterminate point-of-view. Clichés, by virtue o f their thickness, tenacity and familiarity, form a kind of wall, a barrier between the film- or video-maker and the par­ ticular topic that he or she wishes to reach. The theme disappears altogether, leaving only an ugly parade of time-worn audio-visual gestures — or, rather, the theme remains in a mangled, token form, a form promised and ensured by the recourse to cliché.

Some readers will already be complaining, pointing to the example of Joseph Bogdanov’s Private and Confidential. Surely here is a film,

Usually the stereotype is a sad affair . . . it takes itself seriously, believes itself to be closer to the truth because indifferent to its nature as language. It is at once corny and solemn.2 “ Corny and solemn” : that is as good a descrip­ tion as anyone could formulate to cover most of the films under review. Perhaps a third word is necessary: “ dum b” . This is not to insinuate any particular lack of human intelligence on the part of the film- and video-makers involved, but rather to hone in on what is the overall conceptual problem which damages the works at many of their levels and causes pain for their audiences. This is not to speak of technical incompetence, which hardly ever arises (on the contrary, the works are mainly slick, pretty and “ well crafted” ), but of a more fundamental problem in the approach to the material: the 1. Ross Harley, “ Local Degree Zero” , Filmnews, MayJune 1984, p. 5.

2. Roland Barthes, “ Writers, Intellectuals, Teachers” , Image-Music-Text, Flamingo, London, 1977, p. 199.

Joseph Bogdanov’s Private and Confidential: “the calculated use o f cliche can occasion both the exercise o f intelligence and the experience o f joy. ”

A Practical Film Student’s Guide to Cliche

the very subject of which is the clichés and stereotypes of the romantic comic book, rather than love itself or interpersonal relationships considered from a particular angle. True enough, this sprightly film is the notable excep­ tion to this argument, but the exception which, sadly, proves the rule. The stance which animates most of the other works under review is a resolutely serious one, “ believing itself to be closer to the truth because indifferent to its nature as language” . “ T ruth” , here, takes the form of highly serious, ‘im portant’ subject matter, be it the sexual traumas of adolescence, the low-life angst of the junkie sub-culture or the struggles of brave individuals against the corrupt political system. These kinds of hohum themes are flung at the viewer with, at times, such overwrought earnestness that one might well imagine that the film- and video­ makers really believe they are ‘saying some­ thing’ for the first time in audio-visual history.

The act of disavowing that history, of not seeing the presence of its pre-existing languages and conventions straight, only ever leads to its mechanical, mindless regurgitation, corny and solemn, pure cliché.

The presence of cliché per se is not neces­ sarily a bad and undesirable phenomenon: Private and Confidential, alongside any film by Jerry Lewis or Rainer Werner Fassbinder, exists to prove that the calculated use of cliché can occasion both the exercise of intelligence and the experience of joy. Clichés can be variously twisted, played upon, exploited or transcended. There is no suggestion here that there is a ‘true’, direct route to subject matter which simply bypasses the error of fake clichés.

However, anyone working towards a career in film or television simply has to be made aware of cliché, baptized in the cold, pervasive waters of audio-visual history and convention, not to then always banish cliché (although this would help as a preliminary training exercise), but to be able to recognize and use it precisely as a device, as a means of representation. It is a means towards an end which could be sighted and sought after a little more clearly than happens at present, for cliché, when un­ checked, devours every good intention and tra n sfo rm s m ost e n d -p ro d u c t in to an inadvertent camp joke.

W hat is offered, therefore, is a few random notes towards “ A Practical Film Student’s Guide to Cliché” , evidence and examples gathered solely from the films and videos under review. Individual assessment of titles is not the aim here, for the aching problem of mindless cliché is surely not one to be blamed on up-andcoming film and television creators, but on . . .

Who? What? The available training at the schools? Film culture? Australian society? The mind boggles at the prospect of a decent analysis of the problem, let alone the recom­ mendation of a decent solution. Yet, some immediate good may come of an attempt to sort out a few of the clichés.

social, the teenage sexuality theme offers a multitude of ready-made clichés: exaggerated contrasts between the innocence of the child or teenager (wide-eyed, shy, yet curious) and the general decadence and sleaziness of the adult world (decadence here translated into the homosexual guest of Am anda Filla’s Boarding House Secret, the extra-marital affairs of Dad in Jane Cam pion’s A Girl’s Own Story, the advanced, sexual activities of older brother in Paul H ogan’s Getting Wet , and the mad uncle of Danae G unn’s Uncle Robert). To be fully cliché, this subject requires a gothic-looking house with large staircases and secret rooms, tense domestic scenes at the dinner table and many close-ups of the principal youngster’s eyeballs rolling in high anxiety. The intense experience of traumatized, sensitive individuals is, after all, the only thing which really matters to a modern filmmaker! Getting Wet scores points here for its adoption of a whimsical and anecdotal rather than pseudo-tragic tone.

Cliche Subjects 1. Teenage Sexuality. Storry W alton bravely ventures, in the introduction to the AFTS graduate program, that this is a “ contemporary social them e” . Neither contemporary nor

Top: Paul Hogan’s Getting Wet: “a whimsical and anecdotal rather than pseudo-tragic tone”. Above: Jane Campion’s A Girl’s Own Story: teenage sexuality.

Edited by Peter Beilby and Ross Lansell

AUSTRALIAN

MOTION PICTURE YEARBOOK J

1983

>

.

S

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.

Published by Heinemann Publishers Australia in association with Cinema Papers.

210 pp

At the end of the 1960s Australia had virtually no film industry. By 1983 its movies were being shown throughout the cinema-going world, from mainstream theatres in America to art houses in Europe.

In a rapid transform ation, a country which had previously been best known for its kangaroos and koalas produced something new and surprising: to quote Time magazine, “ the world’s most vital cinema, extravagantly creative, fiercely indigenous” .

Australian M ovies to the World looks at how this transformation came about and how those movies broke into the international market. And, through interviews with Australian and overseas directors, producers, actors, distribution executives and critics, it tells the story of the people who made it all possible.

Published by Fontana Australia and Cinema Papers.

The International Success of ' Australian

since 1978

BACK ISSUES Take advantage o f our special offer and catch up on your missing issues. M ultiple copies less than half-price!

CINEMA mPERS PoÂÎe w

Number 1 January 1974

Number 2 April 1974

Number 3 July 1974

David W illia m so n . Ray Harryhausen. Peter Weir.

G illian A rm strong. Ken G. Hall. Tariff Board Report.

Antony I Ginnane. The Cars That Ate Paris

Violence in the Cinema.

Alvin Purple. Frank M oorhouse S andy H a rbu tt.

F ilm U n d e r A lle n d e Nicholas Roeg. Between Wars

John P a p a d o p o lo u s .

W illis O'Brien. The McDonagh Sisters Richard B re n n a n Lu is B u n u e l.

The True Story of Eskimo Nell

Number 14 October 1977

Number 15 January 1978

Number 16 April-June 1978

Phil Noyce. Eric Rohmer.

John Huston. Blue Fire Lady S u m m e r f ie ld Chinese Cinema.

Tom C o w a n , F ra n c o is Truffaut. D elphine Seyrig.

The Irishman The Chant of Jimmie Blacksmith Sri Lankan Cinem a. The Last Wave

Patrick. Swedish Cinema.

J o h n D u ig a n . S te v e n Spielberg. Dawn! Mouth to Mouth Film P eriod­ icals

Number 22 July-August 1979 Bruce Petty. A lbie Thoms.

N ew sfront F ilm S tu d y R e s o u r c e s . K o s ta s Money Movers. The Aus­ tra lia n F ilm and T e le ­ vision School.

Index: Volume 5

Number 24 December 1979 January 1980 Brian Trenchard Smith.

Palm Beach. B ra z ilia n Cinem a Jerzy Toeplitz.

C o m m u n ity T e le v is io n .

A rthur Hiller.

Number 11 January 1977

Number 12 April 1977

Number 13 July 1977

Nagisa Oshima. Phillippe Mora. Gay Cinema. John Heyer Krzysztof Zanussi.

M a rc o F e rre ri. M a rc o Bellocchio.

Emile de Antonio. Aus­ tralian Film C ensorship.

Sam A rk o ff. R o m an P o la n s k i. The P ictu re Show Man. Don’s Party.

Storm Boy

Kenneth Loach. Tom Haydon. Bert Deling Piero Tosi John S cott. John Dankworth. The Getting of W is d o m . J o u rn e y Among Women

Louise Malle. Paul Cox John Power. Peter Sykes.

B ernardo Bertolucci. F.J. Ho lden In S earch of Anna Index: Volume 3

Number 17 August-September 1978

Number 18 October-November 1978

Number 19 January-February 1979

Bill Bain. Isabelle Hup­ pert. Polish Cinema. The Night the Prowler Pierre Rissient. Newsfront Film Study Resources.

Index: Volume 4

John Lam ond. Dlmboola.

In d ia n C in e m a . S o n ia B o r g . A la in T a n n e r .

Cathy's Child The Last Tasmanian

A n t o n y I. G in n a n e Jerem y Thomas. Blue Fin. A n d re w S a rr is . A s ia n C in e m a .

S p o n s o re d Documentaries.

Number 28 August-September 1980

Number 29 October-November 1980

The Films of Bruce Beresford. Stir. M elbourne and S ydney Film Festivals.

Breaker M orant Stacy Keach f lo a d g a m e i

Bob Ellis Actors Equity D e b a te U r i W in d t C r u is in g The Last Outlaw. Philippine C in­ ema The Club

Number 10 September-October 1976

Number 20 March-April 1979 Ken C a m e ro n . French C inem a. Jim S h arm an.

My Brilliant Career. Film S tu d y R e s o u rc e s . The Night the Prowler

Number 25 February-March 1980

Number 26 April-May 1980

Number 27 June-July 1980

Chain Reaction David P u ttn a m . C e n s o r s h ip .

Stir. Everett de Roche.

Touch and Go Film and Politics.

The Films of Peter Weir.

Charles Joffe Harlequin Nationalism in Australian Cinem a The Little Con­ vict.

Index: Volume 6

The New Zealand Film In d u s try . The Z Men. Peter Y e ldha m . M aybe This Time. Donald Richie.

G re n d e l, G re n d e l, Grendel

Number 38 June 1982

Number 39 August 1982

Number 40 October 1982

Number 41 December 1982

Number 42 March 1983

ig o r A u z in s , L o n e ly Hearts, Paul Schrader, P eter Tam m er, Lilia n a Cavani, We of the Never Never, Film Awards, E.T.

Mel Gibson, Moving Out, John Waters, Financing Films, Living Dangerous­ ly, The Plains of Heaven.

mSIO ee 'H

Number 36 January-February 1982

Number 37 March-April 1982

Kevin Dobson, Blow Out. W om en in D ra m a .

M ichael Rubbo, Mad Max 2 Puberty Blues

S te p h e n M a c L e a n on Starstruck. Jacki Weaver, Peter Ustinov, W om en in Drama, Reds, Heatwave

G e o ff B u rr o w e s and George Miller on The Man F ro m S n o w y R iv e r , James Ivory, Phil Noyce, Joan Fontaine.

Helen Morse on Far East, Norwegian Cinema, Two Law s, M elb o u rn e and S y d n e y F ilm F e s tiv a l reports, Monkey Grip

FHenri Safran, Moving Out, Michael Ritchie, Pauline Kael, W endy Hughes, Ray B a rr e tt, R u n n in g on Empty

Number 43 May-June 1983

Number 44*45 April 1984

Number 46 July 1984

Number 47 August 1984

Number 48 October-November 1984

Sydney Pollack, The Dis­ m is s a l, M oving O ut, Graeme Clifford, Dusty, Gandhi, 3-D Supplement.

Special Tenth Anniversary Issue, History of Cinema Papers, David Stevens, Phar Lap, Mini-series,

Paul Cox, Street Hero, Razorback, Jeremy Irons, Annie’s Coming Out,

Richard Lowenstein, Rob­ Wim Wenders, David Bradbury, The Bounty, S o p h ia Turkiewicz, Hugh Hudson.

Ken Cameron, My First Wife, ABC tele-features, Strikebound, Motor-cycle Boys, Silver City, Body­ line.

Man of Flowers.

Alan J. Pakula, the NFA.

bery Under Arms,

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A Practical Film Student's Guide to Cliche

2. Alienation and Angst. This is another take on the extraordinary prevalence of themes of Narcissism and eyeball-subjectivity which structure the graduating works of 1983.

Detached, blank heroes and heroines wander through desolate, vaguely Surrealist frescoes of life, unable to do anything but stare at sex (on a screen or through windows), various titillating forms of depravity, visions of their own impending death and m agnificent fetish objects, such as mannequins in shop windows or Nazi paraphernalia. Numbing obsession and floating voyeurism are two remarkably popular fixtures of current production. See Sarah R o b e rt’s Flashpoint, Scott M cB urnie’s Strangers by Order, Christine W ardale’s For­ bidding Mourning, Jane Nicholls’ In Search of Viewable Objects, M ark W arren’s The Idiot, Peter Campbell’s Heil Hawthorn and Sue Richter’s G’Day Love. Relatively free of cliché, on the other hand, and genuinely intriguing in its portrayal of an interior mental state, is Georgia W allace-Crabbe’s Wood Roads/ Wrong Ways: Holzwege.

3. Last Remaining L ife at the E nd o f The World. Either figuratively (outcast stranded in the cruel Aussie desert of Peter Jordan’s Iwana Station) or literally (post-holocaust bunker macrocosm of Tom Williams’ A Bang and a Whimper — End of the World), this story should involve the m otif of “ man against nature” , the principal characters turning more and more to savage territorial imperatives, and the basic survival urges and drives of sex and hunger. Contrast, in an exaggerated fashion, civilized proprieties and primitive essentials.

Stress the harshness of the environment in an unsubtle fashion throughout. Try to work in an allegory of all human life in a nutshell: the suburban Mum who sits and watches television in a catatonic trance, the fearful Puritan father, the spunky young kid with W alkman at her ear and the savage, Mad Max male.

4. Trendy Social Issues. This is a rather open category and one that could be endlessly shuffled. W hat is at stake here is not the

Georgia Wallace-Crabbe’s Wood Roads /Wrong Ways: Holzwege. “genuinely intriguing in its portrayal o f an interior mental state”.

Kylie Burke’s Sweet Sixteen: “relationship problems o f single, careeroriented mothers and their teenage daughters”.

particular issue, which could be handled in any number of possible ways, but the pat, Four Corners-type, 20-minute narrative formula which renders any burning social concern limp and token. The plight of the aged in Wendy Thom pson’s Home; the relationship problems of single, career-oriented mothers and their teenage daughters in Kylie Burke’s Sweet Sixteen; the ocker oppression of women in G’Day Love; the precarious existence of political minorities in Ray Q uint’s September ’51; the tragic fate of Vietnam veterans back home in Kathy Mueller’s Every Day, Every Night; the loss of identity of the unemployed experienced by the unemployed in Andrew Scott’s J. Munroe; the living-on-the-edge exist­ ence of junkies in Nick Lathouris’ Best Wishes for Baby’s Arrival; and that old faithful suburbia in Julie M oney’s The Dictator: all these, no doubt serious and im portant, subjects tend to be rendered in the available screen time in the purest black or white, all gloomy inevit­ ability (death, decay or escape into catatonic

Ray Quint’s September ’51: “the precarious existence o f political minorities”.

A Practical Film Student's Guide to Cliche

fantasy) or glassy-eyed, Utopian resolution.

Julie Money’s Kindred is the notable exception here, for, although courting a subject loaded with simplistic clichés of presentation (incest and sexual blackmail), it manages to capture se v e ra l fin e , d r a m a tic a n d th e m a tic ambivalences in the area it pictures: grey areas between the black or white.

5. Cute Lunacy. Nutty, crazy, whacky people — artists, of course — invent the world anew in the face of a stuffy, conformist, establishment society. There are more exaggerated contrasts.

In isolation, the artist or poet suffers the set­ back of introspection, but he or she is joined by a soul mate and together they conquer all things. Much affected histrionics is required for this cliché: frantic drama-student laughing, clowning, roller-skating, singing and love­ making. See Jack W hite’s Abbandano . . .

Presto! and Valec Sadovchikoff’s As the Crow Flies.

6. The Individual versus the System. A tough, individualistic reporter with a conscience works on a small-town newspaper for an insensitive, conservative boss. The reporter goes in search of the Truth, suspecting a political conspiracy of immense magnitude and sinister implica­ tions: i.e., a cover-up. He speaks up, loses his job and is silenced by the mysterious machina­ tions of power (see Jonathon Shiff’s Next Time; an interesting variation is provided by Every Day, Every Night). This is the standard plot cliché which allows the pose of “ political comment” .

7. Stream o f Consciousness. This is a third take on tortured narcissistic subjectivity but this time floating in anybody’s or nobody’s self­ consciousness, or perhaps only the film­ m aker’s. In other words, it is an arbitrary, free­ association chain of bizarre or perverse or shocking or surreal or child-like images, or any combination of the aforementioned, justified as anguished or playful mental projection. See Noel Richard’s X Times 2, Sally Prior’s Dream House, Strangers By Order and Forbidding Mourning. Animation is particularly prone to this very 1960s’ cliché, and is also prone

A Girl's Own Story: “cold room, alienated heart . . . ‘I Feel the Cold’ ”.

(particularly in its computerized form) to equally arbitrary hi-tech, space-age perm uta­ tions of cubes and grids in space (Alister Mac­ Gregor’s Tangramation). Andrew Quinn’s Waltz Mambo distinguishes itself in this company by actually coming up with a few ideas as to what one might show or say in computer animation.

Clichè Devices 1. Banal and Simplistic M otifs. W hat passes for a “ creative touch” in A Girl’s Own Story is the recurring reference to heaters which don’t work or haven’t been turned on — cold room, alienated heart, get it? If you didn’t get it during the unfolding of the story, there is a rock-clip scene with a song “ I Feel the Cold” , showing the principal characters huddled over bar heaters, just to make it quite clear at the end. In J. Munroe, the frustrated, repressed un­ employed man of suburbia is compared with a bird he trains and sets free at the video’s end, a supposedly pithy statement about the possi­ bility of freedom and escape borrowed from Ken Loach’s Kes. 2. Exaggerated Contrasts. As indicated above, absolute semantic oppositions between two life­ styles with no dramatic, dynamic mediation between the two, unless magically in a happy ending (for example, Abbandano . . . Presto!), are required. Innocence versus experience, child versus adult, conservative versus radical, civilized versus savage, voyeur versus viewed and individual versus system are clear-cut oppositions which simplify dramatic problems enormously and clear aside potentially interest­ ing tensions and overlaps. They also allow the filmmaker to position himself or herself firmly and unproblematically on the positive side of the binary equation (as, for instance, a mature, creative, free, radical individual).

3. Certain Standard Techniques. These are for use in cutting, emphasizing a detail, or shifting into high or low gear. They are transitional devices which recur with monotonous, deadly regularity from work to work: cutting from a silent lull at the <*nd of one scene to a sudden violent jar at the beginning of the next; or bringing in a bit of sound from the next scene to get out of the present one. There is so much ominous slow motion (for moments of violence, particularly, or turning points in the plot) that one can hardly be expected to bear it.

There are cliché ‘intros’ and ‘outros’ in predict­ able symmetry (for example, a dolly down from the trees to the front door at the start, and back again to the trees at the end); many shots of car tyres’ screeching to a halt in extreme close-up; eyeballs — also in extreme close-up — to signal subjective point-of-view; loads of echo and a tinny drum-machine on the soundtrack to signal an imminent flashback; overhead shots of huge staircases, with characters fixed like spiders at the bottom; framing through windows, veils and curtains — further motifs of entrapment; and distorting, fish-eye lens closeups to let you know a particular character should be thought of as rather grotesque. Virtu­ ally every film and video under review is complicit with this category of audio-visual language clichés, revealing a startling inability

A Practical Film Student’s Guide to Cliche

to devise anything other than the most conven­ tional production and post-production solu­ tions to the minute-by-minute problems of representation and realization.

Cliche Styles 1. Realism. There are several sorts, such as the Ken Loach style: includes muffled dialogue, group interaction in wide shot and narrative that has neither centre nor clear resolution; low key, ‘window on the world’ stuff, so under­ stated and self-effacing that it threatens to fade away into anecdotal insignificance (September ’51 manages to succeed quite well in this style).

More popular in this batch of works is the pseudo-cinéma vérité fiction à la Andy W arhol or John Cassavetes: relentless long takes, lots of random noise, aggressive probing camera and agonized psychodrama on the part of actors or characters. This is high-key, “ you are there” realism which looks so fake it becomes merely spectacularly grotesque (Best Wishes for Baby’s Arrival, G’Day Love).

Kathy Mueller’s Every Day, Every Night: the Individual versus the System.

2. Primitivism. This is a calculated, vicious, funky amateurism that particularly defines the ‘St Kilda sensibility’ which is strong at Swin­ burne. Although this style has a fairly recent history, its cliché quotient is already quite high, providing budding, rough-and-ready transgres­ sives with numerous reflexes for signalling how radical they think they are. These reflexes include scratching and writing on the film; large dollops of incongruous images in the montage; jam-packed, op-shop, baroque set design; and an elaborate iconography of over-ripe drug culture decadence: veils, eggs, sado-maso­ chism, blood, bondage, nuns, burning light bulbs, goo, dark night with solitary campfire, black clothes, factory noises and distorted syntho-pop on the soundtrack. This style tries very hard to be perceived as dirty and per­ versely scandalous but its calculation and posturing are as blatantly obvious as they are ludicrous. See Dana Persson’s She-Whore: A Woman Takes Her Clothes Off, X Times 2, Strangers by Order and Forbidding Mourning.

4. Expressionism. This is when style goes crazy in every direction, over-reaching itself to make every screen moment intense, powerful and meaningful. As much as its intentions and performances are admirable, Every Day, Every Night is a prime example of an over-the-top expressionism: the camera never stops moving, the soundtrack is relentlessly hyped-up with echo and loops, and the hysterical pitch never abates. The film tips over into some highly questionable and seemingly arbitrary inclusions in the name of non-stop expressivity: does one really need the sound of chopper blades á la Apocalypse Now and the brief archival burst of a massed “ Sieg heil” atop everything else?

Nonetheless, the attempt at a meaningful, integrated style in Every Day, Every Night is, at least, admirable to the point when it joins a long line of overwrought, hysterical, filmic clichés that are, once again, merely spectacular or plainly grotesque. At this point, the subject matter of the film suffers, indeed virtually dis­ appears. Some of the other films manage a pleasingly integrated equilibrium of style and subject: in particular, Getting Wet and Kindred.

3. Functionalism, Television Style. This comprises no nonsense, no frills; shot-reverse shot; even lighting; strictly motivated camera movements; steady pace; establishing shots such as figures in a landscape or in a room; dialogue as the primary component; and perfect clarity of statement, gesture and motivation at all costs, all of which is boring!

Whatever happened to space and framing, to the dynamic mise-en-scène of yester-year, in works such as The Dictator, Sweet Sixteen and Robert Chuter’s The Mortal Coil? Here, “ style” in the conventional sense of the word — stylish style — is completely absent, presum­ ably for the sake of some assumed “ plain communication” from screen to audience.

However, choosing to bear the yoke of predict­ able and bland functionalists’ clichés of presentation means that the ‘messages’ to be communicated are never volatized or imparted to the viewer in any gripping or involving way.

Here, there is no constructive relationship between style and subject, form and content.

At the other extreme is an equally unsatisfying solution to this style-subject conundrum .

This is a far from complete “ Guide to Cliché” ; it should be extended, criticized and qualified.

Above all, it should be used as some kind of tool or resource in film and television training.

This is, doubtless, a fantasy, but an earnest one nonetheless. The hunch underlying it is this: that the Australian cinema might learn some­ thing from a little less “ straight talk” in its conception and execution of filmic ideas, and a little more rigorous self-consciousness.

Would some attention to cliché by our budding audio-visual artists be merely crippling, wanky and self-conscious in the worst sense? I don’t think so. As long as they remain unconscious of cliché, they are its prisoners — ventriloquists’ dummies and lackeys of a dom inant audio-visual language which they will continue to pretend they have mastered. Are they another generation of film and television workers at once corny and solemn? You can applaud that if you wish; I would still like to entertain the dim hope that the future of the Australian cinema might turn out a little differently. ★

Jane Campion, an expatriate New Zealander who has lived in Australia fo r the past seven years, is a recent graduate o f the Australian Film and Television School (AFTS). Her short film s Peel, A Girl’s Own Story and Passionless M oments (with Gerard Lee) have already attracted considerable attention and theatrical distribution. Peel was a finalist in the 1983 Greater Union Awards; A Girl’s Own Story won the Rouben Mamoulian Aw ard at the 1984 Sydney Film Festival and Best Direction in the Non-Feature section o f the 1984 Australian Film Institute Awards; and Passionless M oments won Best Experimental Film at the same Awards. Campion is currently working on a project with the W om en’s Film Unit at Film Australia.

Campion is interviewed by M ark Stiles.

How did you get involved in films?

I was at Sydney College of the A rts, which is probably my greatest teaching influence. I had a fantastic time at the school. I had very old-fashioned ideas about art which I had picked up at home — you sort of drew things — and that was what I wanted to learn. Art was all very mysterious: there were these wonderful paintings and you wanted to look at them for a long time without really knowing why.

Art school knocked a lot of that out of me. It is not so much that it really changed me but that it made me rethink everything, which was pretty monumental at the age of 25.

434 — December CINEMA PAPERS

After that, I decided I wanted to do work about things I was think­ ing about and involved in, which were generally relationships and love . . . and sex! Previously, I would go to art school and draw, and I couldn’t wait to get home and gossip about the intricacies of relationships and so on. Then I thought, “ Why am I not doing my work about these things?” So I started making story paintings and it clicked that I was trying to tell stories.

Did you start writing?

Yes. I started writing plays, little performance pieces, and began putting them on. They were pretty

Jane Campion Your films are all very funny.

There is a lovely sense of humor in “ Peel” . . .

The people at the AFTS loathed Peel when they saw a first cut of it.

They told me not to bother finish­ ing it. I was quite vain so I found that really upsetting, but it was good for me. I cut out everything that was remotely extraneous and made the film a lot better. The AFTS people thought I was arro­ gant and not particularly talented.

There were people there more talented than I was, but my talent wasn’t the kind they were ever going to understand, which was one of the luckiest things for me.

Why? Jane Campion’s Peel: ”The people at the AFTS loathed Peel . . . They told me not to bother finishing it. ”

chair or som ething — suddenly there was a crew.

and

How did you ieel about having a crew?

I was always worried about whether they would come; the arrangements were terribly casual.

Sometimes they didn’t!

Tissues is one of my favorites actually. The subject matter and the tone is exactly the same as what I am doing now, but with a bit more style. It is a bit disturbing — I haven’t made much progress!

And after that you went to the AFTS. . .

Top and above: Jane Campion and Gerard Lee’s Passionless Moments.

wild. I was in some of them but I was so humiliated when I saw the videotape I said, “ Never again.”

And I thought how crummily the videotape was shot and that it was a shame.

The next thing I decided was that instead of doing it live I would make it on film or video. That is how I came to make Tissues and how I became totally obsessed. I got this great Super-8 manual and I just taught myself. We did it dopble system Super-8 sound, which is really quite complicated, but it didn’t seem to be any trouble at the time. I don’t know why.

After I made Tissues, I tried to get some money from the Austra­ lian Film Commission (AFC) and I also tried to get into the AFTS. I did a test scene for the AFC but they didn’t like it. The AFTS wanted me, even though they didn’t like what I had made. They couldn’t understand the humor in Tissues: “ Are we supposed to be laughing?” , they asked.

What was your experience at the AFTS?

I fell in love with Gerard Lee, in my first year which was just great because I think I would have gone mad otherwise. The AFTS was so boring and feeble; the relationship was wonderful. We sort of kissed and held hands all through classes and drove everybody mad.

I made an experimental video called Mishaps: Seduction and Conquest about two brothers: one is climbing Mt Everest — that is Mallory in the 1924 expedition — and the other is his fictional brother, who is trying to seduce a woman who is not very interested in him. It is the two styles of con­ quest. I was very moved by the way the men on the expedition talked about the mountain as though it had the qualities of a temptress: the closer you got to it the less you wanted it. It just seemed so much like the nature of desire.

I quite like the finished film. It has a nice feeling and is more sophisticated than some of my other stuff. But I hated it when I first finished it. I made it in a very open-handed way and everybody came in and told me what a heap of shit it was. So I just kept work­ ing, trying to make it the best I could.

Did you shoot it?

No. People just seemed to turn up. I had imagined I would have to do it all myself. I went some­ where to find out about Super 8 and there would be someone else there and he would say, “ Oh, I’ll do sound if you like.” I didn’t even think about that to be honest — to put the microphone on a

Jane Campion’s Rouben Mamoulian Award-winning A Girl’s Own Story.

They tend to wreck the people they think are talented: they over­ feed them. But if they are critical of you, or don’t like you, they leave you alone and that means you educate yourself. They don’t stop you; they don’t say, “ This is too rude. Don’t put it in your film.” There is no censorship at the AFTS; there is just harass­ ment.

I don’t mean to be too harsh about the AFTS. Everyone wants the AFTS to exist; one just wants it to be better.

“Peel” is about a red-headed family which goes for a drive in the country, has an argument and is too stubborn to give in and go home. What was it like working with red-headed actors?

At a certain stage things happened rather quickly. Katie Pye said, “ You have to do all the rest of my shots in one day because I am not coming out here again!”

What was great about the actors was that they were honest enough to play themselves. I have a lot of respect for them because of that.

We are all much closer for what we went through.

How did you cast the children in “ A Girl’s Own Story” ?

After Peel, I learned the lesson that it is really good to have people who are really interested in a career in film. Otherwise, no matter how good they are, if you can’t afford to pay them they get terribly pissed off.

So, on A Girl’s Own Story, I went to all the drama groups in Sydney. I also rang up some secondary schools and talked to their drama teachers, went to school plays and things like that. I met one girl in a coffee shop. It took a long time. A few people didn’t want to do certain roles, like the girl who gets pregnant to her brother. The girl I originally cast couldn’t handle it. She was a very innocent girl, which was what the part called for and she would have been perfect, but I didn’t want Concluded on p. 471 CINEMA PAPERS December — 435

Kathy Mueller was born in Cleveland, Ohio, one o f 11 children o f a working-class Catholic fam ily. She came to Australia in 1970 and taught A rt, Craft, Music and English at a high school in Warialda in New South Wales. There she started putting on plays and making Super 8 film s with her students. She then taught Aboriginal children on a cattle station, Elsey, in the Northern Territory before moving to Canberra and, finally, Melbourne.

M ueller’s graduating film fro m the Swinburne Institute Film and Television School, Every Day, Every Night, won the GUO award in Sydney this year fo r Best Short, Best Sound at the 1984 Australian Film Institute Awards and was voted Best Short at the Montreal Film Festival this year.

Mueller was interviewed by Helen Greenwood while in pre­ production fo r a tele-feature, Emerging, that she is directing fo r the ABC. While I was in Darwin, I did some acting and also wrote my first play.

It is based on my experiences in the Northern Territory, and one day, when I get my craft together, I will make it into a film. Then I moved to Canberra where I was offered another acting job, cabaret and children’s theatre. But I decided I didn’t want to be an actor; I wanted to be a director.

A lot of the directors I had worked with didn’t know what they were doing. They would spend all their time playing power games rather than getting on with the truth of the script. It was just a big game to them. I am talking about theatre, not film.

Anyway, there was no directing 436 — December CINEMA PAPERS

course at the time so I had to do acting. I went to the Victorian College of the Arts (VCA) to do a drama course there — a guinea pig year as it was the first year. It was a real unlearning, very confront­ ing. It was a growing period in many ways.

Why did you decide to move into directing films rather than direct­ ing for the stage?

When I graduated from the VC A I was asked back as a lec­ turer. During my years there I became aware that theatre was somehow elitist. It never really reached the public — the people whom I wanted to reach. My

Kathy Mueller

parents, for instance, would never go to theatre but they might go to see a film.

I also found that actors who would give a brilliant performance one night would then go through a slump and their perform ance would go down. One never quite achieves the vision one has in the head when directing. I wanted to have it forever and film was the natural answer.

At that time I also started writing. Being a director and writer is about having creative control — but not power. I am only just coming to terms with that word.

There is a fine line between power and control: perhaps what you are talking about is control and dis­ cipline . . .

I am talking about exploitation versus inspiration. You can inspire people to do what you want, but to manipulate or control them in a way which is against their will obviously becomes a power game.

It is a distinction Australians actu­ ally are very afraid of tackling. So are most people in the world. That is why there is constant oppression in this world.

I am very fascinated by the power in oppression: how power oppresses others who haven’t dis­ covered their personal power; the constant struggle between the oppressed and the oppressor. That conflict is what dram a is all about.

I don’t understand the power games people play or why they are playing them, but I am very in tune to the fact they exist. That is, I suppose, why I have a good sense of dramatic build. Trying to write about those power games is impossible, but directing and understanding comes intuitively to me.

How does that relate to “ Every Day, Every Night” ?

Power and oppression are most insidious when they are in a form you can’t see. For instance, you never know all the reasons for which governments and nations decide to go to war till years after, and even then it is covered up. But that is what power is about: they can tell you that you must fight, what your life must be, but they never take the responsibility for the consequences. Power and responsibility go together, but it is very easy for someone in power to forget the responsibility when it comes to paying the dues.

Is that what you are trying to point out in “ Every Day, Every Night” ?

To point that out would be dictatorial, and I don’t feel I have that right. All I can do is to express what I feel.

I work in terms of feeling and I am constantly fighting a battle

Recreating the nightmarish life o f a Vietnam war veteran’s wife. Spike (David Swann) loses control and again his wife Vera (Carolyn Howard) is the victim. Kathy Mueller’s Every Day, Every Night.

between the mind and the heart, which helps dramatic build as well.

I get very outraged that the indivi­ dual is told what he should do, and then is left to suffer the conse­ quences. The outrage is very real, but I don’t have the answers. So I simply try to make other people aware of situations or express for them their sense of outrage, which then becomes cathartic.

But in “ Every Day, Every Night” there are some very powerful images, a lot of dramatic camera­ work and strong sound effects.

The film is emotionally manipula­ tive and certainly veering towards being dictatorial . . .

I would not want to be dic­ tatorial, I want to be heard. If som eone expresses themselves emotionally, it can’t be called dic­ tatorial unless it is done in critical terms. I don’t find the film is being critical. If someone else does, that is valid; if it hits them with their head rather than their gut, fine, but I was working from my gut when I made it. I unearthed a lot o f in fo rm a tio n which really shocked me, so it ended up in the film in terms of images and emotions. I wanted people to be as haunted as I was when I discovered what was going on.

When you have nightmares or recurring dreams, you are haunted by images flashing past, and sounds which create another image that takes you somewhere else. So the flashbacks came out of seeing

the movements in my mind, recreating Vera’s (Carolyn How­ ard) nightmare. But it wasn’t a thought-out process; it just happened. I knew the feel, but I didn’t really have time to plan shots. I was still trying to raise money and find locations until the day before the shoot.

Sure, but melodrama is defin­ itely out. If you read the crits and they label something as “ highly melodramatic” it is usually as a slur.

Do you think there is a documen­ tary style in the way the film is shot?

Would you say, though, that melo­ drama is the best way of expressing yourself?

If you want to call it a documen­ tary, fine. I don’t care what people call it. I simply was going with whatever shots would create the mood I wanted.

Film is like a Pandora’s Box: it can be so destructive and yet so en­ lightening; it can be a tool for learning and a tool for manipula­ ting or breaking. It is like a weapon. It is quite frightening what it does to young audiences in terms of violence and sex, but it also can inspire and allow people to make great movies for catharsis.

But there is a lot of melodrama in my work. I like Lina Wertm uller’s work because you can really get into the outrage; you can say things that normally wouldn’t be able to be said because they are taboo or they are not meant to be said if you are sophisticated. Film is such a sophisticated medium and people like to label you or wipe you because you are not sophisticated, because you are not using the medium as it has inevolved to its heights.

No. I see everything in melo­ dramatic terms and I am terribly melodramatic and excessive in my own life. M elodrama balanced with black humor and pathos is probably the best way of express­ ing myself. I would like to move towards black comedy, in which one can be outrageous and also scathingly solemn.

But you can go to the heights of melodrama, of the detective genre, of anything . . .

How did you come into contact with the story?

I was researching and writing another feature film script, and I wanted one of my characters to be a Vietnam veteran. I went to the Vietnam Veterans’ Return Office and this woman was in the middle of taking suicide phone calls — it was an incredible drama. I just couldn’t get away for six hours because I was talking to her and we were continually interrupted by phone calls. I just walked away totally devastated by this wom an’s life. Here was I, writing this little Concluded on p. 473 CINEMA PAPERS December — 437

HMMHH

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Fred Harden

There have been several new product releases fro m Kodak in the past six m onths which, because o f Cinema Papers' publication schedule, have not been reported in the “New Products” section. To redress this, the following is an inter­ view with David Wells, the marketing manager fo r the M otion Picture and A udio Visual Markets at the Kodak office in Coburg. However, the discussion soon left the new products and turned to the marketing o f those products, an area about which most o f us have wondered (or cursed) at some time. H ow does Kodak rate the film industry as customers? A n industry as unpredictable as the film industry places demands on suppliers that are different fro m many other areas o f business and Kodak has coped with a varying degree o f success over the years.

There are many things that one expects an organization as big as Kodak to do continually, such as improve the filmstocks used by the industry. If you don’t, then your closest competitor will nudge you into action, as was the case with Fuji’s high-speed stock . . .

lot of hard work. Some attitudes have really had to be inculcated into all sorts of people to overcome the complacency.

The marketplace picks up very quickly when a company is bored and boring . . .

There had been comment at Yes. So we have done a lot of Kodak for some time that there things, but not just with the was a need for high-speed nega­ product itself. We have the techno­ tive, and all of a sudden Fuji intro­ logical leadership but I don’t duced it. A lot of people started believe that the other products are w orking e x tra o rd in a rily hard bad at all: a lot of people wouldn’t within the Rochester environment be able to tell the difference to come back with an answer. We between theirs and ours under did it reasonably well with 5293 ideal circumstances. W hat happens and then made a step beyond that when circumstances are not ideal is with the 5294 stock. a different m atter entirely. So we Today, there is even less reason spend a lot of money, in the U.S. to be complacent because people in particular, in the development know how to make filmstock, and of new products and, more our competitors can do a very important, the continued improve­ good job. We now have to make ment of existing ones. It is not sure that we keep whatever techno­ often realized, for example, that logical lead we can. We also have the 5247 stock underwent minor to continue to provide a hell of a improvements, as did 7247, for lot of other services to make sure many years. that we are really giving that product some added value in the As a user, one gets wind of it every so often when one sends something market. back and the printer lights have That is where the small manufac­ changed, but that is about it . . . turer can always come in and cut That particularly happens, as it you out of the market, by servicing did last year, when we are out of it better . . . sync with stocks of films, basically It can. But we have not been un­ because the feature industry has successful world-wide in m aintain­ fallen in a heap and we have ing our position. It is a heck of a an excess. The film didn’t age but

there was a gradual process of change, so that when you had a batch of one type of film versus a batch of another there was an apparent difference. The fact of the matter was that when it was finally on the screen there was no difference, but it is a damn nuisance that it should happen in the first place.

The film industry is at the mercy of Kodak because it wants its products. It is a high level of trust and any violation is taken as a personal slight. People are quick to criticize on that basis . . .

Yes, and I am not certain that there haven’t been times when the criticism may have been justified.

It doesn’t matter how big or how small the company is, it is made up of people. A company has an ethic, a sort of culture, and differ­ ent companies have different cul­ tures. We used to deal with one company in Britain where the approach seemed to be a whine — there was always som ething wrong. Everyone you talked to in that company was the same.

I have worked as a customer, admittedly not in the motion pic­ ture field, but as a professional film laboratory man years ago in Britain, and I know how we can screw up your business. But one of the reasons I work for Kodak is I believe we are essentially honest in our endeavours and we do our best, although every now and then we manage to get off the track.

We may have, in the past, become extremely impersonal. I think it happened after World War 2 when there were incredible import problems. If you wanted a roll of film, the attitude was, “ You’ll be lucky!” That attitude, unfortunately, prevailed for some and may have been seen as arro­ gance. I joined the company in 1969 and there was a residual of that: the customers are a damn nuisance, and all this sort of thing.

There was also a phase in the mid-1970s when we had started, as many companies did, on a compu­ terized stock control path, and things were rationalized by num ­ bers. It made it easier because you could do an extended analysis on

how to save money. Nevertheless, as a journalist said to me the other day, “ I can remember times in the early- or mid-1970s when you would ring up Kodak and be asked ‘Well, what’s your customer num ­ ber?’, and ‘W hat’s your cat num­ ber?’ Everything was done by numbers, and we could have com­ plete conversations in num bers.”

There is still some of that around, but a lot less.

Today, we seem to be focusing much more on the service aspects.

An example is our magazine, Images, which is an attempt to reach more people. We have a logistics problem: how in the hell do you talk to many thousands of people? In our case, we have only a few representatives scattered throughout Australia. We are not going to be able to talk to every­ body. I would never be 100 per cent confident that if a customer rang up we were going to give the right answer or the right response all the time. But I believe fervently that that has to be second nature for everybody at Kodak. Again, you are dealing with human beings, and sometimes even customers can be a little unfortunate in their atti­ tudes, to say the least.

What percentage of Kodak’s market is motion picture products?

About 10 or 12 per cent of the total market in Australia, but we also have a substantial export market on top of that.

So, in the Australian market, Kodak’s profit is made up of 10 per cent from motion pictures?

We never discuss it as share of profit but it is not an immensely profitable area like home use. On the other hand, it is im portant for the com pany. The com pany management considers that it is as im portant as all the other lines of business, and the resources we put into it are not unreasonable. It is fair to say that it is not as profit­ able as many would like to think and we don’t, have the kind of manoeuvring that allows us to go through dealers or to cut prices by 10 or 15 per cent or something like that.

CINEMA PAPERS December — 439

New Products and Processes

We are also fairly closely tied in pricing, vis a vis the American prices. We keep our prices very close to the American prices, and they sell direct as well, but we suffer if the U.S. dollar is strong and, since it is defying gravity at the moment, it is keeping the price high here. It is not too helpful to the Americans either. I don’t think the exporters like it in the U.S. Which is, perhaps, the reason Aus­ tralians feel they are the poor cousin, when they see the new products being introduced over­ seas sometimes 12 months before they come here, or the situation in which Australians are using a product which is being phased out overseas but its replacement hasn’t arrived here . . .

That is less true today. It cer­ tainly has been true but, generally speaking, when a product is avail­ able in the U.S. we will have it within four to five months. It is company policy to have products available here as quickly as poss­ ible.

Now, the constraints we have on being able to make an immediate introduction relate to logistics. We still have to ship the product over, which usually takes 12 to 13 weeks by the time they pack and send it.

And we also, unless we are extra­ ordinarily clever, have an inven­ tory here of the discontinued product, since nobody can predict what the motion picture industry is going to do.

One thing that we don’t want to do is to run out of stock. We do, occasionally, because of those very variables. The other thing that occasionally happens is a trade trial of a product in the U.S. and, as the motion picture industry has probably the fastest telegraph line of any that I know, our trade trial immediately gets interpreted as being generally available, which it isn’t.

It certainly can get emotional. If you recall, we introduced a fast stock, 5293. It was not a bad film­ stock, and certainly equal to the F uji products then available, although they have changed now as well. In the U .S ., they released 5294 and we had some excess of 5293. But all of a sudden people who would have bought ’93 in preference to the Fuji products, or would not have used the Fuji products if ’93 were available, said that if they couldn’t get 5294 they would prefer Fuji to ’93. We have since discounted it, and we have some left. W hat people don’t know is that in the long run every­ body pays for it, because it cost us tens of thousands of dollars and we had to recuperate those costs somehow. So what do we do? The cost is spread over a range of materials. It is ridiculous, but that is what happens!

It is also an emotional thing in 440 — December CINEMA PAPERS

terms of what you touched on earlier by saying that filmmaking is an art, a craft, and not that much a science except when it gets into the laboratory. Not every director of photography knows the tech­ nology of film as well as he should.

If they were in the printing industry they would have to know exactly what is behind the inks. It is a great shame that they don’t know what a silver halide crystal is, or what latitude of exposure means, or that there is a trade off always between grain and speed, or what exposure index you use.

Usually they are not given enough time to do tests and rarely do they do tests of their own accord . . .

Maybe we have to try and help them in an educational process.

We have an educational role through film and television schools where we help with information on all sorts of things to do with pro­ d u c tio n : sp e ctral sensitivity, sensitometry, etc. I understand the argument that in the end it is what you see on the screen but some­ times you can make a car go better if you know how the engine works . . . or at least you can drive it better. But we have some areas in which we could help, such as i n f o r m a t i o n ab out T-grain developments.

The T-grain emulsion was intro­ duced in the VR range of still films Yes. It is only in the stills area at the moment, but we suspect the technology may be extended into other areas such as motion pic­ tures. We certainly feel that film has to continue to improve and be used, and that it is not going to be all electronics. There are some critical areas in the middle where post-production is going more into tape. Basically, traditional film-users, who also use video, get better results than the new technicians in video who don’t understand images in the same way that a film person, who has had to use all the subtleties of lighting and filtration, etc., does. How many times can you pick out on tele­ vision the flat highlighting of video versus the quality look that the BBC documentaries get from 16 mm film?

There is a problem also with engineers, who are twiddling a lot of knobs and who don’t know any­ thing about craft, saying, “ This is my particular domain, and I am not going to let you buggers know what the hell is going o n .”

trast, but you can’t do anything else because there is not even a standard of colored phosphors.

Where do you go from there? And how many people do you see look­ ing at a m onitor to judge what the lighting is going to be like? They are busy trying to get the film look.

Video, obviously, is going to have an even more spectacular growth, with more demands for program material. It is great for so many parts of the process, but it shouldn’t be an either-or situation.

Unfortunately, it is, on occasions, and, regrettably, the costing has never really been done properly.

On the other hand, we gave in all too readily and didn’t promote film for what it was until very recently. My American colleagues really gave up, for example, on the news film area far too early.

When there was the attempted assassination of Ronald Reagan some time ago, there wasn’t one film camera at the scene, other than the stills photographers. It was all ENG video and, although it was immediately available, by the time Australia took the satellite feed, and added a slow-motion replay with electronic enlargement, the result was a smeary mess. This is the first century to have its history recorded visually; how much more telling, how much more impact it would have if it were all transferable to highquality mediums such as videodisc or HDTV? Yet, there will be a period of probably 20 years which will be visually dead, when all there will be is low-resolution videotape of our news events. At least film allows us to keep our options open . . .

It is interesting to transpose the events and speculate on what would have happened if we had invented video back in George Eastm an’s time and if we had only recently invented film. Obviously film would have been hailed as an incredible invention: suddenly here is something on which you can see everything, from which you get a

tremendous picture and which is highly sensitive — it is interesting to speculate on our reaction to film under those circumstances.

How much influence does Aus­ tralia have on product develop­ ment?

Nowadays, Kodak in Australia is being asked to participate in trade trials to provide feedback on response to what the product looks like and how it behaves. Along with some other countries in Europe, Australia is recognized as being a sophisticated country with high-quality standards being im­ posed in the film industry. I was visiting a laboratory in the U.S. some years ago, and when I said I came from Australia, they said, “ Oh God, th at’s the only country we had trouble with. The quality standards are too high.” You should see some of the rubbish that comes out of the U.S. today.

We have a research laboratory which does work in other areas, and is involved in the m anufactur­ ing side. We don’t manufacture motion picture film here but we do have in our research laboratory a group called M otion Picture Tech­ nical Services, which consists of four people who are in my area of responsibility. They are there partly as what we call photo-tech­ nology, partly as a testing area, partly as an educational area, and partly as an advice and service area. They conduct laboratory surveys and will work with camera­ men if there is a particular problem. If there is a complaint we will bring the cameraman to the laboratory and try and sort it out.

We are not here to apportion blame but to try and find out where the problem is, if there is a problem. We also send this group anywhere in the country or out of the country, and it is a service that is well appreciated by the labora­ tories. I am not sure that camera­ men even know that they get better quality results on the screen because of the work that these people do. ★

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AUSTRALIAN MOVIES TO THE WORLD “ . . . a credibly objective view of those heady days for the Australian film industry . . . one of the best set of production stills put together for publication in recent years . . . ”

. . an intelligent summing up of Australian filmmaking.”

David Bentley, S u n d a y Sun (Brisbane)

Greg Bright, E ncore

. a book that will be enthusiastically pawed by both casual filmgoers and buffs.”

John Bruce, The D a ily Telegraph (Sydney)

“ I can strongly recommend David White’s book. . .

One of the most informative and readable books of its kind . . . concise, all-embracing and accurate . . . an excellent buy.”

Raymond Stanley, S creen In te rn a tio n a l “ . . . thorough illustrated . . . ”

and

workman-like,

profusely

“ . . . the information that it offers on overseas critical and box-office response is valuable, sometimes surprising and always lucid . . . very readable . . . ” Susan Dermody, C inem a P apers (Melbourne)

The N a tio n a l Tim es

“ David White [’s] meticulous recital o f . . . the new Australian film boom . . . ” Pat O’Neill, The H e ra ld (Melbourne)

;

See Insert fo r details.

David White

Published by Fontana Australia and Cinema Papers

'

Distributor

SYD.2

Street Hero

RS

(7) 58,018

My First Wife

RS

67,193

95,992

Fast Talking

FW

(7) 54,306

(7/1 day) 37,230

Silver City

FW

(2*) 41,220

19,041

Annie’s Coming Out

H o y ts

(3*) 36,910

21,735

Cold Chisel: The Last Stand

OTH

6,338

Strikebound

OTH

The Slim Dusty Movie

GUO

TITLE

(4 * /5 *)

(1)

MLB.

PTH

ADL.

BRI.

(8*) 96,788

(5) 40,001

(7*) 53,187

17,841

(4 * /5 *)

(4)

(3*) 10,729 (3) 7,241

(2*)

(3) 8,582 (1*) 6,448

(3*)

(5)

(1) 3,610

8,801

(3) 24,923

(3*) 31,889 (1*)

2 4 .6 .8 4 to 1 1 .8 .8 4

Total $

Rank

265,835

1

173,914

2

107,359

3

66,709

4

58,645

5

43,672

6

31,889

7

8

3,921

(3) 16,288

20,209

Australian Total

263,985

311,476

47,242

77,895

67,634

768,232

Foreign Total0

2,863,767

2,714,597

1,152,618

970,158

N/A

N/A

Grand Total

3,127,752

3,026,073

1,199,860 1,048,053

N/A

N/A

SYD.

MLB.

(3*) 41,601

(2) 23,126

PTH

ADL.

(3*) 34,468

BRI.

Total $

Rank

99,195

1

{

t N ot for pub lica tion, but ranking correct. ☆ Figures e xclude N /A figures.

• B o x-o ffice grosses of in dividual film s have been supplied to C in e m a P a p e r s by the Australian Film Comm ission, o This figure represents the total box -o ffic e gross of all foreign film s show n during the period in the area specified. * C o ntinuing into next period NB: Figures in p arenthesis above the grosses represent w eeks In release. If more than one figure appears, the film has been released in more than one cinem a durin g the period. .

(1 ) Australian theatrical d istrib u to r only. RS — Roadshow; GUO — Greater Union O rganization Film D istributors; HTS — Hoyts Theatres; FOX — 20th C entury Fox; UA — United Artists; CIC — Cinem a International C orporation; FW — Film w ays Australasian D istributors; 7K — 7 Keys Film D istributors; CO L — Colum bia P ictures; REG — Regent Film D istributo rs; CCG — Cinem a C entre G roup; AFC — A ustralian Film C om m ission; SAFC — South Australian Film C o rpo ratio n; MCA — M usic C o rpo ratio n of A m erica; S — S h arm ill Films; OTH —■O ther. (21 Figures are drawn from capital city and .inner subu rba n first release hardtops only. (3) S p lit figures in dicate a m u ltip le cin e m a release.

[

Box-office Grosses

CINEMA PAPERS December & U»

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Scenic a r tis t............................................. Robert Mancini Special e ffe c ts ..........................Kerren Hansen SHORT CHANGED Musical d ire c to r......................................... Bruce Rowland Asst special e ffe c ts ......................... Ray Fowler Prod, com pany........................... M agpie Films Sound e d ito r............................................... Terry Rodman Set d re s s e r................................ Alethea Deane P roducer................................... Ross Matthews Still p h o to g ra p h y........................... Sterio Stills Set fin is h e r.................................................... Eric Todd D ire c to r.....................................G eorge Ogilvie (David and Lorelei Simmonds) Brush hand..................................................Frank Falconer Scriptw riter.................................. Robert Merritt P u blicity............................... Burson-M arsteller C o n s tru c tio n ................................................... BillHowe Based on the original idea B udget.................................................. $5 m illion Asst editor...........................................Josephine Cook b y ............................................................Robert M erritt Length................................................... 120 mins Neg. m a tc h in g ..................... Carm el W ellburn P hotography................................................Dean Semler G a u g e ................................35 mm anam orphic Musical d ire c to r...............................Peter Best Assoc, p ro d u c e r................................... Barbara Gibbs Cast: Gus M ercurio (Ugo Mariotti).

Sound e d ito r.» .............................Dean Gawen B udget........................................................... $1.2 million S y n opsis: The story of a m an's rise to Assoc, sound edito r.................... Helen Brown Length......................................................95 mins AVENGERS OF THE CHINA SEAS To ensure the accuracy of your leadership in an em ergency, when a Sound a ssista n t................... Paul H untingford G auge........................................................35 mm entry, please contact the edito r of Dunkirk-style evacuation is used to rescue M ix e r...............................................Peter Fenton Prod, com pany...................... Nilsen Prem iere S yn opsis: A young aboriginal shearer this colum n and ask fo r copies of thousands of holiday-m akers from a bushfire Stunts co-ordinator..........................Guy Norris P roducer........................................................ Tom Broadbridge struggles to see his son again after a sixon the M ornington Peninsula.

Still photography............................................Jim Townleyour P rodu ction Survey blank, on D ire c to r.......................Brian Trenchard-Sm ith year, forced absence. w hich the details of your pro d u c­ S crip tw riter............................................... Patrick Edgeworth Best b o y .......................................................Chris Sleet i OWN THE RACECOURSE Based on the original idea R unners........................................................Mark Keating,tion can be entered. All details TERRA AUSTRALIS m ust be typed In upper and lower Prod, com pany............................. Barron Film s b y ........................................................... Patrick Edgeworth Paul Manos Prod, c o m pany........................................ Yoram Gross Producers.................................. John Edwards, E d ito r....................................................Alan Lake Nurse...................................................... M eredith Clark case.

Film Studio Editor’s note: All entries are Tim othy Read P roducer’s a s s is ta n t............Virginia Bernard C a tering............................. Kaos (Cathy Troutt) supplied by p ro d u c e rs /p ro d u c Producer...................................................Yoram Gross D irector................................. Stephen Ramsey Lab ora tory............................................ C olorfilm Mixed a t ........................................United Sound tion com panies, or by their agents.

D irector..................................................... Yoram Gross S crip tw riter.................................John Edwards B u dget...............................................$4.6 m illion Laboratory............................................ Colorfilm C in e m a P a p e r s cannot, therefore, S crip tw riters................................................Greg Flynn, Based on the book b y ....... Patricia Wrightson Length......................................................94 mins B udget...............................................$3.4 million a c c e p t r e s p o n s ib ility fo r the Yoram Gross Exec, pro d u ce r.............................Paul Barron G a u g e ................................35 mm anam orphic Len gth................................................... 115 mins corre ctne ss of any entry.

P h otography..........................

Graham Sharpe Prod, m anager.....................................Adrienne Read S yn o p sis:A contem porary action-adventure G auge........................................................35 mm Assoc, p ro d u c e r.................................... Sandra Gross 1st asst d irector.........................................Corrie Soeterbeck story set on the South China Sea. Shooting stock.............................Eastm ancolor Consultant zoologist...................

Dr M. Archer Laboratory................................................... Atlab Cast: Barry Otto (Harry Joy), Lynette Curran Director of model d e s ig n ....... Norman Yeend BLOWING HOT AND COLD B u d g e t..................................................$700,000 (Bettina), Helen Jones (Honey Barbara), Tim Construction m anagers............Denis Donelly, Length..................................................... 80 mins Length................................................................73 mins Robertson (Alex Duvall).

Danny Rollston Prod, c o m p a n y.......................... Celsius Prods G a u g e ....................................................... 35mm G a u g e ........................................... Super 16 mm Construction runner...............Daniel M orphett S yn opsis: Throughout history many great P ro d u c e r.....................................Basil Appleby S yn opsis: Based on scientific findings, Shooting s to c k ...............Kodak Eastm ancolor Asst e dito r...............................................

Jeanine Chialvo artists have depicted the tortures of hell.

But D irector........................ Brian Trenchard Smith T e rra A u s tra lis is set in prehistoric S yn opsis: The story of Andy Hoddell who never before has anyone dared to suggest 2nd asst e d ito r................................................. Liz G oldfinch S crip tw riters.........................Rosa Colosimo, Australia. comes to believe he owns Harold Park Race­ that hell is a place where an elephant sits on Sound e d ito r......................................Lee Smith Reg M cLean course. your motor car.

Still photography........................David Parker Script e d ito r......................... Everett De Roche Livestock co-ordina tor.....Kayleen Donnellan Exec, p ro d u ce rs........................Reg McLean, LEONSKI: THE BROWN-OUT BURKE AND WILLS Horsem asters....... Heath and Evanna Harris, Rosa Colosimo MURDERS Alan Fitzsim m ons Prod, c o m p a n y ................Hoyts Edgley Prods Scheduled release........................ Easter 1985 Horsem asters' a s s is ta n t...........Ann Stevens Prod, c o m p a n y .................... Flying Tiger Films in association with C ast: G iancarlo G iannini (Nino), Arkie C o achm aste r............................. Graham W are Dist. c o m p a n y........ Peregrine Entertainm ent Graeme C lifford W hiteley (Sally).

Producer.............................................. Bill Nagle W ra n g le rs.................................... Hugh Barnet, P rodu cers.............................. Graeme Clifford, S yn opsis: The story of a friendship between AUSSIFIED Derek Fisher, D irector....................................................Philippe Mora John Sexton two men who struggle to conquer differences S c rip tw rite r..........................................Bill Nagle Bruce Emery, Prod, c o m pany.................Screencrafts Prods D irector....................................Graeme Clifford of culture, tem peram ent and values in order Max Mitchell, Exec, p ro d u c e r...................................... Richard Tanner P ro d u c e r.................Ralph Lawrence Marsden Scriptw riter.............................M ichael Thomas to survive the dangers of their adventures Don Fitzsimm ons, Prod, m a n a g e r...........................................G eoff Pollack D ire c to r................... Ralph Lawrence Marsden Photography................................ Russell Boyd and achieve their goal. The action moves Robert W atchirs, Art d irector...................................................G eoff Richardson S crip tw riter.............

Ralph Lawrence Marsden Sound recordist.....................Syd Butterworth from the vast expanses of the Australian Stephen M oxham , Costume d e s ig n ........................ Sandra Tynan P hotography.........Ralph Lawrence Marsden, E ditor............................................. Tim W ellburn desert to the peaks of treacherous, snow­ Daphne Phillips, B u dget.............................................. $2.9 m illion ‘ Stewart Neale Prod, designer.................................Ross Major capped m ountain ranges.

Em m a Erback, Len gth.................................................. 100 mins Sound re c o rd is t........... Peter Mandel (Britain) Assoc, produce r......................Greg Ricketson Gale Coutts, G a u g e .......................................................35 mm Composer (in part)............................. Sean Ore Prod, co-ordina tors.................................. Lynda House, DOT AND THE BUNYIP Mandy Beaum ont Shooting s to c k ...............................................Fuji Casting adviser......................... Marcel Cugola Julie Forster, Prod, co m p a n y .........................................Yoram Gross Cast: Jam es Coburn (Provost Marshal Casting consultants....... The A ctor's Agency, Jane Griffin Camel d re s s e r..........................John W ittacker Film Studio Best boys......................................................Colin Chase, Patrick Dannenberg), Maurie Fields (Det. Frog Promotions, Prod, m a n a g e r........Carolynne Cunningham P ro d u ce r....................................................Yoram Gross Paul G antner Sgt Ray Martin), Bill Hunter (Det. Sgt Fred Sascha M anagement Location unit m anage r..............Ron Stigwood D ire cto r...................................................... Yoram Gross ‘ B lu e y ’ Adam ), Jon S idney (D ouglas R unners...................................................... LionelCurtin, 2nd unit photography................... Wiff W atters Sydney location s c o u t..................Elaine Black S crip tw rite rs................................................ Greg Flynn, MacArthur).

(Britain) Robin Newell Transport m a n a g e r...................................Ralph Clark Yoram Gross Voice c oach...................................... G ina Pioro S y n opsis: The violent crim es of Private Music perform ed by (in p a r t) ...........Sean Ore Prod, ac c o u n ta n t.................Spyros Sideratos Length......................................................80 mins Edward Leonski of the Am erican arm y in & Nuefrunt Music teacher......................................... Colleen Leonard Accounts c le rk ......................................... Sharon Moody G auge........................................................ 35 mm Melbourne during May of 1942 and his D octor......................................................... G illian Deakin L ab ora tory.....................................................VFL 1st asst d ire c to r...........................................Mark Turnbull S yn o p sis: A circus ow ner attem pts to cap­ subsequent apprehension and the political R esearcher........................................... C hristina Norm an Length..................................................... 90 mins 2nd asst directors....................................... Tony Mahood, ture a m ysterious Bunyip. but Dot and her ram ifications of his trial and execution.

Shooting s to c k.......................................... Kodak Craig Bolles V e t...................................................... Dick Jane bushland friends try to foil his pians. Dot Unit p u b lic is t......................Santina M usum eci Cast: Chris W aters (David), Am anda Mc­ (Aboriginal sequences) soon discovers that the circus is m erely a LONG TAN C a te rin g ....................................................... John Faithfull Namara (Wendy), Bronwyn Gibbs (Chrissie), 3rd asst d ire c to r......................................... Craig Sinclair front for an international wildlife sm uggling Catering assistant....................................... Gary Frame Christine Andrew (Claire), Peter Tabor Asst director Prod, com pany...........The Long Tan Film Co. operation.

(George), Susan Mantell (Stephanie), Martin B udget............................................................$8.9 m illion (proposed) (Aboriginal sequences)....... Annette Boyes Trainor (Barry), Esme Gray (Bea), Con Cast: Jack Thompson (Burke), M atthew C o n tin u ity...................................... Moya Iceton S criptw riters........................... David Horsfieid, DOT AND THE WHALE Babanoitis (taxi driver), M argaret Younger Fargher (King), Ralph C otterill (Gray), Chris Lex McAulay, Director’s a s s is ta n t..................... M ichele Day (disco lady).

Haywood (M cD onagh), Drew Forsythe C a s tin g ........................................ M & L Casting Bruce Horsfieid Prod, co m p a n y ........................... Yoram Gross S yn opsis: Contem porary dram a set in (Brahe), Monroe Reimers (Dost Mahomet), Film Studio Extras’ casting.................................Sue Parker Based on the original idea London and M elbourne.

Greta Scacchi (Julia), Nigel Havers (Wills), P ro d u ce r...................................... Yoram Gross Camera o p e ra to r........................ Nixon Binney by...........................................Bruce Horsfieid, Barry Hill (Landells).

Focus p u lle r........................Peter M enzies Jnr D irector.........................................Yoram Gross Julianne Horsfieid BLISS S yn opsis: The story of the first two explorers C lapper/loader........................................... Garry Phillips S crip tw riters................................ John Palmer, Exec, p ro d u c e r......................Bruce Horsfieid to cross the continent from south to north Yoram Gross Camera a s s is ta n t.........................................

Rob Agganis Prod, accou ntan t...... Manfred and McCallum Prod, com pany...................... W indow III Prods and back.

Key g r ip ..............................................Ray Brown Len gth......................................................80 mins Len gth................................................... 110 mins Producer.................................................Anthony Buckley G rip ..............................................................Stuart Green G auge....................................................... 35 mm G auge........................................................ 35 mm D ire c to r.......................................................... Ray Lawrence DOT AND KEETO S yn o p sis: In a desperate bid to rescue a Asst g rip s ............................................... Brendan Shanley, S y n opsis: A recreation of the Battle of Long S c rip tw rite rs............................ Ray Lawrence, Greg Mossop whale stranded on a beach, Dot and Tan, when an Australian patrol of 108 men Prod, c o m p a n y.........................................Yoram Gross Peter Carey Neptune the dolphin hunt the ocean depths 2nd unit p h o to g ra p h y...............................

Louis Irving fought off more than 1000 experienced Viet Film Studio Based on the novel b y ...............................Peter Carey searching for a wise, old octopus called the 2nd unit camera a s s is ta n t..............Terry Field P rodu cer....................................................Yoram Gross Cong. Based on survivors’ own gripping P h otog rap hy................................................ PaulM urphy G affers.................................

Brian Bansgrove, Oracle who knows how to save whales.

D ire cto r......................................................

Yoram Gross accounts, the story illustrates the thesis that Sound re cordist...........................................Gary W ilkins Peter O ’Brien S c rip tw rite r................................... John Palm er the war in Vietnam was won m ilitarily, but E d ito r..........................................W ayne Le Clos FAIR GAME E lectrics............................

John Bryden-Brown P h o to g ra p h y.......................... Graham Sharpe lost politically.

Design c o n s tu lta n t................................. W endy Dickson Boom operators............................. Phil Tipene, Assoc, p ro d u c e r..................................... Sandra Gross Prod, co m p a n y ........................ Southern Film s C o m p o s e r.........................................Peter Best PLAYING BEATIE BOW Length......................................................80 mins Gerry Nucifora International Limited Prod, m anager............................................CarolHughes Prod, c o m p a n y ............................. SAFC Prods Art d ire c to r................................................... Brian Hocking G auge........................................................ 35 mm Dist. com pany..........................................C.E.L. Unit m anager..........................................Roxane Delbarre P ro d u ce r....................................................... Jock BlairLocation m anage r.....................................Robin Clifton S yn opsis: After shrinking to insect size, Dot Art dept co-ordina tor.................... Penny Lang Producers..................................Ron Saunders, D ire c to r...................................Donald Crom bie finds herself in a terrifying world of huge Costume de s ig n e r..................................George Liddle Harley M anners Prod, secretary.................................... Elizabeth Symes Scriptw riter............................. Graham Hartley spiders and massive ants. Desperately, she Design a s s is ta n t........................................... Kim Darby D ire c to r...............................Mario Andreacchio Prod, accountant.................Debbie Eastwood and her friend, Keeto the M osquito, hunt for Story e d ito r...................................

Peter G awler M ake-up....................................Bob M cCarron, S crip tw rite r................................... Rob G eorge (M oneypenny Services) the magic bark that w ill return her to her Based on the novel b y ................................ Ruth ParkProd, a ssista n t.............................................Kate Jarman W endy Sainsbury, B u dget............................................$1.26 m illion normal size.

Exec, p ro d u c e r............................................ Jock Blair1st asst d ire c to r.......................................... Keith Heygate Ivonne Pollock, S yn o p sis: A young woman, alone on an Assoc, produce r........................................ Bruce Moir2nd asst d ire c to r.....................................Marcus Skipper Sonya Smuk isolated farm, becom es unw illingly involved DOT AND THE KOALA S tu d io s ....................................Hendon Studios H airdresser..............................................Shayne Radford in a series of vicious gam es with a group of 3rd asst director.......................Paul Callaghan B udget.............................................$4.4 m illion W a rd ro b e .................................................... Anna W ade kangaroo shooters w hich invades her C o n tin u ity ...............................................Therese O ’ Leary Prod, co m pany........................................ Yoram Gross G auge........................................................ 35 mm Standby w a rd ro b e ..................Julie M iddleton property.

C a s tin g ........................................................Susie Maizels Film Studio S y n opsis: The gam e is called Beatie Bow Asst standby w a rd ro b e ..........Natasha Wade, Lighting c am eram an................................... PaulM urphy P roducer................................................... Yoram Gross FIRESTORM and the children play it for the thrill of scaring Andrea Hood Camera o p e ra to r................ David W illiam son D irector......................................................Yoram Gross them selves. 8 ut when Abigail is drawn in, P rops......................................................Ian Allan Prod, co m p a n y ................................................ DeRocheFocus p u lle r............................................... G eoff W harton S crip tw riters................................................ Greg Flynn, the game is quickly transform ed into an Props buyers.................................................Peta Lawson, Phelan Film Prods C lappe r/loa der........................................Conrad Slack Yoram Gross extraordinary, som etim es horrifying, adven­ Brian Edmonds, P rodu cer........................................................ Tom Burstall Camera a s s is ta n t.....................................Shane W alker Based on the original idea ture, as she finds herself transported to a Sally Campbell D ire c to r................................. Everett De Roche Key g r ip ...................................................Graeme Mardell b y ............................................................Yoram Gross place that is foreign yet strangely familiar.

Standby p ro p s ............................................... Igor Lazareff S crip tw rite r........................... Everett De Roche Asst g r ip ....................................................... G ary Cardin P h otog rap hy...........................Graham Sharpe Asst standby props......................................Aran Major Based on the original idea G a ffe r.............................................................M ick Morris Assoc, p ro d u c e r.....................................Sandra Gross THE SHIRALEE Special e ffe c ts ........................................ Mirage b y .................................................................M ax Phelan E lectrics..................................................... Shaun Conway Anim ation d ire c to r................................ G airden Cooke (Andrew Mason, P h o to g ra p h y...............................................David Connell Prod, c o m p a n y ............................. SAFC Prods Genni operator...................................... rGraham M ulder Length..................................................... 80 mins Tad Pride) Sound re co rd ist........................................... G ary W ilkins D ire c to r..................................................... Donald Crom Boom bie o pe rator............................................ M ark W asiutak G auge........................................................ 35 mm Set dressers.................................................. Peta Lawson, E ditor................................................. Adrian Carr Art d ire c to r..................................................Owen Paterson S criptw riter...................................................Tony M orphett S yn opsis: Dot and her pal, Bruce the Koala, Brian Edmonds, Prod, d e s ig n e r..............................Leslie Binns Story edito r..........................Graeme Koetsveld Asst art d ire c to r...........................................Dale Duguid try to stop a group of dom estic anim als from Sally Campbell, C o m p o se r............................... Bruce Rowland Costume d e s ig n e r.................................... Helen Hooper Based on the novel b y ...............D 'Arcy Niland a tiny town from building a dam across a Peter Forbes Exec, p ro d u c e r............................................. Max Phelan M ake-up..................................................... Jenny Boost Exec, p ro d u c e r.................................. Jock Blair local river. The “ tow nspeople” — a strange Scenic a rtis t..................................................... IanRichter Assoc, produce r................... Brian D. Burgess H a irdre sser............................................... Penny Morrison S tu d io s .................................................... Hendon Studios m ixture of haughty cows, ruthless pigs and Asst scenic a rtis ts...................................... Peter Coilias, Prod, m a n a g e r............................................ John Chase W ardro be....................................................Helen Hooper dopey dogs — need the dam and its power to G auge........................................................ 35 mm Chris Read Prod, co -o rd in a to rs............... M eredyth Judd, W ard, construction........... Anne-M arie Dalziel S yn o p sis: To Macauley, the child was his catapult their town into the 21st Century.

Jenny Tosi Art dept run n e r............................................Peter Forbes W ard, assistant....................................... Pauline W alker “ shiralee” : a burden and a handicap, and EMOH RUO Standby c a rp e n te r....................................Derek W yness C a stin g .............................................................Lee Lamalso er a constant rem inder of bitterness and Props buyers........................Michael Tolerton, C a rp e n te rs ............................Brendan Shortall, E xtras’ c a s tin g ................................................. J o Lamfailure. er Eugene Intas It was in his nature to do things the Prod, com pany...............Palm Beach Pictures Geoff Howe, Art d ire cto r..................................... Leslie Binns hard way: the way he saw it, there was no Standby p ro p s .......................................... Jenny Miles.

(Emoh Ruo) Kevin Kilday, Colin Gibson other choice. W hat he had n’t taken into M ake-up................................... Fiona Cam pbell Dist. co m p a n y............................ G reater Union Simon Miller, account was the child 's overwhelm ing need Special e ffe c ts ............................................ C hris M urray Art dept ru n n e r.......................................... Phillip Drake P ro d u ce r..........................................David Elfick G ordon McIntyre W a rd ro b e ......................................................Jane Hyland Special effects m ake-up...........Bob M cCarron D ire c to r.................................. Denny Lawrence for love.

FEATURES

PRODUCERS AND PRODUCTION COMPANIES

P R E-P R O D U C TIO N

PR O D UCTIO N

CINEMA PAPERS December — 445

Production Survey

S crip tw riters........................... David Poltorak, S y n opsis: Fourteen-year-old Cody W alpole Prod, m anager............ ............ Adrienne Read D ire c to r.......................................... David Baker Unit m a n a g e r................................................ Tim Higgins Paul Leadon overcomes all odds to solve the mystery of Prod, co-ordinator.................M ilanka Comfort S crip tw rite rs.................................David Baker, Prod, a c c o u n ta n t...........................Matt Sawyer Based on the original idea Donkegin Hole.

Paul Davies Location unit m anager...... Corrie Soeterboek (M oneypenny Services) b y ..............................................................David Poltorak, Prod, a c c o u n ta n t..........................................Lea Collins Based on the original idea Prod, liaison (S ydney).............. C hris G odfrey Paul Leadon MAD MAX 3 Asst prod, accou ntan t.......... C andice Du Bois by..................................................David Baker 1st asst d ire c to r............................................ Rob Kewley P h otog rap hy...........................................Andrew Lesnie 1st asst d ire c to r.......................................... Colin Fletcher P hotography.....................Bruce M cNaughton 2nd asst d ire c to r.....................Deuel Droogan Prod, c o m p a n y ........................ Kennedy M iller Sound recordist............................................ PaulBrincat 2nd asst director......................................... Jake Atkinson Sound recordist............................. Phil Sterling 3rd asst d ire c to r.......................................... PaulGrinder Producer.......................................... Terry Hayes E d itor................................................. Ted Otton 3rd asst d ire c to r.................... Andrew McPhail E d ito r.......................................... Don Saunders C o ntinuity........................................ Nicki Moors D irectors.......................................George Miller, Assoc, p ro d u c e r....................Steve Knapman C o n tin u ity.................................... Pamela Willis Prod, designer.........................Robbie Perkins C a s tin g ............................................. M aura Fay George Ogilvie Prod.

C a s tin g ....................................................Michael Lynch C o m p o se r..........................................C hris Neal Lighting cam eram a n......................Ernie Clark S c rip tw rite r......................................Terry Hayes m anager.........Catherine Phillips Knapman (Forcast) Assoc, produce r......................................... Brian Burgess Camera o p e ra to r....................David Foreman P hotography................................................Dean Semler Unit m an a g e r...................................Dixie Betts Focus p u lle r...................................................Ben Seresin Prod, Focus p u lle r...............................................M artin Turner co-ordina tor.............Rosslyn Abernathy S yn opsis: Sequel to the two Mad Max films.

Prod, s e c re ta ry ........................................... Julia Ritchie Key g rip ................................... Paul Thompson Location m a n a g e r........................ Paul Healey Clapper/loader.................................Dave Barry Prod, accountant................... Elaine Crowther Asst g rip.................................. George Tsoutas Key g rip ...........................................Rob Morgan Prod, assistan t........................ M aria Pannozzo RELATIVES 1st asst d ire c to r..................... Michael Falloon G a ffe r............................................. R egG arside Prod, accou ntan t.................... Graeme W right Asst g rip .......................................John Goldney 2nd asst d ire cto r..........................................Judy Rymer Prod, c o m pany........................... Archer Films E lectrician................................................... Craig Bryant Asst prod, a c c o u n ta n t...... Pauline M ontagna G a ffe r.......................................... Trevor Toune C o n tin u ity ............................................ Elizabeth Barton P rodu cers....................................Henri Safran, Boom o p e ra to r.......................................... David Lee E lectrician............................................... W erner Gerlach 1st asst d ire cto r........................................... Tom Burstall P rodu cers se cre ta ry................................Basia Placheki Basil Appleby Costume d e s ig n e r................M iranda Skinner 2nd asst d ire c to r.....................................M arcus Skipper Boom o p e ra to r................. Graham McKinney Extras’ ca s tin g .................................... Jo Hardy D ire c to r.................................................. Anthony Bowman M ake-up............................................ Judy Lovell 3rd asst d irector.........................Stephen Saks Art director....................................................... Ian Gracie Camera o pe rator................................... Andrew Lesnie S crip tw riter............................................ Anthony Bowman H a irdre sser...................................... Judy Lovell C o n tin u ity ...................................Shirley Ballard Costume designer.................................Graham Purcell Focus p u lle r.................................................Colin Deane Based on the original idea C a sting................................................. Jo Larner Standby w a rd ro b e ..................... Andrea Burns M ake-up....................... Lesley Lam ont-Fisher C lappe r/loa der........................................... Peter Terakes b y ........................................................ Anthony Bowman Ward, assistan t..................................... Heather McLaren Casting c o n s u lta n t.......................... Lee Larner Hairdresser...................Lesley Lam ont-Fisher Key g r ip .......................................................Bruce Barber P h oto g ra p h y................................. Tom Cowan Lighting c a m e ra m a n ...... Bruce M cNaughton Props b u y e r................................ M urray Pope W ardro be...............................................Graham Purcell Asst g r ip ....................................................... Colin Padget Sound recordist............................. Bob Clayton Standby p ro p s ................................. Clint W hite Camera op e ra to r................. David W illiam son Ward, assistant................. Louise W akefield G a ffe r................................................Simon Lee E d ito r.............................................. Colin Greive Set decorator............................................. Marta Statescu Focus pulle r.......................... Peter Van Santen Props b u y e rs ........... Carlie Gosson (Sydney), Boom o p e ra to r............................................. PaulGleeson Prod, designer............................... Darrell Lass Art dept ru n n e r.................. Mark Schulenberg Clapper/loader........................................ Kattina Bowell John Osmond Art d ire c to r................................................Robert DeinProd, m anager..........Margaret-Rose Stringer Key g r ip .......................................................David Cassar Neg. m atching.............................Chris Rowell Standby p ro p s ....................................... Richard Hobbs Costume d esigner................................Anthony Jones Unit m anager................................. Chris Jones Sound e d ito r....................................... Greg Bell Asst g r ip .................................................. M arcus M cLeod Set d resser.................................. John Osmond M ake-up..............................Lesley Vanderwalt Prod, a ccou ntan t........................................ Ross Lane G affer...................................... Paul Dickenson Still photography.....................................Robbie Gribble Art dept assistan ts..................................M urray Gosson, H a ird re sse r........................Lesley Vanderwalt C o n tin u ity ..................................................... Sian Hughes Asst e le c tric s ..................................Greg W ilson Best b o y ..........................................Craig Bryant Colin Morse, Standby w a rdrobe..................................... Fiona Nicholls Art director................... Louella Hatfield Boom operator................................ Ray Phillips Publicity................The Rea Francis C ompany Andrew Paul Props b u ye r........................ Clarissa Patterson M ake-up........................................... Lloyd James C a te rin g ...........................................John W elch Costume designer......................... Jennie Tate C a rpe nte rs...................................................Mark McNish, Set deco rator/artist................................... David McKay P ro p s ............................................................Tony HuntLaboratory............................................ Colorfilm Make-up....................................................... Karla O 'Keefe Steven Lowe, C a rpe nte rs..............................................Andrew Chauvel, Still photography..........................................Chic Stringer Budget........................................................... $ 1.8 million H a irdre sser...................................................PaulPattison Richard Head Ian Judd P u b lic ity ....................... Rea Francis Company Length............................................................. 100mins Standby wardrobe................Geanie Cameron Set construction.................................... Graham Gilligan Art dept assistant................................... MichaelFanning Laboratory................................................... Atlab Australia Props buyers......................... Colin Robertson, Gauge........................................................35 mm Asst editor...........................................Lara Esan Construction m anage r............David Stenning Length................................................................90 minsShooting s to c k ..........................................Kodak Steven Jones-Evans Still photography................................... Carolyn Johns, Asst e d ito r............................................ M argaret FixelCast: Ray Barrett (Geoffrey), Bill Kerr Standby p ro p s............................Nick Seymour Cast: Bryan Brown (Cliff Hardy), Anna Maria David B. Simm onds Musical d ire c to r................................. Cameron Allan (Grandfather), Carol Raye (Aunty Joan), Special e ffe c ts ............................................Chris M urray M onticelli (Ann W inter), Belinda Giblin Best b o y ................................................. Graham Shelton Dialogue e d ito r.............................................. LesFiddess Rowena W allace (Nancy Peterson), Norman C h ore ography......................... Tony Bartuccio (Marion Singer), Kerry Mack (Hildegard), P u b lic ity ......................................................... Sue Courtney Editing assistants..................................... Cathy Chase.

Kaye (Uncle Edward), Jeanie Drynan Set dresser................................................ M artin Perkins Ray Barrett (McLeary), John Wood (Parker), Unit p u b lic is t..................................................Lyn Quayle Stephanie Flack (Catherine), Michael Aitkins (Peter Peter­ Asst e dito r........................................... Catherine Sheehan Peter C o llingw ood (W ard), N ick Tate C a terin g.......................................................Kevin Varnes Sound post-production.............Roger Savage son), Robin Bowering (Uncle Alf), Alyson (Henneberry), Joss McW illiam (Tal), Kerry Sound e d ito r.................................................. LesFiddess Mixed a t............................................... Videolab (Soundfirm ) Best (Clare), Brett Clim o (Ross), Ray M ixer............................................................Julian Ellingworth Dwyer (Mary Mahoud), Steve J. Spears Laboratory...........................................Colorfilm Still p h o to g ra p h y........................................Anne Zahalka Meagher (Herb).

Still p h o tograph y........................... Suzy W ood (Manny).

B udget............................................................ $2.1million Best b o y ...................................................MichaelAdcock S yn opsis: A dram a . . . a com edy . . . a Mobile bus d rive r.......................... Kevin Bryant Synopsis: C liff Hardy meets organized Length.....................................................

96 mins R u n n e r........................................................ Annie Peacock fam ily reunion.

Best b o y ................................. Jam es Mathews crim e in Bondi.

G auge........................................................35 mm T u to r................................................ Sue Morrow R u nner........................................... Stuart Beatty Shooting s to c k .....Kodak Eastm ancolor 5293 C a te rin g ..........................................John W elch Unit p u b lic is t................................ Pierre Perrett EPIC Cast: W endy Hughes (Honour Langtry), Mixed a t ............................................. Soundfirm C a te rin g ................................. Beeb Fleetwood Gary Sweet (Michael Wilson), Richard Moir Prod, com pany...........................Yoram Gross Laboratory............................................Colorfilm Post-prod, accountant..........Joan M acintosh (Luce), Jonathan Hyde (Neil Parkinson), Film Studio Lab. liaison....................... Richard Piorkowski Mixed a t ...................................................... Atlab Tony Sheldon (Nugget), Bruno Lawrance P roducer..................................... Yoram Gross B udget.............................................$1.7 million Laboratory...................................................Atlab (Matt Sawyer), Mark Little (Ben), Julia Blake Director........................................Yoram Gross Length................................................................90 mins Lab. lia is o n ................................................. Peter W illard (Matron), Caroline G illm er (Sally), Marina Scriptw riters................................John Palmer, G auge........................................................35 mm B udget...............................................$1.9 million Finlay (Sue Peddar).

THE COCA-COLA KID Yoram Gross Shooting stock............................Eastm ancolor Length................................................... 125 mins S yn opsis: Set in an isolated tropical m ilitary Based on the original idea Prod, com pany...............Grand Bay Films Inc. Cast: Joy Sm ithers (Terri), Martin Sacks G auge........................................................35 mm hospital at the end of W orld W ar 2, In d e ce n t b y ...........................................................Yoram Gross P ro d u c e r............................................David Roe (Des).

Cast: Sigrid Thornton (Fennimore), Paul O bsession is about the relationship between Assoc, p ro d u c e r........................

Sandra Gross D ire cto r.................................

Dusan Makavejev S y n o p s is : A con te m p o ra ry A u stralian W illiam s (Niel Lynne), Judy M orris (Patricia), Sister Honour Langtry and the battle Director of anim a tion.................... Athol Henry S crip tw riter................................................. Frank Moorhouse comedy.

Brandon Burke (Eric), David Argue (Reg), fatigued and shell shocked residents of P h otog rap hy......................... Graham Sharpe, Based on the short stories Tony Rickards (Tim Marsh), Nicki Pauli Ward X, as she tries to help them prepare for Jan Carruthers.

FROG DREAMING b y ............................................................. Frank M oorhouse (Melissa), Alan C inls (Mather), John Howard life after the war.

Ricky Vergara Photography................................................Dean Semler Prod, c o m p a n y ................ Middle Reef Prods (Read), Marie Redshaw (Phillipa).

Production m anager............... Jeanette Toms Sound recordist............................... Mark Lewis Producer.......................................................BarbiTaylor THE NAKED COUNTRY S yn opsis: The story of two boyhood friends C o-ordinator................................................. Meg Rowed E d itor............................................................ John Scott D ire c to r.......................Brian Trenchard-Sm ith tracing their fates and loves from the A d m inistration.............................................Kylie W hipp Prod, com pany............. Naked Country Prods Prod, d esigner........................Graham W alker S crip tw rite r.......................... Everett De Roche turbulent era of the late 1960s to 1980.

Production accountants......

L-ibay de la Cruz, Dist. com p a n y................................... Filmways Com poser........................................................ BillMotzing P h otog rap hy............................... John McLean Peat M arwick M itchell & Co. P rodu cer.....................................Ross Dimsey Additional c o m p o s itio n ............................... Tim Finn Sound recordist............................. Mark Lewis Asst editor...................................................Stella Savvas D irector........................................... Tim Burstall REBEL Exec, p roduce r...................................... Cinema Enterprises E ditor............................................................ Brian Kavanaah Anim ators...............................................Gairden Cooke, S crip tw riters...............................Ross Dimsey, C o-producer............................Sylvie Le Clezio Prod, com pany............ Phillip Em anuel Prods Prod, d e sig n e r............................Jon Dowding Ariel Ferrari, Tim Burstall Laboratory................................................ Atlab Dist. co m p a n y ..................................

Roadshow C o m poser........................................... Brian May M urray Griffen, Based on the novel b y .................. Morris West Lab. lia is o n ................................................. Peter W illard P ro d u ce r................................. Phillip Emanuel Prod, co-ordinator........................Barbara Ring Nicholas Harding, P hotography.............................. David Eggby G a u g e ....................................................... 35mm D ire c to r...................................

M ichael Jenkins Prod, m anager....................................Jan Tyrell Andrew Szemenyei, Scheduled release..................................... Early 1985 Sound re c o rd is t.........................Max Bowring S crip tw rite rs.......................................... M ichaelJenkins, Location/unit m anager ...M ichael M cGennan Rowen Avon Cast: Eric Roberts (Becker), Greta Scacchi E d itor............................................................Tony Patterson Bob Herbert Prod, a cco u n ta n t................................... Howard W heatley Additional a n im a tio n ..................................PaulBaker, (Terri), Bill Kerr (MacDowell), Max Gillies Prod, d e s ig n e r...........................Philip W arner Based on the play b y ...................Bob Herbert 1st asst d ire c to r......................................... Terry Needham Zbigniew Bilyk, (Frank), Kris McQuade (Juliana), Tim Finn Com poser...................................................Bruce Smeaton Photography..................................Peter Jam es 2nd asst d ire cto r..............................Chris Short Lucinda Clutterbuck, (Phillip), Chris Haywood (Kim), Paul Chubb Prod, co-ordinator.............................Rosemary Probyn Sound recordist.............................. M ark Lewis 3rd asst d irector.......................... Stephen Saks Koichi Kashiwa.

(Fred), Tony Barry (the Bushman), Colleen Prod, m anager.......................................... Helen W atts E d ito r....................................................... MichaelHoney C o n tin u ity ...........................................Linda Ray W ayne Kelly, Location/unit m anager.....................Grant Hill Clifford (Mrs Haversham), Rebecca Smart Prod, designer....................... Brian Thompson Producer's secretary...............................Lesley Parker Boris Kozlov, Prod, s e c re ta ry ........................................ Briony Chapel (D M Z), E sb en S to rm (c o u n try hotel Exec, producer...................Village-Roadshow C a s tin g ............Larner’s Casting Consultants Domingo Rivera, manager).

Office m anager............................... Kiki Dimsey Assoc, produce r............................................Sue W ild (Lee Lamer) Vicky Robinson, Prod, accountant....................... Jim Hajicosta Prod, co-ordina tor............. Suzanne Donnelly Camera ope rator.................Danny Batterham COPFILE Liu Ruo, Prod, accountant Prod, m anager.............................................. Sue W ild Focus p u lle r............................................ Roydon Johnson Phillip Scarrold, atta ch m e n t........................... Joanne Mason Prod, co m p a n y......................................... HatfulProds Unit m anager...............................................Chris Jones C lappe r/loa der.......................... Nicholas Mayo Jan de Silva, Prod, office atta ch m e n t..........Mark Valemont Producer...................................................... Chris Kiely Loc. m a n a g e r....... Rosanne Andrews-Baxter Camera a ssista n t.................................. Roydon Johnson BelaSzem an, 1st asst director..........................John Warran D ire c to r............................................Barry Peak Prod, secretary...........................Belinda West Key g rip ................................................... Graham Litchfield Min Xu, 2nd asst d ire c to r........................ Mark Clayton Scriptw riters....................................Chris Kiely, Prod, accountant.........M oneypenny Services Asst g r ip ..................... Rourke Crawford-Flett Gennady Kozlov, 3rd asst director...................................... W ayne Moore Barry Peak 1st asst d ire c to r......................................... David Evans Location a s s is ta n t...................................... Stan Leman Maria Haren P h otog rap hy........................M alcolm.Richards C ontinuity................................Jennifer Quigley 2nd asst director..............Hamish M cSporran G a ffe r............................................................... IanDewhurst Painting and tra c in g ........................ Mimi Intal, Sound recordist...........................................John Rowley C a s tin g ........................................ Susie Maizels 3rd asst director.........................................Henry Osborne E le ctricia n s.................................................... LexMartin, Corallee Munro, Camera op e ra to r....................... David Eggby E d ito r...........................................................David Hipkins C o ntinuity..........................................................Jo W eekes Nick Payne Robyn Drayton, Focus p u lle r................................................... PhilCross Prod, designer................................ Ian McWha C a stin g ......................Michael Lynch (Forcast) Boom o p e ra to r............................................ Jack Friedman Joseph Cabatuan Exec, producer............................... Phil Dwyer C lapper/loaders.....................................Joanne Erskine, Extras c a s tin g .................................................. Jo Hardy Art d irector................................................Patrick Reardon Backgrounds................................. Am ber Ellis, Prod, s u p e rv is o r.......................................... Ray Pond Brad Shield Lighting cam eram an................................. Peter James Costum e d e s ig n e r.............................Aphrodite Kondos Gennady Kozlov, C o n tin u ity ..........................Joanne McLennan Key g r ip ....................................... Peter Mardell Camera ope rator......................................Danny Batterham M ake-up................................................... Leeane W hite Norman Yeend, G rip............................................... Colin Tulloch Lighting cam eram an..........M alcolm Richards Focus p u lle r............................................ Andrew M cLean H a ird re sse r.....................Am anda Rowbottom Graham Binding Camera o p e ra to r................Malcolm Richards Asst g rip ....................................................... TontiConnolly Clapper/loader............................................ Chris Cole Standby w a rd ro b e ................................. Frankie Hogan G raphics............................................. Eric David Focus p u lle r....................................John Ogden Gaffer.......................................................... Roger Wood Steadicam ope rator...................Toby Phillips Ward, a ssista n t...................................... Frankie Hogan Special effects painting..........................Am ber Ellis,Electrician..............................................Douglas Wood Key g rip .............................................. O rvM udie Key g rip ......................................... Ross Erikson Props b uye r................................................ Diane Gaborit Jeanette Toms, G a ffe r............................................ Gary Scholes Asst e le c tric s ......................................... MichaelWood Asst g r ip ...................................... Phil Shapeira Standby pro p s............................................. John Stabb Gennady Kozlov Boom o p e ra to r........................ John W ilkinson Boom o p e ra to r............................................... IanGrant G affer.............................................................M ick Morris Art dept ru n n e r........................................ Dennis Sheenan P u b lic ity ............................... Helena Wakefield M a ke-up........................................Pietra Robins Art director....................................Philip W arner Boom o p e ra to r........................ Jack Friedman Special e ffe c ts ............................................ Brian Pearce (International Media Marketing) Costume designer........................... Robin Hail W ardro be.................................................... Anna Jakab Art d ire c to r.....................................................Igor Nay Asst special e ffe cts ..............Jam ie Thompson Special projects m anage r.....Margaret Lovell Props..........................................Paddy Reardon Costume s upervisor.................. Ron W illiams Asst art director........... M ichael Scott-M itchell Set d resser..................................................Diane Gaborit Laboratory............................................Colorfilm Props b u y e r..............................Paddy Reardon M ake-up............................... Margaret Lingham Art departm ent C a rpe nte rs.................................................. Hugh Bateup, Lab. lia is o n ..................................................... BillGooley Sound edito r...............................................David Hipkins Asst m ake-up..............................................A nne Heathcote co-ordina tor......................................... Sandra Alexander M artin Kellock, Length..................................................... 80 mins Still pho tograph y.............. Oggy Photography Ward, assistant........................................... Jane Boalch Costume d e s ig n e r....................................Roger Kirk Jim Gannon.

G auge........................................................35 mm Runner....................................... Bruce Nicholls Props b u y e r..................................................Brad Campbell M ake-up....................................... Viv Mepham, Ken Hazlewood, Cast: Robyn Moore, Ross Higgins (character C a te rin g .....................................Emerald Diner Standby p rops.......................................... Shane Rushbrook Robern Pickering David Franks voices).

S tu d io s ........................................................... PanPacific Special effects............................................ Peter Shoesmith H a irdressers.................................................. Jan Zeigenbein, C onstruction m anager.............John Pickering S yn opsis: In a legend full of fantasy and Lab oratory..............................................Cinevex Asst special effects...................................... Lisa Grahame W illi Kenrick Asst edito rs..................................Peter McBain, mystery, two babies are saved from the Lab. liaison................................................. Bruce Braun Construction m anager.........David Thompson W ardrobe s upe rviso r....................................Jan Hurley Peter Litton Great Flood and reared by the king and Length................................................................82 mins Asst edito r...................................................Pippa Anderson Ward, a s s is ta n t..........................................Kerry Thom pson Sound e d ito rs ............................................ Bruce Lamshed. queen of a pack of wild animals. The children Still photography.............C arolina Haggstrom G auge............................................ Super 16 mm Standby w a rd ro b e ...................................Lesley M cLennor Craig Carter Shooting stock..........................................Kodak 7291grow up with a burning am bition to find the Horse wrangler.................... Glen M acTaggert Asst standby w a rdrobe..........Annie Peacock Asst sound e d ito r..........................................Sue Lamshed secret of life.

Scheduled release..................................... Early 1985 Asst horse w rang ler...................................Barry Rainbow P ro p s.........................................Nick M cCallum Still ph o to g ra p h y.......................................... Ken George Logistics m anage r......................................John Chase Cast: Jay Hackett (Mike), Tim Scally Props b u y e rs .............................................. Lissa Coote, M echanic..................................................... Kevin Bryant Transport m anager.......................................Ken Collins (Kookie), Lyn Sem m ler (Helen), Clive Hearne Sue Hoyle AN INDECENT OBSESSION Best b o y ............................................ Laurie Fish Best b o y ................................Philip Golom bich (George), Peter Thompson (Sir Ninian Standby p ro p s ......................... Nick McCallum R u nners....................................................... Peter Nathan.

Prod, com pany............................................. PBL Prods R unner......................................................... Colin Gillespie Richards).

Asst standby props................. Alison Goodwin Brenda Sym ons Dist. c o m p a n y.............................................. PBL Prods C a te rin g ......................The Katering Company S yn opsis: Comedy set in a television C hore ography............................Ross Coleman W ard, trainee............................... Sandra Hirsh P roducer.......................................................... IanBradley station, based around a television series.

Laboratory...................................................Atlab Set decorator...............................................Lissa Coote P u blicity....................Marita Blood and Assocs D ire c to r........................................... Lex Marinos Copfile.

Lab. lia is o n ................................................. Peter W illard Scenic a rtis t................................................ Peter Harris N u rs e ........................................................Joanne Scheffler Scriptw riter............................................... Denise Morgan B udget......................................................... $2.75 million Construction m a n a g e r............................... Alan Fleming EMPTY BEACH T u to r ........................................................ Andrew McIntyre Based on the novel Length..................................................... 90 mins Asst e d ito r..............................................A m anda Sheldon C a te rin g ................................................Kristina's Catering b y .................................. Colleen M cCullough Prod, c o m p a n y ............................ Jethro Film s Gauge........................................................35 mm Asst sound recordist................................Shane W alker (Kristina Frohlich) P roducers..................................John Edwards, Photography.................................... Ernie Clark Cast: John Stanton (Lance Dillon), Rebecca Musical d ire c to r................................Ray Cook Catering a s s is ta n t.................................. Robbie Emery Sound re c o rd is t....................... Ken Hammond Tim othy Read Silling (Mary Dillon), Ivar Kants (Sgt Neil Music co-ordina tor.................................... Bruce Rowland Mixed a t ............................................. Soundfirm E d ito r........................................................... Philip Howe D irector.....................................C hris Thomson Adams), Tom m y Lewis (Mundaru).

S tu n ts ............................................................. Max Aspin (Roger Savage) Scriptw riters.................................. Peter Corris, Prod, d e s ig n e r....................................... MichaelRalph S yn opsis: The story of a w om an’s fight for Still photography....................................Carolyn Johns Lab ora tory............................................Colorfilm C om poser.................................................... Dave Skinner Keith Dewhurst love and independence in A u stralia’s North.

Best b o y ..................................................... Shaun Conway Lab. liaison........................ Richard Piorkowski Based on the novel b y ..................Peter Corris Exec, pro d u c e rs............................ Ian Bradley, R unner................................................ G rant Lee NIEL LYNNE Length......................................................95 mins Photography...................................John Seale John Daniell Art dept run n e r............................................. Sam Trum ble G auge........................................................ 35 mm Sound re cordist........................Max Hensser Assoc, p ro d u c e r..............................M aura Fay Prod, c o m p a n y .....................Niel Lynne Prods Unit ru n n e r..............................................Roxane Delbarre Shooting s to c k ...............Kodak Eastm ancolor E d ito r......................................... Lindsay Frazer Prod, s u p e rv is o r.................................... MichaelMidlam Exec, produce rs......................G ilda Baracchi, P u blicity............................................ Roadshow Cast: Henry Thomas (Cody Walpole), Tony Prod, d e s ig n e r........................ Larry Eastwood Prod, co-ordinator................. Sally Ayre-Smith David Baker C atering........................................................ Kaos Katering Exec, producer................................... Bob Weis Prod, m anager.................................Irene Korol Barry (Gaza).

P roducer........................................ Tom Burstall Laboratory................................................... Atlab

PO S T-P R O D U CTIO N

446 — December CINEMA PAPERS

Production Survey

Lab. lia is o n ....................................Peter W illard B udget...................................................$5 m illion Len g th ....................................................105 m ins G a u g e ........................................................35 mm Shooting s to c k .......................................... Kodak C ast: M att Dillon (Rebel), D ebbie Byrne (Kathy), Bryan Brown (Tiger), Ray Barrett (Bubbles), Bill Hunter (Det. Sgt Browning), Julie Nihill (Joycie), Kim Deakin (Hazel).

S yn o p sis : The story of an A m erican marine who, w hile recuperating from injuries in Sydney during W orld W ar 2, m eets and falls in love with a singer in an all-girl band.

ROBBERY UNDER ARMS

Lab. lia is o n ...................................................... BillGooley B u dget............................................... $7.3 m illion Length................................ 6 x 60 m ins (series), 145 m ins (feature) G a u g e ........................................................ 35mm Shooting s to c k .......................................... Kodak 5294, „ Agfa 682 Cast: Sam Neill (Captain Starlight), Steven Vidler (Dick), Christopher Cum m ins (Jim), Liz Newman (Gracey), Deborah Coulls (Kate), Susan Lindem an (Jeannie), Tom m y Lewis (Warrigal), Ed Devereaux (Ben), Jane M enelaus (Aileen), Elaine C usick (Mary), Andy Anderson (George).

S yn opsis: Based on Rolf Boldrewood’s fam ous novel about two bush ran ginq brothers and their legendary leader, Captain Starlight.

Prod, c o m p a n y ............................. SAFC Prods Dist. com pany.....................ITC Entertainm ent P rodu cer............................................ Jock Blair WRONG WORLD D irectors................................ Donald Crom bie, Ken Hannam Prod, c o m p a n y .......................Seon Film Prods S crip tw riters............................. Tony Morphett, P rodu cers................................. Bryce Menzies, Graeme Koetsveld Ian Pringle Story e d ito r.................................................. Peter Gawler Director............................................................. Ian Pringle Based on the novel b y ........ Rolf Boldrewood S criptw riters.....................................................Ian Pringle, P hotography..............................................Ernest Clark Doug Ling Sound re co rd ist...........................Lloyd Carrick Photography..................................... Ray Argali E d ito r........................................A ndrew Prowse Sound re c o rd is t............................ Bruce Emery Prod, d e s ig n e r........................................George Liddle E d ito r................................................. Ray Argali Exec, p ro d u ce r................................. Jock Blair Prod, d e s ig n e r.....................................C hristine Johnson Assoc, produce rs...........Pamela H. Vanneck, C o m po ser....................................Eric G radman Bruce Moir Exec, p ro d u c e r.......................... Basia Puszka Prod, co-ordinator..................... Barbara Ring Assoc, pro d u c e r.........................John C ruthers Location m anager..................... Ron Stigwood Prod, m anager..................... A ndrew W isem an Prod, accou ntan t.........................................John Burke Unit m anage r.............................. Daniel Scharf Accountant tra in e e ................................ Brenda Sharrad Prod, secretary................................. Judi Joske 1st asst directors.................Philip Hearnshaw, Prod, accou ntan t..................................C aroline Fyfe Brian Giddens 1st asst d ire c to r........................................... Lucy M aclaren 2nd asst d ire c to r........... C hristopher W illiam s 2nd asst d ire c to r....................................Cristina Pozzan 3rd asst d ire c to r.....................................Lindsay Smith C o n tin u ity ................................................... Fiona Cochrane 2nd unit d ire c to r........................................ David Eggby Focus p u lle r.............................. Jenny Meaney 2 nd unit prod, m anager/ C lapper/loader.......................... Mandy W alker 1st asst d ire c to r........................................ Gus Howard G rip................................................................Brian M cKenzie C o n tin u ity....................................................... Ann W alton G a ffe r............................................................ Greg Harris 2nd unit c o n tin u ity ................................. M aggie Boyd Boom o p e ra to r......................... Simon W ilm ot 2 nd unit prod.

Asst art d ire c to r.......................................... C hris Kennedy a s s is ta n t................................................ M argo TamW blyn ardro be..................................................... Jane Howat Producer’s secretary.................................Chris Howard Musical d ire c to r............................................ Eric Gradman C a s tin g ................................ Audine Leith (S.A.) Still pho tograph y............Francine McDougall Camera o p e ra to r....................................... David Foreman Best b o y .................................. John Cum m ings Focus p u lle r............................................... M artin Turner Editor’s assistant.....................................B ettina Petith C lappe r/loa der............................................David W olfe-Barry R u n n e rs ....................................................O dette Snellen, Key g r ip ....................................................... Robin Morgan Jane Godwin 2nd unit g rip ........................................... Ian Park C a te rin g .................................................. Cristina Frolich Asst g rip ...........................................................Jon Goldney Additional c a te rin g ................................M elinda W alker 2nd unit photography................................David Eggby, Laboratory........................................... Colorfilm David Graham Len gth...................................................100 mins 2nd unit focus p u lle rs ....................................Ian Jones, G auge.............................................Super 16 mm John Foster Shooting s to ck.................................... Fuji 8521 2nd unit c la p p e r/lo a d e r........................... DarrylW ood Cast: Richard M oir (Trueman), Jo Kennedy G a ffe r......................................................... Trevor Toune (Mary), Esben Storm (Laurence), Robbie 2nd unit gaffe r..............................................Keith Johnson M cGregor (Robert), Nic Lathouris (Rangott).

Boom o p e ra to rs .................. C hris G oldsm ith, S yn opsis: A contem porary drama.

Eric Briggs 2nd unit sound re co rd ist............Toivo Lem ber YOUNG EINSTEIN Asst art d ire c to r...........................................VickiNiehus Prod, com pany....................................... Serious Prods Costum e d esigner...................................... Anna Senior P rodu cers..................................................Yahoo Serious, Principal m ake-up a rtis t............Karla O ’ Keefe Trueman (Richard Moir) shuts himself in a motel bathroom with a cap o f morphine in Ian Pringle’s David Roach Make-up a rtists.............................Jane Surrich, D irector.......................................................Yahoo Serious forthcoming feature Wrong World.

Egon Dahn S criptw riters..............................................Yahoo Serious, Principal ha ird re sse r.............. Christine Ehlert David Roach Hairdressers................................................ Sash Lamey, P h otog rap hy..................................................Jeff Darling Beverley Freeman Standby pro p s.............................. Igor Lazareff FANTASY MAN Sound recordist....................................G eoffrey GristKey a n im a to r s .........................A nne Jolliffe, Costum e su p e rviso r............................. G raham Purcell Gus M cLaren, Asst editor............................. Pamela Barnetta C o m poser................................................. Robert Dickson P roducers...................................Basil Appleby, W ardrobe s ta n d b y .............. Heather W illiam s Sound e d ito r...............................................

Dean Gawen Steve Robinson, Location m anage r..................................... Bryan Young Darrell Lass W ard, m is tre s s .....................Louise W akefield Ralph Peverill Editing assistant................. Am anda Sheldon D ire cto r.......................................John Meagher Prod, ass is ta n t..................................Paul Fogo W ard, assistan ts........................................Paula Ekerick, M ixer..................................... Julian Ellingworth Painting supe rvisor ............ M arilyn Davies 1 st asst d ire c to r.............................David Roach S crip tw riter................................ John Meagher Peter Bevan D irector special fx Asst m ix e r..............................Michael Thomas Comic a s s o c ia te .............................. Ian J. Taite P h otog rap hy..............................Andrew Lesnie Props buye rs...................................Christopher W ebster, Still photography.......................Carolyn Johns p h o to g ra p h y ..................... M ike Brow ning Lighting assistants................M ark Freedman, Sound re c o rd is t...........................................Ross Lindon M arta Statescu A rt d ir e c to r ..............................A lexander Stitt Dialogue c oa c h ..................... Claire Crowther John Lee, E d itor............................................Rodd Hibberd Standby p ro p s .............................................John Daniell M usical d ire c to r ............................Peter Best T ra in e r.......................................................... Jack Pros Glen Pead Prod, designer.......................................... DarrellLass Asst standby props......................................Liam Liddle Tech, a d v is e r s .....................M ike Browning, R u n n e r........................................... Kate Ingham Camera a s s is ta n t..............Robert M acDonald C o m po ser.................................................. Adrian Payne Special e ffe c ts ...................................Brian Cox Volk Mol Consultant p u b lic is t..................................... Rea Francis Boom o p e ra to r................ Jacqueline Lawson Prod, supervisor.................................. Sue W ild Set d e co ra to r.............................................. Barry Kennedy S tu d io s .....................................................A! et al C a te rin g ..................................... John Faithfull Art d irector................................................ Steven Marr 1st asst director.................. M ichael Bourchier Asst set dresser........................................... N ickiRoberts Laboratory ................................Victorian Film Mixed a t .......................................................Atlab Asst art d ire c to r................................... C hristine Robertson C o ntinuity................................... Jenny Q uigley Scenic a rtis ts ...................................................Ian Richter, Laboratories Laboratory................................................... Atlab Costum e designer......................................M ishiW atts G a ffe r.......................................... Alleyn M earns Peter Harris Length ................................................... 90 m ins Lab. lia is o n ................................................. Peter W illard M ake-up...........................Klarenz von Deusing Art director............................... Loualla Hatfield Art dept ru n n e r....................... Daniel M orphett Gauge .............................35m m Panavision, Length............................................................... 93 mins H a irdre sser.....................Klarenz von Deusing Mixed a t .......................................................... PhilTipene Art dept co-ordina tor........................ Janet Hay Triangle 3D G a u g e ........................................................ 35mm W a rd ro b e .....................................................M ishiW atts Laboratory................................................. Atlab Set construction S hooting s to c k .........................Eastm ancolor Shooting s to c k ........................................... 3247, 3294 Make-up assistant.........................................Sue Burns Length................................................................ 80 mins supe rvisor.................................... Derek Mills Voices: J a c k l W eaver, John F arnha m , Cast: Jason Connery (John Aspinall), Diane Set c onstruction.......................................Steven M arr G a u g e ........................................................ 16mm Set construction Hayes G ordon, G ary Files, Jim Sm ilie, Cilento (Mrs Aspinall).

Still photography.........................................Brian G allagher Shooting s to c k ............. Kodak Eastm ancolor m a n a g e r.............................. Keith M cAloney Hamish Hughes.

Synopsis: The story of a young man at Horse m aster................................................. Max Foster Scheduled relea se........................................ Mid 1984 Asst e d ito r................................Denise Haratzis Synopsis: W ill A b ra C adabra thw art the university in 1965. He is a sporting cham ­ C a terin g....................................................... Linda Pead Cast: Harold Hopkins (Nick Bailey), Jeanie Edge n um berer............................... Pip Karmel plans of rotten B. L. Z ’Bubb and nasty Klaw, pion, academically brilliant and from a Lab ora tory..................................Cine Film Labs Drynan (Liz Bailey), Kate Fitzpatrick (Betty), M u s ic ......................................Garry McDonald, the Rat King, to control all of the know n and wealthy fam ily and is searching for a Length......................................................90 mins Kerry Mack (Donna).

Laurie Stone unknown universe? meaning for his life.

Cast: Yahoo Serious (Albert), Peewee S yn opsis: Human com edy about a man who Sound e d ito rs ...............................C raig Carter, W ilson (Mr Einstein), Su C ruickshank (Mrs has a fantasy love affair with a w aitress as he Frank Lipson THE BOY WHO HAD EVERYTHING Einstein), Roxanne W ilson (Honey), Antoin­ is approaching 40 and a m id-life crisis.

Editing a s s is ta n t........................................... Rex W atts ette Byron (French nurse), Ian J. Taite (Tas­ Prod, c o m pany................... Alfred Road Films Post sync, e d ito r ........................................ Peter Burgess manian Devil), Robert Dickson (Walt), Ray Dist. com pany............................................Hoyts Post sync, a s s is ta n t................................. Laura Alcock Fogo (clerk), W arwick Teece (boss), Don M ix e r.......................................................... Jam es Currie P rodu cers............................... Richard Mason, C a rson , W a lte r B lu n d e l (n e ig h b o u rs ), Asst m ix e r ........................................ Peter Smith Julia O verton Warren Colem an, Stephen Abbott, Glen Stunts co-ordinators....................... Bill Stacey, D irector.................................................. Stephen W allace Butcher, Russel Cheek, Angela Moore Glen Boswell, Scriptw riter............................................ Stephen W allace (asylum characters).

Dennis Hunt Based on the original idea S y n opsis: The incredible, untold story of A rm o u re r........................................................ Rob M ousley b y ........................................................ Stephen W allace Australia’s most unsung hero, the Tas­ S tu n ts .........................................................Csaba Szigeti, Script consultant........................... Sandra Levy manian genius, Albert Einstein. A com edy Glen Boswell, Photography................................ Geoff Burton that reveals his birth to a Tasm anian apple Beni Ballint, Sound re c o rd is t............................................ Tim Lloyd farmer, the prem ature discovery of rock and Gerald Egan, Editor...........................................................Henry Dangar roll, and the jo ys of the birth of relativity. It is Bill W illoughby, Prod, designer.............................................Ross Major also the saga of his love affair with a beauti­ Ric Boue, C om poser.............................. Ralph Schneider ful but, sadly, highly intelligent woman.

Jam ie Hunt, Prod, m anager.............................................. Rod Allan Billy Dean, Prod, secretary..........................................Cathy Flannery Dee Jones Prod, accountants.......................................... Jill Coverdale, Still p h o tograph y............................. Bliss Swift, Howard W heatley Greg Noakes, 1st asst d ire c to r.......................................... Mark Turnbull C orrie Ancone 2nd asst d ire c to r............................................ Ian Page Safety o ffic e r............................ Zev E leftheriou 3rd asst director.......................................... Julie Forster Horsem asters............................ Ray Winslade, C o ntinuity............................................... Daphne Paris Bill W illoughby Casting consultants.................................... M&L Casting ABRA CADABRA W ra n g le rs ....................................G erald Egan, Lighting c a m e ra m a n ................................G eoff Burton Jim W illoughby, Prod, com pany ......................A d am s Packer Camera o pe rator....................................... G eoff Burton M alcolm Pritchard, Focus p u lle r................................................ Derry Field Film Prods Tony Jablonski, P r o d u c e r ...................................................P hillip Adam C lappe s r/loa ders...........................<Gill Leahy, BJ Elliott, D ir e c to r ............................................. A lexand er Stitt Conrad Slack Greg Luke Key g rip ...................................................... Lester Bishop S c r ip tw rite r .......................................A lexand er Stitt Asst g rip .............................................. G eoff Full Best b o y .................................. G raem e S helton Based on the original G a ffe r............................................................... IanPlum m er R u n n e rs.......................................M ason C urtis, id ea by ................................A lexand er Stitt David Field E lectrician................................................ Patrick O ’ Farrell S ound re c o rd is t .............. Brian Lawrence, Nurse...................... Patsy Buchan-Hearnshaw Boom o pe rator...................................Phil Kuros AAV A u stralia Costume d e s ig n e r......................................Ross Major P u b lic ity .........................Suzie Howie Publicity C o m p o s e r ..................................... Peter Best C a te rin g ...................................... Frank M anley M ake-up................................................M argaret Lingham Exec, p ro d u c e r ....................... P hillip Adam s S tu d io s ........................SAFC Hendon Studios Assoc, pro d u ce r ................... A n dre w Knight W ardro be................................................... Jenny Miles Ward, assistant.............................................Meg Hunt Mixed a t ...................... SAFC Hendon S tudios Prod, secretary ........................... Janet A rup Props b u y e r..................................................Peta Lawson Lab oratory............................................ C olorfilm A n im ation d ire c to r ..................Frank Hellard

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Production Survey

Keron Stevens, P ro g re s s .................................Aw aiting release Director............................................................KarlZw icky Underwater RESTLESS Bob McLeod, Scheduled release................. December 1984 photography.................. Ron and Val Taylor Scriptw riters................................... Karl Zwicky, Prod, co m p a n y................................W yndcross Brian C hilds S yn opsis: A docum entary, without dialogue Alan Healey G a ffe r...........................................................

Brian Adams Dist. c o m p a n y.................................. Endeavour Prods Set c o n s tru c tio n ........................Dennis Smith, P h oto g ra p h y.................................................Nick Power 2nd unit g a ffe r................................John Irving or narration, of the 1984 European tour by P roducers.................................... John Barnett, Bill Howe the A ustralian Youth Orchestra. Recorded in E lectricians......................................Jim Hunt, Sound re co rd ists...........................Rod Sewell, Brian W. Cook Asst e d ito r..................................................Lynne W illiam s and film ed in seven countries.

Peter Hamm ond Jack W ight stereo D irector....................................................... Denis Lewiston Edge n um berer......................................... Kathy Cook Boom o pe rator........................ Mark W asuitak E d ito r...............................................................Rod Sewell Scriptw riter................................ Denis Lewiston Musical d ire c to r......................Bruce Smeaton Art d ire c to r............................... Owen Paterson C om poser.............................................. Julianne Spicer Based on the story b y .............................. Gerry O ’Hara DEATH AND DESTINY: A JOURNEY Exec, producer.............................. Alan Healey Sound e dito r................................................. PaulMaxwell Art dept co-ordina tor.....................

Debra Cole Photography......................................Alec Mills Dubbing e d ito r.............................. Peter Foster INTO ANCIENT EGYPT D raug htsm an................................. Scott Bird Prod, secretary......................Marie Arm strong Sound recordist...........................................Gary W ilkins Editing assistan ts...................................... Anne Breslin, M ake-up........................................................Jose Perez Graphic a r tis ts ................................John Agra, E d ito r....................................................... MichaelHorton Prod, com pany....................... Look Film Prods Emma Hay H airdresser............................................ Andrew Simon Philip Ritchie Prod, d e s ig n e r........................Josephine Ford P ro d u c e r.......................................... W ill Davies Stunts c o -o rd in a to r................................... Peter W est Wardrobe supervisor........................ Aphrodite Music perform ed by..............Julianne Spicer, C o m poser.............................................Gil Melle D ire c to r.................................................Paul Cox Still photography..........................................C hic Stringer Standby w a rdrobe................................. Frankie Hogan Jeff Gordon Prod, m anage r........................Howard G rigsby Scriptw riters....................Michael le M oignan, Anim al w ra n g le r........................................ Steve Phillips Props m aste r............................................... Mike Fowlie M ix e r...............................................................Rod Sewell Prod, supervisor..................... Howard G rigsby Phillip Adams, Best b o y .........................................................Ken M offatt Props buyers........................... Alethea Deane, N a rra to r.........................................................Noel Hodda Unit m a n a g e r................................................Dan Hennah Paul Cox R u n n e rs...................................................... Peter Brown, Leigh Cunningham O p tic a ls ................................................... Custom Video, Prod, secretary....................... Jennifer Barty Photography................................................. YuriSokol Shane W alker Standby p ro p s ........................................... Harry Zettel, AM Studios Prod, accountant.................. Keith MacKenzie Sound recordist...........................Max Hennser C a te rin g .....................Take One Film Catering C hris James Length......................................................19 m ins Asst accou ntan t.........................Tony W hyman E d itor.............................................................John Scott Mixed a t ................................................Colorfilm Special e ffects............................ Alan Maxwell, G a u g e ................................................ Videotape Prod, assistant..........................................Penny Garland Co-producer..............................................Jam es Boyle Laboratory............................................

Colorfilm Peter D. Evans Shooting stock................................ Am pex 197 1st asst d ire c to r......................Terry Needham Lab. lia is o n ..................................................... BillGooley Exec, p ro d u c e r.......................Richard Tanner Special effects Progress............................................. In release 2nd asst d irector.................Jonothan Barraud Length............................................................. 100 mins.

Assoc, p ro d u c e rs .......... M ichael le M oignan, assistan ts........................Jam ie Thompson, Synopsis: The AM FSU is A u stra lia 's 3rd asst d ire cto r................................... Geoffrey Hill Gerald Letts G a u g e .................................35mm anamorphic Peter Stubbs num ber one union. W orking For You shows C o n tin u ity .......................................... Linda Ray Shooting s to c k ..........................................Kodak Prod, co-ordinator......................................... Bee Reynolds Specialized the services the union offers its m embers Producer’s assistan t.......................... Rose Lai Cast: Terence Donovan, Susan Lyons, Prod, s e c re ta ry .......................................Joanne Rooney p ro p s ................... John Cox (model maker), and how its m em bers’ m oney is spent, and Casting................. Onorato and Franks (U.S.), Harold H opkins, Steve Bisley, M artin Supervising a ccou ntan t.....Peter M acDonald Peter O ’ Brien (sculptor), demonstrates the many ways the union is M &L Casting (Aust.)

V a ughan, Is abelle Anderson, D orothy Prod, a c c o u n ta n t..............M aryanne Koopler Sue M aybury (asst model maker) fighting for their future.

Focus p u lle rs.............................................. Barry Helleren, Alison, Steven Grives, Emil Minty, Nikki Camera ope rator..................................... Jam es Grant Stage h a n d .................................. Alistair Reilly Ian Turtill Gemmell, Mark Kounnas.

Asst e d ito r........................................................Liz G oldfinch Scenic a rtis t................................ Billy Malcolm C lappe r/loa der.................................... Vaughan Mathews Synopsis: A young Englishwom an finds Neg. m a tc h in g .............................Kut the Kaper Set p a in te rs .................................... Rick Doyer, Key g rip ....................................................... G eoff Jam ieson herself in Australia at the end of W orld W ar Sound e d ito r.................................Liz G oldfinch Kerry Leonard Asst g r ip ....................... Rourke Crawford-Flett 2. A romantic dram a unfolds as she takes Editing assistants.....................................Lesley Mannison, C arpenters........................... Gordon McIntyre, G a ffe r........................................W arren Mearns work as a governess to the children of a Anne Maries Gerry Powderley, E lectrician.................................................... Brett Mills tim ber baron in NSW. M ixer........................................................... Julian Ellingworth W alter Sperl, Genny o p e ra to r.............................................. Ian Beale Narrator.......................................................Phillip Adams Robert Hern, Boom op e ra to r.......................... Mark W asiutak Title designer..............................................Chas Hyde Hugh Bateup, Art director................................ Kirsten Shouler Tech, a d v is e r.....Professor Naguib Kanawati Frank Savage, Costume d e s ig n e r.......................Patrick Steel Publicity....................................Look Film Prods Rod Hayward, M a ke -u p ..................................Anne Pospischil Mixed a t .....................................................United Sound Frank Noble, H a irdre sser..............................Francia Smeets Laboratory...................................................

Atlab M artin Kellock W ardrobe......................................................Julia Mansford Lab. lia is o n ................................................. Peter W illard Construction m a n a g e r............ Danny Burnett W ard, a s s is ta n ts ................Glen Christensen, B u dget.................................................$510,500 F a b ric a to rs................................ Brad Cramp, Sally Hennah IN THE PINK Length................................................................72 m ins Ross Greig, EMPLOYER AND APPRENTICESHIP Props buyers.................................. Paul Dulieu, G auge........................................................ 16 mm Tony Downie, Prod, com pany................. Market Street Films W arren Hoy P roducer................................................... Steven Salgo Shooting s to c k ......................... Kodak 7291/94 Alan Ginn P roducer.....................................................

David Noakes Standby p ro p s........................Trevor Haysom, S c rip tw rite r............................................M ichelle M orris Progress..............................................In release Asst e d ito r.............................................. .Jill Holt D irector.................................................. Madelon W ilkens Am anda Lane Liaison................................. Claire McGowan, First re le a s e d ....................................

November 1984 Neg. m a tc h in g ....................................

Colorfilm Scriptw riter............................................ Madelon W ilkens Scenic a r tis t................................ Paul Radford Julie Borris S yn opsis: Saqqara, south of the Great Story board artists........................... Fil Barlow, Collaboration fro m ........................ Delia Allen, Standby ca rp e n te r......................Henry Wilcox Exec, p ro d u c e r.................. Vincent O ’Donnell Pyramids is arguably the m ost im portant Allister H ardiman Michael Denton, Set c o n stru ctio n ..........................Trevor M ajor G augs........................................................

16 mm archaeological site in Egypt. Here, in the Music conducted by........................Brian May Jaqui Reed C a rpe nte rs..............................................G ordon Scouler, Progress....................................Pre-production necropolis of Memphis, is a stratified history Sound e dito r............................ Bruce Lamshed Based on the original idea Frank Burney, Synopsis: The apprenticeship schem e from stretching back to 2500 BC. The careful M ixe r...........................................................Roger Savageb y ........................................................ Madelon W ilkens Peter Burney excavation work of an Australian archae­ the em ployer perspective. In the past years Stunts co -o rd in a to r.........................Max Aspin Script e d ito r............................Susan Dermody Asst e d ito r......................................... Rex Potier numbers have fallen, a skilled w orkforce is ologist uncovers clues to the assassination S tu n ts ............................................................

Max Aspin, P h otog rap hy............................................M artha Ansara Neg. m atching...... Negative Cutting Services dependent on training man and resources. of a Pharaoh, and a greater understanding of Alan Oberholzer, Sound recordist............................................ JeniHorton Musical d ire c to r.............................Dave Fraser the concept of life and death in Ancient Fiona M cConichie, Editor...............................Kersten Hill Harrison Sound e d ito r.................................. John McKay THE FRENCH COLLECTION Robert Simper, Egypt.

C om posers............................Helen Lawrence, Editing assistan ts................. Ross Chambers, Ian Lind, Prod, c o m p a n y ...............................................MT Prods Jaqui Reid Tony Johnston W ayne Pleace “ HMS PANDORA’ ’ — IN PURSUIT P rodu cer................................... Steven Cozens Exec, p roduce r..................................... Madelon W ilkens M ixer........................ Les McKenzie (Colorfilm) Safety officers............................................. Jade Clayton, D irector......................................Steven Cozens Prod, m a n a g e r.................................... Rebecca W hitton OF THE BOUNTY Unit d riv e rs ................................................ Robin Hosking, Archie Roberts, Liaison............................................Juliet G rimm Prod, se c re ta ry .........................................Susan W ells Roger Preston Prod, c o m p a n y .............David Flatm an Prods Frank Lennon (Film Victoria) 1st asst d ire c to r............................. Susan Weis Camp com m a ndant..................... Tony Forster P rodu cer.....................................

David Flatman Still photography.........................

David Parker Exec, p ro d u c e r................. Vincent O ’Donnell 2nd asst d ire c to r...........................

Katy Clarke Flight co-o rd in a to r.......................Robert Bruce D irector........................................David Flatman Aerial co-ordina tor...................... Don Pollock Length.................................................... 23 mins C a s tin g .........................................................Faith Martin, Still p h o tograph y........................... Ken George S crip tw riters............................. David Flatman, M e c h a n ic ....................................................David Thomas G a u g e ................................................. Videotape Rebecca W hitton Best b oy........................................... Don Jowsey David W hite Best boy........................................................ G ary Scholes P rogress.............................................Production Camera o p e ra to r.....................................M artha Ansara Lighting dept run n e r...................................Brett Jarm en Photography.................................W alter Deas, G enerator o p e ra to r......................................

Jon Leaver Synopsis: A film about Madame Toussaint’s Clapper/loader.......................................... Alison Fuller P u blicity.........................................Tony Noble, Keith Bushnell, R u nners....................................................Robert Wood, visit to Australia to study the Neville Scott Camera assistant..................................... Alison Fuller C onsultus (NZ) Tony W ilson Mark Abicht, Collection.

Key g rip ..................................................... Neville Ballard C atering.......................................................David W illiams, Sound re c o rd is t................ Rowland McManis Jim Mavridis, G a ffe r........................................................... DarylBinning Location Catering E d ito r.......................................... Denise Hunter Bruce Thompson MAN AND RESOURCES Art d irector.................................. Jill Kempson Unit n u rs e .................................... Toni O kkerse Prod, m an a g e r..............................Sue Flatman Unit p u b lic is t................................... W endy Day P ro p s ....................................................... Yvonne Meyer Mixed a t ..............................Colorfilm (Sydney) Exec, p ro d u c e r..................Vincent O ’ Donnell Prod, s e c re ta ry ..................... Barbara Flatman C a te rin g ......................................

Helen W right, Asst e d ito r.................................. Jan Louthean Laboratory...................................C olorfilm (NZ) R esearch.............................

Christine W ardale Neg. m atching...... Negative C utting Services Annabelle Brown C atering....................... W izbah-Beat Caterers Lab. lia iso n ....................................................Rick Shields, L ia is o n ................................. Howard W orm er M ix e r..........................................................G ethin Creagh 2nd unit catering.......................W olfgang Graf Lab ora tory............................................. Cinevex Grant Miller Length.....................................................50 m ins N a rrator............................David Attenborough S tu d io s ...........................Film Victoria Studios, Lab. liaison................................................. Bruce Braun Length..................................................... 90 mins G auge........................................................ 16 mm O pticals................................................Colorfilm Port Melbourne B udget.....................................................$60,000 G a u g e ........................................................35mm Progress..................................... Pre-production Title d e s ig n e r.............................................. John Endean Mixed a t ...................................... Film Australia Length............................................................... 25 mins Shooting stock........................... Eastm ancolor Synopsis: An exam ination of m an’s stew­ Mixed a t ...............................................Colorfilm Laboratory............................................Colorfilm G auge........................................................16 mm Cast: Simone Griffeth (Christine Weber), ardship of the earth.

Lab oratory..................... Cine Film Laboratory Lab. lia is o n ......................................Bill Gooley, Shooting s to c k ..................................... Eastman Neg. Steve M arachuk (Greg Sandford), Bryan Length..................................................... 56 mins Richard Piorkowski Progress............................................ Production Marshall (Clive Weber), Elizabeth Haw­ G auge........................................................16 mm G auge....................35 mm anam orphic Dolby Scheduled release...................................... April1985 thorne (Suzanne Maxwell), Ray Henwood Progress..............................................................in release Shooting s to c k ..... Eastm ancolor 5247, 5257 C a st: A rn a -M a rie W in c h e s te r (Anna), (Douglas Maxwell), Peter M cCauley (Detec­ S yn opsis: The first of a series of docum en­ Cast: John Hargreaves, M eredith Phillips, Michael Innes (Steve), Lucy Suriano (Helen), tive-Inspector Nolan). taries on the archaeological recovery pro­ Max Phipps, Simon Chilvers, Bill Hunter.

Claire Haywood (Miranda).

S yn opsis: A passionate thriller. gram of “ HMS Pandora” , sunk off the S yn opsis: An action adventure set in the S yn opsis: Anna, a single mother, and her northern coast of Queensland w hile in 1940s. pre-adolescent daughter Helen are allies in pursuit of the famous “ Bounty” and its SKY PIRATES their struggle to survive in an affluent mutineers. It includes graphically re-enacted Prod, c o m p a n y ........................................... John Lamond society. Anna’s best friend M iranda w orks in FLEMINGTON MARKETS — FRESH segm ents of the ill-fated naval frigate’s last Motion Pictures a massage parlour to support her three ON TIME THE WINDS OF JARRAH voyage.

Dist. com pany........... Roadshow International children. Anna has an affair w ith Steve, a Prod, com p a n y...........Richard Bradley Prods Prod, com pany......................Film Corporation P ro d u ce rs..............................John D. Lamond, younger petty crim , w hile preoccupied with Producer..................................................Richard Bradley of W estern Australia M ichael Hirsh letters to her father.

Director.....................................................Richard Bradley P roducers.................................................... Mark Egerton, D irector........................................................ Colin Eggleston S crip tw rite r...................................................

Dick Jarvis Marj Pearson S crip tw riter............................. John D. Lamond D ire c to r........................................ Mark Egerton P h otog rap hy..................................................PhilMurray, Based on the original idea Steve Mason Scriptw riters........................................ Bob Ellis, b y ..........................................John D. Lamond Anne Brooksbank Sound re c o rd is t....................John Dennison Photography................................................ Gary W apshott Director of p ho tograph y............Geoff Burton E ditor.......................................Robert Davidson Sound re co rd ist...........................G ary W ilkins OFF ROAD RACERS Sound recordist.......................... Gary W ilkins Prod, m an a g e r............................................ M ike Jacob E ditor............................................................Pippa Anderson E d ito r............................................ Sara Bennett Mixed a t .......................................... Dubbs & Co. Prod, c o m p a n y ............David Flatm an Prods Prod, d e s ig n e r........................................Kristian Fredrikson Prod, de s ig n e r........................

Graham W alker Lab ora tory................... Cine Film Laboratory P rodu cer...................................

David Flatman C o m poser.................................................... Brian May C om poser................................ Bruce Smeaton Length......................................................12 mins D irector......................................David Flatman Prod, co-ordinator................................. M iianka Comfort Assoc, producer..........................Cara Fames G auge........................................................

16 mm Scriptw riter................................David Flatman Second unit co-ordinator Michael Dauia Prod, s u p e rv is o r........................Su Arm strong Prod, m an a g e r...........................Kevin Powell Shooting stock............................ Eastm ancolor P hotography............................. David Haskins, Unit m anager............................................. Phillip M cCarthy Loc. m anager.................................................PhilRich S yn opsis: Fresh on T im e shows the Tony Wilson, Assistant unit m anager................................Jeff GaleUnit m anager.............................. Peter Gailey activities of the Sydney Farm Produce Keith Bushnell THE AMBASSADOR’S SYMPHONY Prod, se c re ta ry..........................Carol Hughes Location s c o u ts ........................... Bob Kewley, Market Authority. The co-ordination of the Sound re c o rd is ts .......................... Rob Stalder, Prod, c o m p a n y......... Soundsense Film Prods Ray Hennessey Prod, accountant.......................Peter S joquist display and sale of fresh fruit, vegetables Ian W ilson Dist. c o m p a n y .......... Soundsense Film Prods Prod, secretary..............................................Ann Mudie 1st asst d ire c to r..................................... MichaelFalloon and flowers to buyers from within New South E d ito r......................................... Denise Hunter 2nd asst d ire c to r...........................................PhilRichProducer...................................................... Brian Morris Prod, accountant................ Graeme H. W right C om poser.................................................Ashley IrwinWales, the islands of the South Pacific and D ire c to r......................................................M artin Cohen 3rd asst d ire c to r..........................................M ark Lamprell Asst prod, a cc o u n ta n t...... Pauline M ontagna overseas countries is a massive operation Prod, m a n a g e r............................................. Sue Flatman Based on the original idea C o n tin u ity................................... Daphne Paris Prod, assistant......................................Vivienne Schwarcz requiring considerable expertise.

Prod, s e c re ta ry ..................................... Barbara Flatman by...............................................................Brian Morris Extras ca stin g .............................Klay Lamprell 1st asst d ire cto r...........................................John Powditch Neg. m atching...... Negative Cutting Services Photography...............................................Louis Irving Casting consultants.................. Alison Barrett 2nd unit 1st asst d irector.............Euan Keddie Editing a s s is ta n ts .................... Deana Sawyer THE HYDE PARK BARRACKS — Sound recordist..................................... MichaelGissing Camera o p e ra to r................. David W illiamson 2nd asst d ire c to r.......................... Stuart Wood M ix e r.......................................... Roger Savage WITNESS TO SYDNEY’S PAST E d ito r.............................................................. Tim Street Focus p u lle r............................................... David Foreman 3rd asst d ire c to r............ M atthew Rees Jones N a rra to r.....................................David Flatman Lighting ca m e ra m a n ................................ Louis Irving Prod, co m pany............................. JO TZ Prods Clapper/loader............................ G illian Leahy 2nd unit d ire c to r......................................... Ross Hamilton Title d esigner............................................... AAV Camera ope rator........................................Louis Irving P ro d u ce r..................................... Tom Zubrycki C o n tin u ity....................................................JenniTosiFilm school attachm ent/ Mixed a t ........................................... Soundfirm , Focus p u lle r................................................ Louis Irving D irectors................................... Tom Zubrycki, 2nd unit co n tin u ity ................................... Briony Behetscam era assistan t..............Nick M cPherson AAV C lapper/loader........................................... Louis Irving Alec Morgan Key g rip ..........................................................Rob Morgan C a sting............................................................ Lee Larner Lab ora tory.....................Cine Film Laboratory 2nd unit p h o to g ra p h y..............................Oscar Scherl S c rip tw rite r................................. Alec Morgan Asst g rip ..................................................Graham Shelton Camera o p e ra to r.................................. M alcolm Burrows Length................................................................29 mins Asst e d ito r..................................................

Linda Goddard Photography............................

Fabio Cavadini Underwater p ho tograph y.........

David Burr & Focus p u lle rs.............................................. Barry Helleren, P ro g re s s ................................................Aw aiting release Neg. m a tc h in g .............................Kut the Kaper E d itor.............................................. Roy Mason Production Divers C live Duncan Scheduled re le a s e ............................... O ctober 1984 Music performed Exec, p ro d u c e r...........................Peter Dimond G a ffe r................................ Graham Rutherford 2nd unit focus p u lle r......... Peter Van Santen S yn opsis: A docum entary showing the b y ......................A ustralian Youth O rchestra Mixed a t ....................................... Palm Studios Boom o pe rator.......................... Mark W asiutak C lappe r/loa der.........................Rex Nicholson excitem ent, fun and dram a of a co-operative Sound e d ito r ..........................................

Michael Gissing Lab ora tory......................Cine Film Laboratory Art d ire c to r............................ Steve Am ezdroz 2nd unit c la pper/loaders........ Kattina Bowel!, of professional and am ateur off road racing M ix e r........................................................MichaelGissing Length......................................................17 m ins Costume d e s ig n e r........................David Rowe M andy W alker drivers as they collaborate to win in the off O p tic a ls ........................................................ Arab G auge........................................................ 16 mm M ake-up........................ Lesley Lam ont-Fisher Key g r ip .........................................................NoelMudie road racing circuit.

Title d esigner................................................Fran Burke Shooting stock................. Eastm ancolor Neg. Standby w a rd ro b e ........................Jenny Miles Asst grip s ......................................................... Ian Hobson, Mixed a t ........................................ Soundsense S yn opsis: W itn e ss to S y d n e y ’ s Past is a Ward, assistant.........................Penny Gordon Jam ie Leckie THE METALWORKERS — Laboratory................................................... Atlab chronological overview of the history of 2nd unit g r ip ............................................... Barry Brown Props buyer............................... Anni Browning Lab. lia is o n ................................................ Bruce W illiamson WORKING FOR YOU Sydney and New South W ales. It provides a Standby p ro p s ............................................ Tony Hunt 2nd unit director of B u d g e t.................................................. $212,500 background against w hich the exhibits in the Prod, c o m p a n y......

M etalworkers’ Video Unit Special e ffe c ts ...........................................

C hris Murray, p h o to g ra p h y............................................John W heeler Length..................................................... 50 mins Hyde Park Barracks M useum and the Dist. c o m p a n y ..............Am algam ated Metals, David Hardie Special fx G auge........................................................16 mm Barracks building itself m ay be viewed in Painter........................................ Len Arm strong Foundry and S hipw rights’ Union photography................... Dennis Nicholson, Shooting s to c k ................................... Agfa 682 perspective.

Producer.........................................................KarlZw icky C arpenters..................................... John Rann, Ken Arlidge

GOVERNMENT FILM PRODUCTION

SHORTS

FILM V IC TO R IA

NEW S O U TH WALES FILM CO RPORATION

SH O R TS

DOCUMENTARIES FEATU R ES

CINEMA PAPERS December — 449

Production Survey

W ayne M urray Chris W illiam s Prod, accountant.......................... Peter Layard A THOUSAND SKIES OVERSEAS ADOPTION Asst w ra n g le r........................... Jenni W inslade 2nd asst d ire c to r........................................ Peter Kearney Prod, a s s is ta n t...........................................Vicky W right Prod, com pany...................................Television Makers Dist. c o m p a n y .......................................Network Seven Best boy ..........................Guy Bessell-Browne 3rd asst d irector..............................G. J. Carroll 1st asst d ire c to r...............................G erry Letts RUn n e r.........................................Glen W illiam s P ro d u ce r....................................................... John Culliton Producers..................................................... Ross Dimsey, C ontinuity................................Salli Engelander 2nd asst d ire c to r.................... Peter Fitzgerald Robert Ginn D ire cto r...............................................John Adey Unit p u b lic is t.................................. Lyn Q uayle C a s tin g .................................................Jo Larner 3rd asst d irector........................ Stephan Elliott S c rip tw rite r.................................... Dee Dorgan D ire c to r........................................................David Stevens C a te rin g ............................ Take O ne Catering, Camera o p e ra to r......................... Tracy Kubler C o n tin u ity ......................................Jan Newland Anne Harris S crip tw riter..................................................David Stevens P h o to g ra p h y............................................... Craig W atkins Focus puller................................................ Bruce Phillips C a s tin g .............................. Maizels and Assoc.

Based on the novel b y ..........Tasm an Beattie E d itor...................................................John Bray S tu d io s....................PBL Prods/Kew dale W.A. Clapper/loader........................................... Bruce Phillips Focus p u lle r............................ Brian Breheney E d ito r....................................... Tony Patterson Exec, p ro d u c e r...........................................Peter Dimond Mixed a t ........................................................Atlab Key g rip ..........................................................Brett M cDowell C lappe r/loa der........................................ Felicity Surtees Prod, d e s ig n e r....................................Tel Stolfo Prod, m a n a g e r.............................. Steve Wood Laboratories............................................... Atlab, G rip ................................... “ N obby” Szafranek Key g rip ................................................G eoff Full O m nicon L e n g th .....................................22 mins, 30 secs C om poser................................Bruce Smeaton G a ffe r................................Graham Rutherford Asst g rip ...................................................... David Nichols G auge..........................................................1 inch B udget...............................................$4.4 million Lab. lia is o n ................................. Peter W illard, Boom op e ra to r............................................ Scott Rawlings Underwater p h o to g ra p h y......... Kevin Deacon Jan Holloway Shooting s to c k ................................. Videotape S yn opsis: The story of A ustralia's most Art director............................................Lisa Elvy G a ffe r..........................................................Derek Jones famous aviator, Sir Charles Kingsford-Smith.

B udget............................................. $6.3 m illion S yn o p sis: Interviews with m arried couples Art dept c o -o rd in a to r................................. Peita Hurcum Boom o pe rator.................................... Phil Cole and their adopted children from overseas L e n g th ............................................. 4 x 9 5 mins Costume d e s ig n e r....................................Jenny Arnott Asst art d ire c to r............................Stewart Way countries tell of the jo ys and the problems G auge........................................................ 1® mfyi M ake-up....................................................... Terry W orth Costume d e s ig n e r.................................... Fiona Spence they have experienced. The video shows the Shooting s to c k .......................................... Kodak H a irdre sser.................................................. Joan Petch M a k e -u p ........................... Bronwyn Fitzgerald services which are available from the Depart­ Cast- Bill Kerr (Old Albert), Dom inic Asst make up/h a ird re s s e r.....Anna Karpinski Standby w a rd ro b e ................ Kerry Thompson ment of Youth and Com m unity Services, and Sweeney (adult Bert), Benedict Sweeney Standby w a rd ro b e ............................ Sue Miles Standby pro p s ........................Robert Moxham from groups of parents which have adopted (adolescent Bert), Valerie Lehman (B ert’s Ward, a s s is ta n ts ...........Judy-Ann Fitzgerald, Special e ffe c ts .......................Steve Courtney, children. mother), Dorothy Alison (B ert’s grand­ Eilis O ’ Beirne Mai Ward mother), Martin Vaughan (Frank Phillips), Props buyers........................................... Harvey Mawson, Scenic artist...........................Michael Chorney Bill Hunter (Mr Bibby), Leslie W right (Jack Viv W ilson Construction m a n a g e r.............

Danny Burnett ANZACS Lander), John Ew art (Bentley), Frank Standby p ro p s ...........................Nick Reynolds Asst e dito r.......................................................Erin Sinclair Prod, com pany............................................. The Burrowes G allagher (Bill Oliver).

Asst standby p ro p s ........................Jam es Cox Still pho tograph y........................................ Mark Burgin Dixon Company S yn opsis: Based on the best-selling auto­ Art dept ass is ta n t...................................Victoria Graham Tutor/chaperone..........................Jo Buchanan P ro d u c e r..................................Geoff Burrowes biography of A.B. Facey. A story of survival Set d resser................................................... John Wood Boat m aster/water D irectors..........................................John Dixon, and trium ph in a vast, inhospitable w ilder­ safety o ffic e r............................................. Bob Pritchard Scenic a rtis t................................................. Clive Jones George Miller ness.

A pioneering saga about a man who Art dept ru n n e r.......................................MichaelRumpf Best b o y ............................................Paul Booth Scriptw riters....................................John Dixon, battles incredible odds and near im possible Construction m anager....................... Ian Doig Unit publicist...................................... Chris Day John Clarke, circum stances, and wins.

Asst e d ito r............................................... M elissa Blanche C a te rin g ................................ The Katering Co. Jam es Mitchell Music e d ito r................................................Garry Hardm an Laboratory................................................... Atlab Based on the original idea FUTURE QUEST (Australian Screen Music) Post-production.........................

Custom Video b y ................................................... John Dixon (The W in n e rs series) Sound e d ito r............................................... Hugh Waddel Lab. lia is o n .............................................. W arren Delbridge P h oto g ra p h y............................................... Keith W agstaff Asst sound edito r.........................................M ike Jones Length................................................8 x 30 mins Sound supe rvisor..................... Terry Rodman Prod, co m p a n y...................... Astra Film Prods Stunts c o-ordina tor...................................... Guy Norris ACT TWO G auge........................................................ 16 mm Sound re c o rd is ts ......................Lloyd Carrick, Dist. com pany............................................ ACTF Head w ra n g le r..........................................Danny Baldwin Cast: G rigor Taylor (Charlie W ilson), Penne John Schiefelbein Prod, c o m p a n y................................. PBL Prods P ro d u ce rs................................ Julia Overton, W ranglers.....................................................John Bard, Hackforth-Jones (Mary Travers), David Editor................................................. Philip Reid Dist. c o m p a n y .................................. PBL Prods Richard Mason Tony Jablonski, Chiem (Vo Diem), Mark Kounnas (Greg Prod, d e s ig n e r............................Lesley Binns P ro d u ce r................................Richard Brennan D ire cto r.................................Stephen W allace Brian Rourke, Wilson), Kerri Sackville (Sally Wilson), C o m poser..................................................

Bruce Rowland D irector.................................................... Rodney Fisher S criptw riter................................ Tony Morphett Paul M urtagh Steven Grives (Carl Madden), Bruno Baldoni Assoc, producer...................................... Dennis W right S crip tw riter..................................................... Ray Harding P h otog rap hy...............................................G eoff Burton (Sergio Gallio), Vincent Ball (Sgt Pat A rm ourer............................................. John Fox Prod, supervisor............................................. BillRegan Based on the original idea Sound recordist............................................. PhilJudd Best b o y ............................................ Ken Moffat Connolly), Duncan W ass (Andrew W ilson), Unit m anager................................................ Ray Patterson b y ................................................................. Ray Harding Editor........................................... Henry Dangar T u to r................................................................Rod Ziems Mouche Phillips (Jackie Wilson).

Prod, m anager..........................Andrew Morse P h otog rap hy...............................................Geoff Burton Prod, d e sig n e r.........................Louella Hatfield Location nurse............................. Julie Rourke S yn opsis: A resort island on the Great Prod, co-o rd in a to r.............................. Jan Stott Sound re c o rd is t....................... Ken Hammond Exec, p ro d u c e r......................... Patricia Edgar C a te rin g ........................................Rod M urphy Barrier Reef, owned and run by the W ilson Location m a n a g e r........................................ PhilMcCarthy E d ito r......................................M arc van Buuren Prod, su p e rviso r....................... Damien Parer family, finds itself the unw illing home of Viet­ Asst caterer....................... Donna Stewart-Fox Unit m a n a g e r.............................. Ray Pattison Prod, d e sig n e r....................................... Bernard Hides Prod, co-ordinator....................Cathy Flannery namese refugee teenager and the desired Mixed a t ....................................................... Atlab Prod, s e c re ta ry ................................Jan Irvine Exec, p roduce r.................................Ian Bradley Unit m a n a g e r............................ Bevan Childs Laboratory....................................................Atlab prize of an avaricious businessm an who has Prod, accountant.....................

Stan Seserko Assoc, p ro d u c e r.......................................... Mike Midlam Prod, accountant.......................Jill Coverdale Post-production......................................Custom Video oil on his mind.

Prod, m a n a g e r............................. Barbra Gibbs Prod, a s s is ta n ts ......................................Natalie Rothman, 1st asst director............................................... IanPage Length............................................1 3 x 4 6 mins Maree Hanmer 1st asst director........................................... Mark Egerton 2nd asst director.......................Lisa Hennessy THE DUNERA BOYS G auge........................................................16 mm 1st asst d ire c to rs ....................Bob Donaldson, C o n tin u ity.......................................... Jo Weekes C o n tin u ity.................................................... Anne W alton Prod, c o m p a n y ............................ Jethro Films Shooting s to c k .............................................7247 Phillip Hearnshaw, Lighting c a m e ra m a n ................................ Geoff Burton C a sting.................................................... Forcast Producer.............................................. Bob Weis Cast: Liz Burch (Kate W allace), Louise Clark John Powditch Camera o p e ra to r.......................... G eoff Burton Camera o pe rator........................................Geoff Burton D irector................................................Ben Lewin (Maggie Scott), Rod M ullinar (Jack Taylor), Art d ire c to r............................................. Bernard Hides 2nd asst d ire c to rs ...................... Stuart Wood, Focus p u lle r.............................. Kim Batterham S criptw riter..........................................Ben Lewin Jay Kerr (Con Madigan), Gus M ercurio (Ben Paul Healey Laboratory...........................Atlab Laboratories C lappe r/loa der..........................Darren Keogh Based on the original idea Jones), Michael Caton (Paddy Malone), B u d g e t....................................................... $1.275 million Key g rip ......................................... Lester Bishop C o n tin u ity .........................................Jenni Tosi, b y ......................................................Ben Lewin Martin Lewis (Sam), Peter Carroll (Mr Chris O ’Connell Length......................................................96 mins Asst g rip .......................................... Brian Hurrell S yn opsis: 1939: Germ an Jews in exile in W ithers), Nicole Kidman (Annie).

C a s tin g .............................. Maizels and Assoc.

G a ffe r............................................ Ian Plum m er G auge........................................................ 16 mm England, suspected to be Nazi sym ­ S y n opsis: The story of two women, one A us­ Shooting stock.................. Eastm ancolor Neg. Camera o p e ra to rs ................... David Connell, G enerator op e ra to r.....................John Hughes pathizers, are sent by C h urch ill’s govern­ tralian, one Am erican, who run a stage stop Mark Hayward (Unit A) Progress.................................... Pre-production Art d ire cto r........................... Kate Jason Smith ment to an unknown destination on the ship station at Five Mile Creek for the Australian John Haddy, Cast: John W aters (Robert Marks), W endy Art dept a s s is ta n t............................Cathy Silm “ Dunera” . express.

Ron Hagen (Unit B) Hughes (Margaret Marks), Heather Mitchell Costum e d e s ig n e r..................................M elody Cooper Camera assistants......................................Greg Ryan, M ake-up................................................... M arjory Hamlin (Jill Michaels).

EMERGING A FORTUNATE LIFE David Stevens (Unit A) W ard, assistant........................ Devina M axwell Prod, c o m pany............................................ABC Prod, com pany............................................. PBL Prods CALL ME MR. BROWN Ian Thorburn, Props m aker................................................Steve Teather P ro d u c e r.........................................Keith W ilkes Dist. c o m p a n y .............................................. PBL Prods Peter Van Santen (Unit B) Props buye rs............................ Steve Teather, Prod, co m pany....................................Chrysalis Films D irector....................................... Kathy M ueller Producer........................................... Bill Hughes Key g r ip ......................................Ian Bennallack Dennis C lifton Dist. co m p a n y .................................Network 10 S criptw riter................................. Max Richards D irectors..................................................M arcus Cole, Grip (Unit B )................................................. Jack Lester Standby p ro p s ..........................Nick M cCallum P ro d u c e r.................................. Terry Jennings Script e d ito r...................................... Bill Garner Henri Safran G a ffe rs .................................................... Stewart Sorby, Asst e d ito rs ..........................Pamela Barnetta, D irector.............................................Scott Hicks Based on the original idea S c rip tw rite r....................................................Ken Kelso Jack W ight (Unit B) Gai Steele S crip tw rite rs............................Terry Jennings, b y ................................................................ Max Richards Based on the autobiography E lectrician................................................... Peter Moloney Scott Hicks Neg. m atch ing...............................

Chris Rowell Sound recordist...............................Bill Doyle b y ............................................................. Albert Facey Boom o p e ra to rs ............................................Joe Spinelli, Length......................................................90 mins E d itor..............................................Rui de Sousa P h otog rap hy...............................................Peter LevySound e d ito r................................................Dean Gawen Steve James Sound a ssista n t.........................................Steve Court S yn opsis: A dram a based on the extra­ Prod designers...................... Gunars Jurjans, Sound re c o rd is t.......................................... Ross Linton Asst art d ire c to rs ....................................... Peter Kendall, M ix e r................................. Alasdair M cFarlane ordinary events surrounding the 1971 ' Alwyn Harbott E d itors.................................... Richard Hindley, David O ’Grady, Stunts c o -o rd in a to r...............Dee Arlen Jones Qantas bomb hoax.

Exec, p ro d u c e r..............................Keith W ilkes Kerry Regan Robert Leo Still p h o tograph y....................Candy Le Guay Prod, m anager...............................Geoff Cooke Prod, d e s ig n e r......................... David Copping COLOUR IN THE CREEK Costume d e s ig n e r....................... Jane Hyland Tech, adviser................................................... Ian Jarm an Prod, s e c re ta ry ...................

Tracey Robinson Com poser....................................................Mario Millo M ake-up.................................. Fiona Campbell W rangler.....................................Dennis Clifton Prod, co m p a n y............................... PBL Prods 1st asst d ire c to r....................... John Markham Exec, producer................................Ian Bradley H airdresser..................................................DarylPorter P rodu cers.......................................PBL Prods, Best b o y ................................... Patrick O 'Farrell 2nd asst d ire c to r.........................................

John Slattery Assoc, p ro d u c e rs .......................Mike Midlam, W ardrobe m is tre s s..................Margot Lindsay Michael Midlam Runner..............................................

Bizzi Bodi 3rd asst d ire c to r.........................Dorothy Faine Ken Kelso Military d re s s e r........................Phil Chambers D ire cto r..................................... Robert Stewart Unit p u b licist................. Suzie Howie Publicity C o ntinuity....................................... Kerry Bevan Prod, co-ordinators............................... Antonia Legge, Props b uye r....................... Keith Handscom be C atering....................................Action Catering S crip tw riter..................................... Sonia Borg Producer’s a s s is ta n t.................... Kerry Bevan Sue Pemberton Standby props.........................Barry Kennedy, Mixed a t ........................................................ Palm Studios Based on the novels C a s tin g ......................................................... Greg Apps John W hitfield-M oore, Prod, m anage r..........................................

Terrie Vincent Laboratory............................................Colorfilm C o lo u r in th e C r e e k and Extras’ c a s tin g ........................................ Marian Pearce Brian Lange Unit m anagers................................................ Liz Kirkham, S h a d o w o f W in g s b y .......... M argaret Paice Lab. liaison....................... Richard Piorkowski Lighting cam eram an................................. Chris Davis Hugh Cann Special e ffects.....................Conrad Rothman L e n g th ......................................47 m ins 50 secs Exec, p ro d u ce rs............................ Ian Bradley, Camera a s s is ta n ts .....................................John Hawley, Prod, a c c o u n ta n t.............................Craig Scott Arm orer........................................ Mike W arwick Penny Spence G auge........................................................ 16 mm Trevor Moore (Moneypenny Services) Set construction......................... Bruce Michell Assoc, p ro d u c e r............................ Jim Badger Shooting s to c k ...............Kodak Eastm ancolor G rip s ...................................................

Tony Hall, Asst acco u n ta n t..........................................Jane Corden Asst e d ito r...................................................Peter Burgess S yn opsis: Mike loves hang gliding. It Length............................................. 10 x 30 mins Tony W oolveridge.

Prod, a s s is ta n t...................................... Carmen Galan Editing a s s is ta n t......................Annette Binger removes him from his daily cares and G auge........................................................ 16 mm Phil Oysten 1st asst d ire c to rs ............Charles Rotherham, M ix e r..........................................

David Harrison worries.

One day, he is swooping through S yn opsis: Set inNorthern Q ueensland E le c tric ia n ........................................Mick Sandy Michael Bourchier, Stunts c o-ordina tor........................................ BillStacey the air like an eagle adm iring the sprawling during the depression years of the early Genni o p e ra to r.........................................D’ arcy Evans Eddie Prylinski Still ph o to g ra p h y.......................

Greg Noakes city beneath him when suddenly everything 1930s, C o lo u r in th e C reek is the story of M ake-up.................................................... Denise Gakor 2nd asst directors............... Michael Faranda, Title de s ig n e r...................... David Lancashire disappears. For, in the tw inkling of an eye. the Fletcher fam ily’s struggle to survive the W a rd ro b e .......................... Rhonda Shallcross Tom Blackett Q uarterm aster.................... Lt Col. Mike Clark Mike has glided a thousand years into the hard tim es. Following news of a gold strike, Props b u y e r.......................................

Norm Ellis 3rd asst director........................................... Nick Alim ede Army lia is o n ....................Major Tony W ebster future. Now he really does have a problem. the fam ily moves to a remote location called S taging.................................... John M cCulloch C ontinuity.......................................... Pam Willis, Horse m aster............................................ Gerald Egan Coorumbong Creek. The central figure is Special e ffe c ts ................................

Rod Clack, Judy Whitehead, P u b lic ity ........................ Suzie Howie Publicity 12-year-old Alec.

THE HENDERSON KIDS Terry Barrow Roz Berrystone Story consultant.................Patsy Adam Smith Asst sound re c o rd is t........................ Gary Lund C a s tin g ..............................................M aura Fay, THE RIVER KINGS Prod, c o m p a n y .......................Crawford Prods C a te rin g ...................................... Frank Manley P u b lic ity ...............................................

G eorgina Howe Joy Sargant, P rodu cer...........................................Alan Hardy L ab ora tory.....................................................VFL Prod, c o m p a n y .................Independent Prods Mixed a t ........................................................ABC Connie M ercurio B udget............................................................$6.5 million D irectors.................................. Chris Langman, P ro d u c e r....................................... Jim George Length......................................................

75 mins Focus p u lle r................................Bill Hammond Length....................................................... 5 x 1 2 0 mins Paul Moloney S crip tw rite r................................... Flob George G auge........................................................16 mm Clapper/loader...............................................NeilCervin Scriptw riters............................. Roger Moulton, G auge........................................................16 mm Based on the novel b y ................ Max Fatchen Shooting stock.................................Kodak 7291 Key g r ip ...................................Karel Akkerm an Shooting s to c k ...............Kodak Eastm ancolor Peter Hepworth, Exec, produce r........................... Richard Davis S yn opsis: A tele-feature set in and around Asst g r ip ....................................................... John Otago John Reeves, Scheduled release..............................Mid-1985 Len gth............................................ 1 0 x 3 0 mins the Austin Hospital Spinal Unit, depicting the G affer....................................... Sam Bienstock G alia Hardy Cast: Paul Hogan (Pat Cleary), Tony Bonner G a u g e ........................................................ 1 6 mm emergence into society of Steve McNair, a Boom o p e ra to r.............................................. PhilKeros Script e d ito r...............................................Susan Smith (H arold A rm strong), M artin Barrington S yn opsis: A young boy runs away to take a paraplegic. Catalyst is Halley Birchfield, an Art d ire c to r..................................................... KenJames Based on the original idea (Andrew Clarke), Patrick W ard (Tom Mc­ job on an old river boat, trading on the River actress who captures attention, then involve­ Asst art d irectors.............................. Julie-Anne Mills, b y .......................................... Crawford Prods Arthur), Shane Briant (Kaiser Schmidt), M urray at the turn of the century. ment when she appears in C r ip p le P la y at the Phil Peters Photography........................... Jam es Doolan Megan W illiam s (Sister Mabel Baker), Noel hospital.

Art dept a ssistan ts..................................... Toby Copping, Sound re cordist....................... John W ilkinson Trevarthen (Field Marshal Haig), Rhys McSINN FEIN Peter Arm strong E d ito r......................................... Ken Swallows Connochie (Lloyd George), Christopher FIVE MILE CREEK (OURSELVES ALONE) Costume d esigner.................................... Bruce Finlayson C om posers............................Gary McDonald, Cumm ins (Roly Collins), Bill Kerr (Lt Gen. Sir (S eries 3) M ake-up........................................................ Jane Surrich Laurie Stone Producer.......................................................Peter Beilby John Monash), Ilona Rodgers (Lady Barring­ H a ird re sse r................................................ Suzie Clem ents p ro d u c e rs ..................Hector Crawford, S crip tw riter.................................Glen Crawford Exec, Prod, c o m p a n y .......................................Valstar ton), Jim Holt (Dingo Gordon), Jonathan Ian Crawford, W ardrobe m aster...................................... Steve Riches P ro d u c e rs............................. Henry Crawford, Script e d ito r...............................................Roger Dunn Sweet (Bill “ the Pom ’ ’ Harris), Jon Blake Terry Stapleton Doug Netter Standby w a rd ro b e ...................................... Julie Barton Based on the original idea (Flanagan).

Assoc, p ro d u c e r..........................M ichael Lake b y ............................................. Glen Crawford Model m a k e r................................................... BillDennis Directors...................................................... Garry Conway, S yn opsis: A dram atization of A u stralia’s Brian Trenchard-Sm ith, Props c o n s tru c tio n ....................................David Duncan Prod, co-ordinator ....Bernadette O ’ Mahoney Exec, p ro d u c e r......................... Robert Le Tet participation in W orld W ar 1.

Kevin Dobson, Assistant model m a k e r................................Kim Sexton Prod, m anager..........................Ray Hennessy Assoc, producer.......................................... Trish Foley BUTTERFLY ISLAND and others Props buyer..............................................Derrick Chetwyn Location m a n a g e r................................... Jam es Legge S yn opsis: A 12-year-old boy of Irish descent Standby p ro p s .............................................John Daniel Prod, accountant...............Robert Threadgold Script e d ito r.................................................. Tom Hegarty strives to understand the reason for his com ­ Prod, c o m p a n y ..............................Independent Prods Asst standby p ro p s .................................. Kelvin Sexton 1st asst d irector.......................................... Philip Jones m unity’s hatred of The Em pire during W orld Photography....................................Kevan Lind Dist. com pany..................... Independent Dists Set d eco rator/finisher................................John Gibson 2nd asst d ire c to r....................................Jacquie Radok Sound recordist.............................. Phil Stirling W ar 1.

P roducer................................................ Brendon Lunney Carpenters...........................David Boardman, C o n tin u ity............................. Kristen Voum ard E d ito r.....................................

Stuart Arm strong D ire c to r....................................................... Frank Arnold Alex Dixon, C a stin g ..................................... Bunney Brooke STOCK SQUAD C om poser.................................Bruce Smeaton S c rip tw rite r.................................David Phillips M arcus Erasmus Focus puller.......................................Louis Puli Prod, s u p e rv is o rs............................

David Lee, Based on the original idea b y ...... Rick Searle Prod, c o m p a n y ..................Independent Prods Jan Bladier Construction m anager..................................PhilW orth C lappe r/loa der........................G ary Bottom ley P h otog rap hy................................................Ross Berryman Dist. co m pany.........Independent Distributors Asst editors...............................................Debbie Regan, Key g rip ......................................Joel W itherden Prod, co -o rd in a to r...................................Jennie Crowley Sound recordist......................... David Glasser P ro d u ce r.................................. .......* om Jeffrey Am anda Holmes Asst g rip .....................................John Seargent Location m a n a g e r............ Steve M accagnan E d itor............................................................... Bob Cogger S c rip tw rite r................................ Hugh Stuckey Neg. m atching...... Negative C utting Services G affer................................................. John Irving Prod, s e cretary....................................Elizabeth Hagan Prod, d e s ig n e r........................................Herbert Pinter Exec, p roduce r..........................Richard Davis Boom o pe rator........................ John M cKerrow M ixer.....................................

Julian Ellingworth Consult, ac c o u n ta n t...................................... ValW illiam s Exec, p roduce r.......................................Richard Davis Length...................................................... 92 mins Still photography................................Lawrence Marshall Art d irector......................................... Philip Ellis Prod, a c c o u n ta n t.......................

Mandy Carter Prod, co-ordina tor....................................

Margo Tam blyn S yn opsis: Stark visual beauty of Australia is A nim ation....................................................Flicks Anim ation Asst art d ire c to r........................... M urray Kelly Asst prod, accountant..............................Nancy Bekhor Prod, m anager..................................Jenny Day a backdrop to an exciting, com pelling and W ra n g le rs ...................................................... Ray W inslade, Costum e d e s ig n e r.......................Claire G riffin 1st asst d ire c to rs ...............Adrian Pickersgill, Location/unit m an a g e r..............................Peter Abbott unusual outback police story.

PRODUCTION

T E L E V IS IO N

P R E-PR O D UC TIO N

450 — December CINEMA PAPERS

Production Survey

M ake-up....................................................... Fiona Sm ith 2nd asst d ire c to r.........................Lance M ellor E s tim a to r........................................................Jeff Austin G rip .......................................................Roy Mico FIVE MILE CREEK H a ird re s s e r............................... C hristine M iller Producer’s a s s is ta n t............ Rhonda M cAvoy Senior set fin is h e r................................... Ashley Moran Asst g rip .........................................Guy W illiam s (Series 2) W ard, assistants........................................ Cathy Herren, Casting........................................ Jennifer Allen Senior set m a k e r................................G ary Bye G affer............................................................Miles Moulson John Shea Set m a ke rs.....................................Max Healey, Prod, c o m p a n y .......................................Valstar Camera o pe rators.................... Richard Bond, E lectrician.................................................... Mark Freidman Props b u y e r................................................ Elena Perotta Glen Nielsen, P ro d u c e rs............................. Henry Crawford, Tony Conolly, Boom op e ra to r...............................................Joe Spinelli Standby p ro p s ................................ Tara Ferrier Doug Netter Alex Edwards, M urray Tonkin, M ake-up....................................................... Lloyd James Set d eco rators............................................. Greg Nelson, M ichael Carroll, D irectors..................................... Gary Conway, Denis Forkin H a irdre sser.................................................

Lloyd James Richard C lendinnen Kevin Dobson, John M acDiarm id Lighting d ire c to r..........................David A rthur W ardrobe supervisor...... Jennifer C arseldine Asst e d ito r.................................................. Aileen Soloway Brendan Maher, Scenic artist..........................Paul Brocklebank Technical p roduce r................. Brian M ahoney Standby w a rd ro b e ..................................... Suzy Carter S tu n ts ..........................New Generation Stunts Robert Stewart Set fin is h e r....................................

Steve Bum s M a k e -u p .................................Britta Kingsbury, Art dept a s s is ta n ts ................................Annette Reid, Dialogue c o a c h ...........................................Chris Sheil S crip tw riters..........................Sarah Crawford, Construction m a n a g e r................Laurie Dorn Robert W asson Glen Medley, W ra ngle r....................................................... John Baird Graham Foreman, W ardro be...................................Patricia Forster Asst e d ito rs ...............................................Roslyn Pitsonis, Chris Thomkins Best b o y ........................... Richard Rees Jones David Boutland, P u blicity..................................... Lesley Jackson Greg Kolts Props b u y e rs ........................ Jock McLachlan, R u nner................................................ M ark Farr Keith Thompson, Negative c u tte r.............................................Pam Toose Length......................................................75 mins Glen Medley C a te rin g ............................................. Bande Aid Denise Morgan, G a u g e .................................................Videotape Asst neg. cu tte r.......................................

Larissa Filipic Standby p ro p s ..........................................Robert Moxam Laboratory....................................................Atlab David Stevens, Cast: Diane Craig (Liz), Penne HackforthSound e d ito rs ....................... Peter Townsend, Asst editors..................................................... GaiSteele, Lab. lia is o n ..................................................Peter W illard Gwenda Marsh Jones (Gillian), G rigor Taylor (Warren), Lawrie Silverstrin Mitzi Goldman Len gth.............................................. 12 x 48 mins Script e d ito r.................................................. Tom Hegarty D a v id W h itn e y (P a u l), P a u l M as o n Editing assistant...................................... W ayne Pashley Sound e d ito r......................................Lee Smith G auge........................................................ 16 mm Photography..............................................Kevan LindDubbing m ixer.............................................Peter Barber (Laurence), Jim Kemp (Ron), M uriel Hopkins Sound assistan t.......................................... John Patterson Shooting stock............................. Eastm ancolor Sound recordist................... Syd Butterworth (Helen), Carm en W arrington (Kate), Anna Sound assistant........................................... Mark W alker M ix e rs ...........................................Peter Fenton, Synopsis: The story of two teenagers from E d ito r..................................... Stuart Arm strong Phillips (Sally Tate), M argaret M addock Still ph o to g ra p h y.........................................Gary Johnston Ron Purvis the inner city suburbs who go to live with Com poser.................................Bruce Smeaton (Elly).

P u blicity......................................................Lesley Jackson Still photography........................................... Jim Sheldon their uncle, the local policem an, in a small Prod, s upe rvisors..................................... David Lee,S tudios............................ABC F rench’s Forest S yn o p s is : A woman artist’s affair with a T u to r .........................................................Joanne Kennedy country town.

Jan Bladier younger man jeopardizes her m arriage, her L e n g th ............................................... 4 x 75 mins Safety officer............................................. Bernie Ledger LOSING Prod, co-o rd in a to r.......................................Dale Arthur career and her child 's future. He personifies G auge........................................................ 16 mm Best b o y ........................................................Mark Freidman the nihilistic philosophy of Herbert Marcuse Location m a n a g e r....................................

Steve M accagnan Cast: H eim ut Zieri (Hans Bertram), W erner R unner.................................................Bizzi Bodi Prod, c o m p a n y.............................................ABC and tries to manipulate her. Her dependence Prod, accountant........ M oneypenny Services, Stocker (Adolph Kausman), Anne Tenney P u b lic ity...................................................... Suzie Howie P ro d u ce r...................................................... Erina Rayner on him forces her to reassess all the values Val W illiam s (Kate Webber), Gerard Kennedy (Sgt Steve C a terin g................................................. Jeanette Bonner D irector................................................ C atherine M iliar of her art and her life.

Prod, a s s is ta n t.......................Elizabeth Hagan Lucas). Dennis G rosvenor (Constable M ax­ S crip tw rite r.............................................Stephen Sewell Mixed a t .....................................................United Sound 1st asst d ire c to rs ......................................Adrian Pickersgill, well), Tim M cKenzie (Constable Anderson), Laboratory............................................Colorfilm P h otog rap hy.............................................. Julian Penney COWRA BREAKOUT Keith Heygate Philip Quast (Chris Gordon), Robin Cuming Lab. liaison........................Richard Piorkowski Sound re co rd ist.............................................Ben Osmo 2nd asst d ire c to r........................................ Peter Kearney (Captain Mitchell).

L e n g th ......................................47 mins 50 secs E d ito r.................................................................BillRusso Prod, c o m p a n y ........................Kennedy M iller 3rd asst director..............................G. J. Carroll G auge........................................................16 mm Prod, d esigner................ Neave Catchpoole P rodu cer................................... M argaret Kelly FRAN C o ntinuity.................................Jackie Sullivan Shooting s to c k ...............Kodak Eastm ancolor Prod, m anage r.............................................John Moroney D ire c to rs ................................... Phillip Noyce, Casting..........................................................VickiPopplewell Unit m a n a g e r........................................Beverley Powers Cast: Dennis M iller (Ron Guthrie), Anne Chris Noonan Prod, com pany.........................................Barron Films Focus p u lle r............................................... Tracy Kubler Grigg (Di Guthrie), Ken Talbot (Ben Guthrie), Prod, secretary............................... Padm a Iyer S crip tw riters............................. M argaret Kelly, P roducer......................................................David Rapsey Clapper/loader............................................Chris ColeDirector..................................................... Glenda Hambley John Clayton (Wal), Candy Raymond (Jean), 1st asst d irector......................................Graham M iller Chris Noonan, Key g rip ......................................................... Brett McDowell David Downer (Barry), Sheiia Florance 2nd asst d ire c to r........................................David M cClelland Phillip Noyce, S crip tw rite r.............................................. Glenda Hambley (Esme), Toni Allayiis (Claire), Sharon M iller­ G rip ....................................................... "N o b b y ” Szafranek Russell Braddon, C o ntinuity.......................................Anthea Dean Photography................................................... Jan Kenny, G a ffe r......................................................Graham Rutherford chip (Amanda), Mark Kounnas (Jason).

Sally Gibson Casting....................................................Jennifer Allen Yuri Sokol Lighting c a m e ra m a n ................................Julian Penny P h otog rap hy...............................................Geoff Burton Sound re c o rd is t............................................ Kim Lord S yn opsis: There is one thing Ben doesn't Boom o p e ra to r...................................... Graham M cKinney Sound recordist.................. John Schiefelbein Focus pu lle r............................................. RussellBacon understand. He understands how two-thirds Art director.....................................................Lisa ElvyEditor.................................. .......... Tai Ten Chen C la p p e r/lo a d e r............................................ Brett Joyce E d ito rs ........................ Richard Francis-Bruce, of the w orld’s people are starving. He under­ Costume de s ig n e r................................... Jenny Arnott Exec, p roduce r.............................................PaulBarron Boom ope rator...................................... G eoffrey Krix Henry Danger, Prod, co-ordinator..................................... Susie Cambell stands how the globe can be on the brink of M ake-up....................................................Felicity Schoeffel Hairdresser..................................... Joan Petch Neil Thumpston, M a k e -u p ...................................................... Britta Kingsbury, nuclear annihilation. He even understands Prod, m a n a g e r.............................................. Lee Beston M a rc u ^D ’Arcy Sandy Bushell how governm ents can torture and m urder Standby w ardrobe.......................... Vfv W ilson, Prod, accou ntan t.......................................... Eric Sankey Judy-Ann Fitzgerald Prod, de s ig n e r....................................... Bernard Hides W ardro be................................................. Carolyn M atthews 1st asst d ire c to r.........................................Steve Jodreli their citizens. W hat he doesn't understand is Prod, m a n a g e r......................................Barbara Gibbs Special effects d e s ig n e r.......... Brian M cClure 2nd asst d ire cto r................... Lynn McGuigan how people can carry on living happily with Ward, a ssista n t....................... Jam es W atson Props buyers...............................................

Brian Edmonds, Unit m anage r.................................................Kim Anning C o n tin u ity .............................. Fiona Cochrane Asst special e ffe c ts ................................... Peter Leggett, all this injustice and potential disaster in the Michael Tolerton Prod, secretary............................................Dixie Betts world.

Pauline Grebert, Lighting cam eram e n...................... Jan Kenny, Standby p ro p s ......................... Nick Reynolds, Prod, a c c o u n ta n t.................................... Alistair Jenkins Richard Strezelezki Y u riS okoi Gary Freeman Asst a ccou ntan t......................................... Peter Dons P u blicity..................................................... Lesley Jackson Focus p u lle r........................... Jerem y Robbins THE FAST LANE Set dressers................................................Brian Edmonds, 1st asst d ire c to r........................... Bob Howard Mixed a t ........................................................ ABC Clapper/loader.....................Mark Edgecom be Prod, c o m pany............................................ABC Michael Tolerton 2nd asst d ire c to rs ........................Chris W ebb, Lab oratory........................................... Colorfilm Key g r ip ........................................Maury Rogers P ro d u c e r............................................Noel Price Scenic a rtis t................................................... Ray Pedler Ian Kenny Length......................................................75 mins G a ffe r..............................................................Ray Thomas D irectors............................................Noel Price, Construction m a n a g e r............ Denis Donelly 3rd asst director.................................. Elizabeth Lovell G auge........................................................ 16 mm Art d ire c to r...................................................Tneo M atnews Lindsay Dresden, Asst editor...............................................Danielle W eissner C o n tin u ity ......................................................Sian Hughes Shooting s to ck ............................... Kodak 7247 M ake-up...................................................M onica Brown Richard Sarell, Neg. m atching..................................... Delaneys C a s tin g ......................Michael Lynch (Forcast) Cast: Richard M oir (Bob), Genevieve Picot P rops.............................................................. Tish Phillips Colin Budds Music e d ito r............................................... Garry Hardman Extras c asting................................................ Sue Parker (Robin), Peter Kowitz (Graham), Joanne Asst e d ito r..............................Brian M cLelland Scriptw riters.............................Andrew Knight, (Australian Screen Music) Lighting ca m e ra m a n ................................ Geoff Burton Samuel (Julie).

R u n n e r................................... M ichelle French John Clarke Sound e d ito r.............................. Hugh W addell Focus p u lle r..............................Kim Batterham S tu d io s.....................................................Taim ac Synopsis: The story of tw o Vietnam Based on the original idea Asst sound editor.........................................Mike Jones C lappe r/loa der..........................................Darrin Keogh Laboratory....................................................Atlab veterans trying to com e to term s with their b y ................................................ John Clarke, M ixer..................................... Julian Ellmgworth Key g rip .......................................................Lester Bishop B u dget.................................................. $700.000 guilt and anger as a result of the war. They Andrew Knight Stunts co-ordinator......................................Guy Norris Asst g r ip .............................................. G eoff Full Length................................................................94 mins go on a supposedly spontaneous journey P hmer otog rap hy....................... Peter Simondsen, Still photography...........................Jim Townley G a ffe r................................................................Ian Plum Gauge........................................................16 mm into the back-blocks of New South W ales, Peter Lewis, Head w ra n g le r........................ Danny Baldwin E le c tric ia n .................................................. David Nicholls Shooting s to c k .......................................... Kodak taking with them their fam ilies and their John Tuttle, W ranglers...................................Laurie Norris, Boom o p e ra to r........................................... Steve James Cast: Noni Hazlehurst (Fran), Danny Adcock rifles.

Ian Margocsy, Gary Amos, Art d ire c to r......................... Virginia Bieneman (Ray), Alan Fletcher (Jeff), Annie Byron Roger M cAlpine PALACE OF DREAMS Brian Rourke Costume d esigner......................................Terry Ryan (Marge), Colin McEwan (Graham), Rose­ Sound recordists.....................John Beanland, Best b o y .........................................................KenM offat M ake-up..............................Lesley Vanderwalt mary Harrison (Carol).

Prod, co m p a n y ............................................ ABC David Redcliff H airdresser...............................Cheryl W illiam s Location nurse..............................Julie Rourke S yn opsis: A contem porary dram a about a P ro d u ce r........................................ Sandra Levy Editors.......................................... Gary W atson, W ardrobe c o -o rd in a to r........... Anthony Jones C a te rin g ....................................................... Kate Roach welfare mother whose need for a m an’s D irectors................................Denny Lawrence, Ken Tyler (Katering Co.) W ard, buy e rs .............................................. JenniBolton, attention conflicts with her need to love and Geoffrey Nottage, Prod, d e s ig n e rs ......................Robert W alters, Kerri Barnett Tutor............................... Deborah M cCorm ack care for her young children.

Graham Thorburn, Frank Earley, Standby w a rdrobe..................................... Fiona Nicolls Mixed a t .......................................................Atlab David Goldie, Dale Mark, GLASS BABIES Set d re s s e r................................................ Dallas W ilson Laboratory...................................................

Atlab R iccardo Pellizzeri Rudi Joosten Post-production.........................Custom Video Props buye rs................................................... IanAllen, Prod, com pany................................PBL Prods S c rip tw rite rs ............................................. Denny Lawrence, C o m po ser................................ Greg Sneddon M ark Dawson Length............................................13 x 46 mins Producer.......................................................Peter Herbert John Misto, Exec, p ro d u c e r................................Noel Price Standby p ro p s ........................................G eorge Zam m it m anager..................Lorraine A lexander G a u g e ........................................................16mm D ire c to r.................................... Brendan Maher John Upton, Prod, Set fin is h e r................................Frank Falconer Shooting s to c k ............................................ 7247 S crip tw rite rs................................................Greg Millin, Ian David, Prod, s ecretary................................ Sarah Hall Scenic a rtis t..............................Len Arm strong Cast: Liz Burch (Kate W allace), Louise Clark Graeme Farm er Debra Oswald, 1st asst d ire c to rs ........................................Peter Murphy, C a rpe nte rs................................................. Frank Phipps, (Maggie Scott), Rod M ullinar (Jack Taylor), Script e d ito r............................................B arbara Bishop M arc Rosenberg Jam es Lipscombe, C hris Norman, Jay Kerr (Con Madigan), Gus M ercurio (Ben P h otog rap hy..............................................

Ellery Ryan R esearch...................................Dana Christina Graeme Cornish, John Room Jones), Michael Caton (Paddy Malone), Sound recordist...............................................Ian Ryan Bill Sm ithett Based on the original idea Set co n s tru c tio n .............................................

Bill Howe M artin Lewis (Sam), P riscilla W eem s Editor.................................................C liff Hayes b y ........................................................... Sandra Levy 2nd asst dire c to rs................................. Dorothy Faine, Asst e d ito rs ............................................... Louise Innes, (Hannah Scott), Peter Carroll (Mr Withers), C o m poser.....................................................Dave Skinner Script e d ito r...............................................Denny Lawrence Don Ryan, Pam Barnetta, Tony Blackett (Backer Bowman).

Exec, producer................................................Ian Bradley E d ito rs ............................................. Bill Russo, Ann Bartlett Claire O 'Brien S yn opsis: Television series made for Disney Assoc, p ro d u ce r............................Mike Midlam Terry M orrisey C o n tin u ity .......................................................Lee Heming, Sound editor.....................................Tim Jordan Channel. The story of two women, one Aus­ Prod, supe rvisor............................Mike Midlam Prod, d e signer...................................... G eoffrey W edlock Kay Hannessy, tralian, one Am erican, who run a stage stop Prod co-ordina tor..................Vicki Popplewell C o m p o s e r....................................................Chris NealStill photography............................................Jim Townley Sue Overton, Best b o y ...................................Patrick O ’ Farrell station at Five Mile Creek for the Australian Prod, m anage r............................................ John Jacob Assoc, p ro d u c e r...................... M artin W illiam s Ann Dutton R unner..................................................... M ichaelFanning Express. Five M ile Creek dram atizes the Unit m a n a g e r..................................Philip C orr Exec, technical produce r............. Barry Q uick Producer’s assistan ts.................................. Lee Heming, C a te rin g ................................. CJ & DJ Catering lives and experiences of these frontier Prod, secretary................................. Sue Evans Kay Hannessy, Prod, m anager........................... Carol Chirlian S tu d io s ...................................................Kennedy M iller people in the 1860s.

Prod, a ccou ntan t........................................Peter Kadar Sue Overton, Prod, s e c re ta ry ....................................... Regina Lauricella Lab ora tory............................................ Colorfilm 1st asst director...........................................Euan Keddie Ann Dutton Videotape e d ito rs ..................... Trevor Miller, Lab. lia is o n ......................................................BillGooley, 2nd asst d ire c to r............................... Bill Baxter John Patrick, C a s tin g ............................................Greg Apps Richard Piorkowski FLIGHT INTO HELL 3rd asst d ire c to r.............................Craig G riffin Nola O ’ Malley Lighting directors................Peter Simondsen, Length............................................. 1 0 x 6 0 mins C o n tin u ity ...................................... Ann M cLeod Prod, com p a n y.....ABC TV-Revcom (France) ” Peter Lewis C a sting.................................................... Jennifer Allen G a u g e .......................................................16 mm C a s tin g ............................................ Joy Sargant P roducer.........................................................Ray Alehin Technical p ro d u c e rs ............Steve Pickering, Costum e d esigners..............Janet Patterson, Shooting s to c k .......................................... Kodak Additional c a s tin g ................ Vicki Popplewell D irector...................................Gordon Flemying John Bennett M arcus North Cast: Alan David Lee (Stan), Tracy Mann Lighting cam eram an..................... Ellery Ryan S crip tw rite r..................................................Peter Yeldham Camera o pe rators......................................

John Tuttle, S tu d io s ...................................... ABC C hannel 2 (Sally), Simon Chilvers (Hordern), Andrew Focus p u lle r................................................ Leigh McKenzie P h o to g ra p h y............................. Peter Hendry Ian Margocsy, Length........................................................1 0 x 5 0 mins Lloyde (MacDonald), Max Cullen (Hook), Roger M cAlpine Sound re c o rd is t............................................Ron Moore Clapper/loader........................................

Kattina Bowell Shooting s to c k .................................. Videotape Norman Kaye (Dad), Carol Skinner (Dot), Editors......................................Tony Kavanagh, Key g rip ........................................................Barry Hansen Key g r ip ..........................................................Max G affney Cast: Henri Szeps (Mick), Deidre Rubenstein Ju n ich is Ishida (Junji), Kenji Isom ura Electrician......................................................... Jo Mitzal Lyn Solly Asst g rip .....................................................Darren Hansen (Chana), Linda C ropper (Miriam ), Susie (Shimoyama), Sokyo Fujita (Minami).

Boom o p e ra to rs........................ Ernie Everett, Prod, d e s ig n e r..........................................Laurie Johnson G a ffe r............................................................ Mark G ilfedder Lindem an (Ruth), Severyn Pejsachowicz S y n opsis: A 10-hour dram atization of the Harry Harrison Assoc, p roduce r............................................Ray Brown Boom ope rator............................................ Craig Beggs (Grandfather), Durand Sinclair (Joseph), prisoner of war breakout in Cowra in 1944.

Art director......................................................Bob W alters Prod, m anager.............................................Judy M urphy Art director...................................................Peter Tyers M ichael O ’ Neill (Tom).

Asst art d ire c to rs .......................................Frank Earley, Unit m anage r..................................................ValW indon Asst art director......................... Krystine Porter Synopsis: An inner-city hotel, during the THE FACTS OF LIFE Dale Mark Prod, secretary.....................................

Maureen Charlton M ake-up.......................................Patricia Payne early years of the Depression, is run by a (The W in n e rs series) Costume designer......................... Julie Skate 1st asst d irector.............................................Ray Brown H a irdre sser.................................Patricia Payne fam ily of Russian Jew ish em igres. A young M ake-up..................................Jurjen Zielinski, 2nd asst d ire c to r......................................... Scott Feeney Prod, com pany............................... ACTF Prods W ardro be........................................ A n naJakab man from a country town com es to live in the Ian Loughnan C o n tin u ity ..............................................

Larraine Quinnell P ro d u c e rs ................................................Sandra Levy, Standby w a rd ro b e ........................................ Kim Donaldson hotel and share th e ir life.

W a rd ro b e .................................Beverly Jasper, Julia Overton C a s tin g ....................................... Jennifer Bruty Props Duyer....................................................JodiBorland Ann Brown Casting a s s is ta n t..................................Jennifer Couston D ire c to r......................................... Esben Storm Standby props................................ Leore Rose P ro p s ...............................................Neil Dyster, Camera o pe rator.......................................Roger Lanser S crip tw riter.................... „ . . . . M orris Gleitzm an Special e ffe c ts ............................................ Brian Pearce Karl Miller C lappe r/loa der............................................ Sally Eccleston Photography...............................................David G ribble Set d re s s e r..............................................Stanley Dalliston Props b u y e r..............................Helen W illiam s Sound re c o rd is t....................... Ken Hamm ond Camera assistant....................................RussellBacon Scenic a rtis t................................................ Peter Dickie Special e ffects...............................................Rod Clark.

Key g r ip .................................John H untingford Editor..................................................Paul Healy Best b o y ...................................... Angus Denton Terry Burrow Prod, d e s ig n e r........................ Robert Flaherty G rip .................................................................PaulM cCarthy Electrics a ssista n t.......................................Dale Mann Music perform ed b y ................Greg Sneddon C o m p o se r.................................Michael Norton G affer...............................................................Tim Jones R u n n e rs ......................................................... Kris Grintowt, AFTER MARCUSE M ixer.......................................... John Beanland Exec, producer........................ Patrician Edgar E lectrician.................................... Ken Pettigrew Brian G ilm ore Still photography..................... Lindsay Hogan Prod, co m p a n y ........................................... ABC Prod, s u p e rv is o r........................Damien Parer Genni o p e ra to r........................................... Doug Cameron Stunt co-ordinator.........................................Guy Norris Title d e s ig n e r.............................Phil C ordingly Dist. c o m p a n y .............................................ABC Prod, m a n a g e r........................ Cathy Flannery Designer.................................................. Andrew Blaxland IVF technical a d vise r................................Jillian W ood P u b lic ity.................................... M aggie Sefton, P ro d u c e r.........................................Alan Burke Location unit m a n a g e r............. Bevan Childs Asst d es ig n e rs........................................ G regor McLean, Still ph o to g ra p h y........................... Sterio Stills ABC D irector............................................................Ted Robinson Prod, accountant....................... J ill Coverdale Col Rgdder P u blicity...........................................................Lyn Quayie S crip tw rite r.................................Alm a de Groen 1st asst director............................................. PhilRichC a te rin g .......................................... Bande Aide Costum e d e s ig n e r.......................... Jim M urray C a te rin g ...................................................Kristina Frolich, Based on the original idea Studios.......................................................... ABC 3rd asst d ire c to rs .........................................PaulManos, M a k e -u p ................................................C hristine Ehlert, Helen W right b y .............................................Alm a de Groen L e n g th ............................................. 9 x 5 0 mins Shephan Elliott Suzie Clemo Specialist food and G a uge.............................................. 1 inch (OB), Sound re co rd ists....................................... David Dundas, C o n tin u ity ................................. Roz Berrystone W ard, co-ordinator............................... C aroline Suffield flower d re s s in g .................................... Louise Lechte, 2 ins (studio) M ichael Roberts Extras’ c a s tin g .......................................... Judith Cruden Ward, a s s is ta n t.......................................W endy Chuck * G regory Ladner Shooting s to c k ................................. Videotape Videotape e d ito r...................... Ley Braithw aite Casting Post-production s u p e rv is o r...... David Jaeger P ro p s .............................................................. Don Page, Cast: Terry Bader (Bryce), Richard Healy Prod, designer........................... Graeme G ould con su lta n t.........M & L Casting C onsultants Richard W alsh L e n g th ............................................... 2 x 96 mins (Ken), Debra Lawrance (Pat), Peter Hosking Cam era o p e ra to r...............Peter Menzies Jnr Exec, p ro d u c e r................................ Alan Burke Props b u y e r..................................................... BillBooth, G auge........................................................ 16 mm (Blair).

Prod, m anage r.............................................John M oroney Focus p u lle r................................................G arry Phillips Adrian Cannon Shooting stock............................ Eastm ancolor Synopsis: The events surrounding a pair of Prod, secretary................................Padm a Iyer C la p p e r/lo a d e r.................. N icolette Freeman Special e ffe c ts ........................................... C hris Sheehan, Cast: Gary Day, Debra-Lee Furness, Belinda down-at-heel private eyes.

1st asst director............................ David Young (AFTS attachm ent) Peter Gronow Davey, Andrew Sharp, G eorge Mikell,

P O S T-P R O D U C TIO N

CINEMA PAPERS December — 451

Production Survey

Publicity............................................. Tom Greer P h otog rap hy....................... Malcolm Foreman Standby p ro p s ........................... Jam ie Crooks P rodu cer........................................Robert Brow Catering...........................Take 1 R im Caterers Sound recordist......................................... Steve Holden D ire c to r.......................................... Robert Brow Scenic artist................................... Ray Pedler Post-production fa c ilitie s ........................... VTC E d itor............................................. Robert C lark S criptw riters.................................. Jim Poulter, Set construction........................ Brian Hocking Length......................................................95 mins C om poser.................................. Bob M acintosh Robert Brow M ix e r........................................... G em ini Sound G a u g e ........................................................ 1-inch Prod, co-o rd in a to r............... Penni-Ann Smith Still photography...........................Mark Burgin Based on the original ideas GOLDEN PENNIES Shooting s to c k ................................. Videotape Prod, m anage r..................... Rhonda Gardner b y .................................................Jim Poulter, C a te rin g ...........D.J. & C.J. Location Catering S yn opsis: Two young girls from the country Prod, a c c o u n ta n t................Roger S anderson Length.............................................1 3 x 2 5 mins Robert Brow Prod, c o m p a n y...........Revcom (France)-ABC arrive in the city and m eet som eone who Camera assistant............................ Guy James Photography............................................... Barry Malseed G a u g e ..................................1 in. PAL C form at P ro d u c e r............................... O scar W hitbread irrevocably changes the course of their lives.

Art d ire c to r............................... Brenda Maxwell Sound re c o rd is ts .................Laurie Robinson, D ire c to r.................................. Oscar W hitbread Shooting s to c k .................................. Videotape John Rowley, Sound edito r..................................................Max Stewart S c rip tw rite r............................................ Graeme Farmer Cast: Justine Clarke (Tina), Adam W illits W olf Becker QUEEN OF THE ROAD M ix e r.............................................Martin Braine (Johnny), Ross Browning (The Baron), Alan Based on the original idea E d ito r.............................................. Robert Brow N a rra to r....................................... John Stanton Highfield (Carlo), Ben Franklin (Jacques), b y ..........................................................G raeme Farmer Prod, com pany.................................JN P Films Videotape e d ito r......................................... Mark Sanders Studios................................... NWS-9 Adelaide Dasha Blahova and Clelia Tedeschi (Lotte), P h otography................................................... IanW arbuton P rodu cer................................................... Jam es Davem Prod, co-ordina tor.......................................Nola Brown Peter Seaborn (Maestro), Janet Ashelford Mixed a t....................................................Pepper Studios Sound re co rd ist.......................................... John Boswell D ire cto r.......................................... ..Bruce Best Prod, s e c re ta ry ........................................... Nola Brown (Maria), Alan Highfield (Renato Del Cardo), Length..................................................... 60 mins E d ito rs ..............................................................BillMurphy, S c rip tw rite r....................................................Luis Bayonnas Lighting cam eram an.................................Barry Malseed G auge......................................................1 inch Mazz Appleton (Weazel).

Barry Munroe Photography................................Joe Pickering Camera o p e ra to r.......................................Barry Malseed Prod, de sig n e r............................ Carol Harvey Shooting s to c k .................................. Videotape S yn opsis: Two children, who are ignorant of Sound re c o rd is t............................................Ken Hamm ond 2nd unit photography.....................Gary Smith the world of opera, become involved with a Prod, m an a g e r............................Frank Brown Cast: Henry Salter (Holy W illie), Robert E ditor.............................................................Zsolt Kollanyi Mixed a t.......................................................Video House group of eccentric would-be opera stars, por­ 1st asst d ire c to r....................... Peter Trofinovs Perovan (Jack M athew s), Prue Little Prod, de sig n e r........................... M ichael Ralph L ab ora tory.....................................................VFL C ontinuity.................................. C hristine Lipari trayed by puppets.

(Barm aid), Elspeth Langm an (Lucretia C o m poser............................................... MichaelPerjanik B udget.....................................................$70,000 C a stin g .............................................. Greg Apps Dunkley), Mladen M ladenoff (Martin Beech), Assoc, produce r............................... Irene Korol Length.....................................................

50 mins Lighting cam e ra m a n .............. Ian W arburton ONE SUMMER AGAIN Mark Watson (Trooper).

Prod, supervisor............................... Irene Korol G a u g e ...................................................... 16 mm Art d ire c to r.................................................. CarolHarvey S yn opsis: This television docu-dram a tells a (THE HEIDELBERG SCHOOL) Prod, co-ordinator................. Sally Ayre-Sm ith Shooting s to c k ..........................................Kodak P u b licity........................................................ ABC series of m ysterious stories from Australia’s Prod, m anager..................................Irene Korol Prod, com pany........................................... ABC Cast: Reg Saunders.

Studios...........................................................ABC past and present.

Unit m anager....................................Henk Prins P rodu cer........................................ Keith W ilkes S yn opsis: The F ig h tin g G unditjm ara is Mixed a t .........................................................ABC Prod, s e cre ta ry....................................... Debbie Braham Director............................................ Mark Callan CHILDREN OF TWO COUNTRIES about a young Aboriginal boxer, Graeme L e n g th ...............................................8 x 30 mins Prod, acco u n ta n t.........................................M att Sawyer S c rip tw rite r....................................... Bill G am er “ Porky” Brooke, and his struggle to achieve G a u g e ......................................................... 16mm Prod, com pany.................................... Kingcroft Prods 1 st asst director...............Charles Rotherham Based on the original idea Shooting s to c k .......................................... Kodak (Australia) success as a boxer. It also parallels the 2nd asst d ire c to r....................................M ichaelFaranda b y ................................ Hum phrey M cQueen Cast: Carol D rinkwater (Rebecca), Bryan Producer...................................... Terry Ohlsson struggle of his tribe, the G unditjm ara, to 3rd asst Photography................................................... Ian W arburton d irector........................................... Tom Blackett survive.

Marshall (Luke), G erard Kennedy (Lovejoy), Director........................................ Terry Ohlsson C ontinuity........................................ N icki Moors Sound rec o rd is ts .............................. Bill Doyle, Frank W ilson (Doc Slope), Paui Karo S c rip tw rite r................................. Terry Ohlsson Camera operator....................... W ayne Taylor Gary Lund, (Marcel), Tibbi Karmen (Jack), M ichaela P h otog rap hy.......................................... MichaelKings, C lapper/loader.............................Conrad Slack Peter Mills THE FLYING DOCTORS Abay (Lucy), Cindy U nkauf (Cleopatre).

John Mounsey Key g rip ................................... Paul Thompson E d itor................................................................Bill Murphy Prod, c o m p a n y.................... ..Crawford Prods Sound re c o rd is t............. David M cConnachie S yn opsis: An English fam ily come to the Asst g rip .................................. George Tsoutas Prod, designers......................Gunars Jurjans, Producers....................................Bud Tingwell, Australian goldfields in the 1850s to seek E d ito rs ............................................................. BillStacey, Focus p u lle r................................. A nna Howard Max Nicolson Graham Moore Liz Irwin their fortune. In the family, mother, step­ G a ffe r............................................................. Reg Garside Exec, p ro d u c e r...........................................Keith W ilkes D ire c to r.........................................Pino Amenta father and the young son and daughter, C om poser........................................................PatAulton Boom op e ra to r..........................Andy Duncan Technical p roduce r..............Graham Brum ley Scriptw riters..........................Terry Stapleton, anim osity exists between the step-father and Prod, m a n a g e r........................................... Terry Slack Art director................................. Michael Ralph Vincent Moran Prod, m anager.......................................... Geoff Cooke the son. The children then meet the fam ily of Unit m a n a g e r............................................. Terry Slack Costume d e s ig n e r................... Helen Hooper Unit m anager..............................................Geoff Cooke Exec, script con su lta n t......... Barbara Bishop a travelling sideshow and it is against the P rod. secretary........................... M ari n a Seeto M ake-up............................M argaret Alexander P h otog rap hy.............................. David Connell Prod, secretary............................... Sarah Hall background of the fam ily's struggles that the Prod, accountant.........M oneypenny Services W ardro be................................................ ...Helen Hooper 1st asst director............................. Bill Sm ithett Sound recordist....................Andrew Ramage children’s adventures are set.

Prod, ass is ta n t............................................ Mike Caiger Props b u y e r.......................................Ian Gracie E d ito r............................................ Ken Sallows 2nd asst director....................................Dorothy Faine 1st asst d ire c to rs ........................................... BillStacey, Standby pro p s...........................John Osmond C o ntinuity................................................... Kerry Sevan STOPWATCH C om posers........................... Gary McDonald, Liz Irwin Set d resser...................................................M ark Clayton P rodu cers a s s is ta n t................................ Kerry Bevan Laurie Stone (The W in n e rs series) 3rd asst director..........................................Peter Doig Asst e d ito r............................................... Leanne Glasson C a s tin g .............................................Greg Apps Exec, pro d u c e rs ..................................... Hector Crawford, C o n tin u ity ................................................ M arina Seeto Sound e d ito r............................................ Ashley G renville Prod, co m p a n y......................Astra Film Prods Extras c a s tin g .........................Marian Pearce Ian Crawford, C a s tin g ........................................................ Terry Slack Stunts co-ordinator.........................G rant Page Dist. com pany............................................ACTF Lighting d ire c to r.................................Clive Sell Terry Stapleton Lighting cam eram en.............................MichaelKings, Still pho tograph y...................... Andrew Jacob P ro d u ce rs.................................. Julia Overton, C am eram en.............................................. Roger M cAlpine, Assoc, producer..............................Mike Lake " ~ John Mounsey Best b o y ........................................................ Sam Bienstock Richard Mason Adrian Harvey, Prod, co-ordinator.....................Janine Kerley Focus p u lle r..............................................M artyn G oundry R unners........................................ Andrew Paul, D irector......................................................... John Duigan S onerTuncay, Prod, m anager...........................Helen W atts Clapper/loader........................................

Martyn Goundry Kit Quarry S c rip tw rite r..................................................John Duigan G reg W ilden Unit location m a n a g e r.....................Grant Hill Camera assistants.................................RussellDority, P u blicity............................................ Lucy Jacob P h otog rap hy...........................................MichaelEdols Asst location m anager...........................Murray BoydCamera operator.........................................John Hawley Andrew McLean C atering......................................Kaos Katering Sound re c o rd is t.................................Tim Lloyd Focus p u lle r.................................Trevor Moore Prod, accou ntan t...................................... Vince Smits E lectrician................................................. Roger Wood S tu d io s...................................................M ortbay E ditor................................... Frans Vandenburg Key g r ip ............................... Tony Woolveridge 1st asst d ire c to r................................ John Wild W ardro be.......................................................Ron W illiam s Length......................................................98 mins Prod, de sig n e r........................................ Louella Hatfield 2nd asst director..................Michael McIntyre Electricians...................................................Mick Sandy, M ixer................................................................Jon Marsh G a u g e ........................................................35mm C om poser........................................................ BillMotzing Les Frazier, 3rd asst director..'.......................Jack ZalkaJns Still p ho tograph y..........................................Ron Furner, Cast: Joanne Samuel (Rosie Costello), Exec, p ro d u c e r...................................... Patricia Edgar Malcolm McLean C ontinuity.....................................................Julie Bates C liff Frith Am anda M uggleton (Gail O ’ Reagan), Chris Prod, s u p e rviso r.................................... Damien Parer Focus p u lle r.................................... Greg Ryan Boom ope rators..............................G ary Lund, Runner......................................................... Greg Ohlsson Haywood (Max), Chris Hession (Len), Allan Prod, co-o rd in a to r..................Roz Berrystone Harry Harrison, Clapper/loader........................... Bruce Phillips Publicity......................................................... Rea Francis McQueen (Fegs), Kevin Leslie (Bronco), Prod, m a n a g e r........................Cathy Flannery Peter Cave Sound assistan t.........................................Scott Rawlings Studios..........................Kingcroft (Melbourne) Shirley Cameron (Mam a Lil), Shane WrthingUnit m anage r............................................. JenniDawes Key g r ip ...................................... Ian Benallack Costume d e s ig n e r................. Paul Cleveland Post-production...................................Kingcroft (Sydney) ton (Fred (Speedy) Norton), Al “ H erpie” Prod, accountant.......................Jill Coverdale Asst g rip ......................................Craig Dusting Location d e s ig n e r......................................Rudy Joosten Mixed a t .............................. Jon Marsh Studios Graves (Brian Moll).

1st asst d irector................................... Phil Rich G affer................................... David Parkinson Graphics designer........................ Judy Leech Laboratory............................................ Colorfilm S yn opsis: A dram a com edy about two 2nd asst d ire cto r....................... Adrienne Parr 3rd electrician/ M ake-up............................Linda W ashbourne, L e n g th ........................................................2 x 6 0 mins female truckies who are doing a run from 3rd asst director.................................... Stephan Elliott genni operator....................................... Steve Bickerton Denise Gakov G a u g e ...................................................... 16 mm Sydney, Brisbane and return. They are being C o n tin u ity.......................................... Linda Ray W a rd ro b e ........................... Rhonda Shallcross Shooting stock.............................Eastmancolor Art d irector.........................................Tel Stolfo chased by everyone from the repossessor to Casting Asst art d ire c to r...................... Bernie W ynack S ynopsis: A television special based on the Props b u y e rs ..............................................Norm Jones-Ellis, thugs, not to m ention the police. co n su lta n ts...... M & L Casting Consultants Max Lawler M ake-up................................... Leeanne W hite premise that, whatever the differences in cul­ Lighting cam eram an............................. MichaelEdols Asst make-up hairdresser.............Pam W right ture, background or language, children will P ropsm en................................ Hugh Johnson, TIME’S RAGING Camera op e ra to r................................... MichaelEdols Wardrobe supervisor................................Clare Griffin always find a way to com m unicate w ith and Ross Allsop, Focus puller..............................................W ayne Taylor Prod, co m pany............................................ABC Wardrobe s ta n d b y ....................................... PhilEagles understand each other.

David Norman Clapper/loader...............................................RodHinds P ro d u ce r.................................

M ichael Carson Ward, a s s is ta n t.................Margot McCartney Special e ffe c ts ................................Rod Clack Key g rip ................................................... Graham Litchfield DISPLACED PERSONS D ire cto r.....................................................Sophia Turkiewicz Props buyer............................. Bernie W ynack Scenic a rtis ts ............................................... Otto Boron, Asst g rip ......................................................... Guy W illiams S crip tw riters......................

Sophia T urkiewicz, Standby p ro p s .................................. Barry Hall John Trebilco Prod, c o m pany............................................ABC 2nd unit p h o tograph y.............................W ayne Taylor Frank Moorhouse Set dressers........................... Harvey Mawson, Producer.................................... Jan Chapman Videotape e d ito r.................................M arianne Pridmore G a ffe r..........................................................Derek Jones Based on a short story from the Murray Kelly Vision m ix e r...................................Joe Murray D irector..................................Geoffrey Nottage Boom o pe rator........................................... Grant Stuart book F u tilit y a n d O t h e r A n im a ls Construction m a n a g e r............ Peter McNee Asst e d ito rs ............................................. Steven Robinson, Scriptw riter..................................................Louis Nowra Asst art d ire c to r.................................... M ichelle McGahey b y ............................................................. Frank M oorhouse Asst e d ito r............' ................. (Warwick Crane Nick Lee Based on the original idea Costume designer............................ Sian Pugh P hotography.............................

Julian Penney S tunts...........................................................Chris Anderson b y .............................................................. Louis Nowra Sound e d ito r.......................................... Georgie Moore M ake-up.......................................... Lloyd James Sound re co rd ist............................................ Ben Osmo Still pho tograph y............_................Sterlo Stills Dubbing m ixer................................................ BillDoyle L ig h tin g ....................................................... Peter Knevitt H a irdre sser.................................... Lloyd James E d ito r.......................................

Tony Kavanagh (David and Lorelei Simmonds) Technical p ro d u c e r..................Merv Manthey Music e ffe c ts ........................George Maddison Ward, assistant............................................Suzy Carter Prod, designer.............................................Tony Raes Best boy...................................Richard Tummel Sound re c o rd is ts....................................... John Segal, Editing assistants...................................George Moore Props b u y e r............................ Jenny Campbell Com poser........................................Bill M otzing Michael Roberts Runner..................................... ....Peter Nathan Title designer.............................................. Judy Leech Standby p ro p s ........................ Robert Moxham Prod, m anager......................................... Dennis Kiely Unit publicist.....................................Chris Day Video e d ito r................................................. John Patrick Publicity.................ABC Publicity Department C horeography........................................ M itsuko Generoso Unit m anage r.................................

Val W lndon Prod, designer.......................................Q uentin HoleC a te rin g ......................... Early M orning Risers Catering.......................... Bande Aide Caterers Prod, assistant.....................Jennifer Couston Asst editors.................................................Leslie M annison, (Tony Lippold) Com poser................................. Martin Arm iger L e n g th .............................................. 3 x 50 mins Bronwyn Wolf, 1 st asst d ire c to r...........................

Scott Feeney Prod, m a n a g e r........................ Michael Collins Studios.......................................................HSV7 Cast: Chris Hallam (Tom Roberts), Michele Phillipa Harvey 2nd asst d irector.......................................... Kate W oods Prod, secretary...............................Padma Iyer L e n g th ...............................................6 x 60 mins Fawdon (Jane Sutherland), Huw W illiams Neg. m a tc h in g ..................................... Colorfilm C ontinuity................................................Rhonda McAvoy 1st asst director........................ Graham Millar G a u g e ....................................................... 16mm (Arthur Streeton), W illiam Zappa (Billy C asting....................................... Jennifer Allen M ix e r..........................................................Gethin Creagh 2nd asst d ire c to r....................................... David McClelland Shooting stock............................... Kodak 7291 Maloney), Phil Sumner (Fred McCubbin).

Lighting ca m e ra m a n ...............Julian Penney Still p h o tograph y..................... Candy Le Guay C ontinuity.................................................Danuta Blachowicz Cast: Andrew McFarlane (Tom Callaghan), Synopsis: A radical look at the first Austra­ Camera op e ra to r......................Julian Penney Running coach..........................................Nancy Atterton C asting....................................... Jennifer Allen Lorna Patterson (Liz Drever), Keith Eden lian art movement.

Focus puller............................................. RussellBacon Best b o y ........................................................ PaulBooth Camera o pe rators.................... Richard Bond, (Harry Sinclair), Vikki Hammond (Beth Clapper/loaders...........................................Brett Joyce, R unner................................................Bizzi Bodi M urray Tonkin, POSSESSION Drever), Steve Bisley (Andy McGregor), Bill Robert Foster P u b lic ity ........................ Suzie Howie Publicity Tony Conolly, Hunter (Dusty Miller), Linda Hartley (Diana (pilot) Key g r ip ........................................ Alan Trevena C atering................................... Action Catering Denis Forkin, Daniels).

Asst g r ip .................................... Paul Lawrence Mixed a t ................................................ Colorfilm Prod, com pany................... Grundy Television Glen Traynor, S yn opsis: A story of adventure and romance G affer..........................................M artin Perrott Laboratory............................................ Colorfilm Dist. com pany..............................................Nine Network Ross Milligan, based on the contem porary Royal Flying E lectrician.......................................Pierre Drion Lab. liaison........................ Richard Piorkowski Exec, p ro d u c e r.............................................DonBattye Peter Roberts Doctor Service.

Boom o p e ra to r..................................G eoff Krix L e n g th ..................................... 47 mins 50 secs Director..................................................Phil East Key g rip ........................................................ Boyd Duurland Asst art d ire cto r..........................................Steve Gow S c rip tw rite r.......................................Bevan Lee G auge........................................................ 16 mm Lighting assistant..................................... Laurie Donaldson THE MAESTRO’S COMPANY M ake-up................................................Christine Balfour Based on the original idea Shooting s to c k .....Kodak Eastm ancolor 7291 Asst art director.......................................... Leigh Tierney Prod, c o m p a n y............................. Independent Prods b y ...............................................Reg W atson W ardrobe.............................................. Christine Sadd Cast: Terry Donovan (Peter Trig), Nicole Costume d e s ig n e r....................................Janet Patterson P ro d u c e r.........................................

Jim George Ward, a s s is ta n t........................ W endy C huck C am eram an................................. Phil Balsdon Kidman (Carol Trig), Veronica Lang (Alison M ake-up.............................................Val Smith, D irector..................................W illiam Fitzwater Props................................................Dave W hite Sound re c o rd is t....................... Max Alexander Trig), Alyssa Cook (Angie Spry), Emma Lyle Sandy Bushell S crip tw rite rs...........................Marcus Cooney, Props buye r...........................Paddy McDonald E d itor............................................. Frayne Dyke (Andrea Trig), Martin Harris (Bruce Spry).

W ardrobe................................................ Carolyn Mathews, Sue W oolfe, Standby p rops............................................Steve Stannard C o m p o s e r.....................................Mike Harvey Helen Pankhurst (Jenny Forenko). Carla Ron Dutton Sheila Sibley, Set de co ra to r........................Bob Hutchinson Prod, s u p e rv is o r............................Peter Pinne H o o g e v e e n (M rs M a c C re a d y ). K a te Props b u y e r....................................Max Bartlett Marcia Hatfield, Scenic a r tis t............................................G eorge Stanton Prod, c o -o rd in a to r................

Susan Courtney Ferguson (Sandra W ilcox), M ercia DeaneStandby p ro p s ........................................... Terry Bayliss, Rick Maier, C a rpe nte r........................................................Jim Harper Prod, m anager............................. Brenda Pam Johns (Janet).

Peter Moroney Hugh Stuckey Asst edito r................................................. Roslyn Pitsonis Location unit m anager.............Eddie Prylinski S yn opsis: Carol is a dedicated track athlete Musical d ire c to r....................................... Martin Arm iger Neg. m atch ing..............................................Pam Toose Story/script e d ito r...................................... Hugh Stuckey TCN-9 prod, m anage r................ Judy Dupont who specializes in the 1500 metres event. At Mixed a t ........................................................ABC Sound e dito r................................................Peter Townend Series created b y ....................................

Marcia Hatfield 1st asst d ire c to r...................................

Stephen Jones school, she meets a new girl, Angie, whose Length..................................................... 90 mins M ix e r............................................................ Peter Barber P hotography.......................Robert McDonnell 2nd asst d ire c to r............................. John Titley punk looks have made her an object of G a u g e ................................................Videotape Still p h o tograph y........................................ Gary Johnston Sound recordist...........................................

Noel Quinn C o ntinuity.................................... Daphne Paris ridicule and som eone to be avoided After Cast: John W ood (Dr Thomas), Dasha P u blicity..................................................... Lesley Jackson Videotape e d itin g ...................................... 20/20 Vision C a sting.......................................... Sue M anger Carol wins the 1500 metres at a school Blahova (Anna), Steven Vidler (Alexander), C a terin g......................................................

Fillum Catering Set d e s ig n e r............................................W endy Dickson Casting a s s is ta n t........................ Helen Salter carnival, she hears m usic com ing from the Annie Byron (Sister Evans), Urszula Golka S tudios.......................... ABC, French’s Forest Exec, producer.......................... Richard Davis Technical p ro d u c e r.................................... PaulCooke gym, goes to investigate and is surprised to (Teresa), Anna Golka (Irena), Slawomir Prod, co-ordina tor........................Julia Ritchie Mixed at......................... ABC, French’s Forest OB m anager...........................W arren Berkery see Angie dancing.

W abik (Tadeusz), H a lin a A b ram ow icz Laboratory............................................ C olorfilm Prod, m anager.............................. Brenda Pam Key g r ip ...................................................... Bruce Barber (Krystyna), John Orcsik (Miklos), Joe Spano Prod, accountant.................................M argaret Keefe Length................................................................75 mins G affers.....................................Nick Alexander, (Federico), Hans Farkash (Hans), Eva Sitta Director’s asst/research.............Sian Hughes G a u g e .......................................................16 mm Robert Thomson (Annette), Tony Taylor (Pliyards), Reg Gillam Shooting s to c k ................... Kodak 7294, 7291 1st asst d ire c to r....................................Stephen Jones E le c tric ia n .................................... Ted W illiam s (Harris).

3rd asst d ire c to r.....................................Richard Jazek Scheduled re le a se ..................................... 1985 Boom ope rator...............................................PhilKerros S yn opsis: In November 1945, a small group Casting c o n s u lta n ts.....Maizels & Associates Cast: Judy M orris (Lauren), M ichael Aitkens Art director.................................... Ken McCann of European refugees arrived in Australia. A (Cam), Lewis Fitzgerald (David), Penne Camera facilities and Make-up su p e rviso r....................Lloyd James deadly disease, m ysterious in its origins, Hackforth-Jones (Jane), David Downer ope ratio n..................................... Tram Video H a irdre sser.................................Robin Maxted random in its choice of victim s, has broken BILL WANNAN’S MYSTERIOUS G affer......................................................... Shaun Conway (Jimmy), Vicki Luke (Margaret).

W ardrobe................................................Heather McLaren out amongst them. A nervous governm ent AUSTRALIA S yn opsis: Lauren is 38 and a successful 2nd sound re c o rd is t.................................Doron Kippen Ward, a ssista n t............................................. Lyn Askew kept the refugees secretly at Sydney solicitor. She is separated from Cam and in­ Art d ire c to r..........................Chris Breckwoldt Props buyer/dresser.............. M argaret Slarke Prod, co m p a n y .................. Fairweather Prods Q uarantine Station, racing against tim e to volved in a relationship for w hich she sees Costume d e s ig n e r.................................... Fiona Spence Standby pro p s ........................Robert Moxham Dist. com p a n y...... Southern Television Corp. find an antidote and stop the disease from no future, with David who is 28. Lauren M ake-up................................ Sylvana Vennery Music e d ito r........................... Garry Hardm an P ro d u c e r.......................................................... IanFairweather spreading to the Australian populace. craves motherhood, and recognizes that her W ardro be........................................

Rita Crouch Sound edito r...........................Andrew Stewart D ire c to r............................................................ IanFairweather biological tim e is running out. Cam offers a Ward, assistant............................ Moya Calvert Stunts c o-ordina tor..............Dee Arlen-Jones Scriptw riter........................................... Elizabeth M ansutti THE FIGHTING GUNDITJMARA reconciliation, forcing Lauren to confront Props m aker.................................Eugene Intas A rm o u re r......................................... Bob Colby Based on the original Idea difficult and urgent life options. ' W Props buye r...........................Sandy W ingrove R u n n e r...................................Noel Cunnington Prod, com pany.................. G unditjm ara Prods by............................................Richard Boland

Rowena Wallace.

S yn o p sis: Love, lust and greed weave tangled webs when a dynasty turns for Its survival to test tube babies.

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Swinburne, Australia’s First Film an d Television School wishes to m ake public its thanks to: AAV Australia Pty Ltd Agfa-Gevaert Pty Ltd Crawford Productions Film Sound Track Australia Foote Cone and Belding Pty Ltd Kodak Australasia Pty Ltd Mike Reed’s Post Production Company Ministry for Employment and Training (Computer Animation Development Centre) Monahan Dayman Adams Pty Ltd The Australian Film Commission The Australian Film Institute The Last Laugh Theatre Restaurant The Melbourne Directors’ Guild USP Needham Melbourne Pty Ltd The Queen Elizabeth II Silver Jubilee Trust for Young Australians Victorian Film Laboratories Pty Ltd

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Every Day, Every Night

It is gratifying to note that last year’s students gained the following awards.

Kathleen M ueller "Every Day, Every Night”

1984 Montreal International Film Festival Grand Prize Best Short Film 1984 Sydney Film Festival Greater Union Awards Best Short Film Screened at 1984 Melbourne Film Festival 1984 AFI Awards Nominated for Best Short Fiction Film Best Achievement in Direction Best Achievement in Sound 1984 Atom Award Best Tertiary student production 1984 Atom Award Jury Prize Cinematography Joseph Bogdanov "Private an d C onfidential”

1984 Melbourne Film Festival Diploma of Merit 1984 Atom Award Winner Most Innovative Category

Peter Jordan "Iw anna Station”

Screened at 1984 Bilbao Film Festival Screened at 1984 Oberhausen Film Festival Screened at 1984 Tyneside Film Festival 1984 Melbourne Film Festival Special Award G eorgia W allace-Crabbe "Holzwege”

1984 Melbourne Film Festival Irwin Rado Prize Nominated 1984 AFI Awards for Best Experimental Film Andrew Quinn "Waltz M am bo”

Nominated 1984 AFI Awards for Best Animated Film

Austrailia’s First Film and Television School Productions available through the Australian Film Institute

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11

Cloak and Dagger Brian McFarlane T h e A u s tr a lia n c in e m a o f th e p a s t d e c a d e h a s a g o o d d e a l to b e p ro u d o f a n d so , u p to a p o in t, h a s th e A u s ­ tr a lia n c ritic a l f r a te r n ity in h e lp in g to c r e a t e a r e s p o n s i v e p u b l i c f o r its o u t p u t . O n e o f t h e b l a c k s p o t s in r e l a t i o n t o b o t h i n d u s t r y a n d c r it i c i s m is t h e f a i l u r e t o r e c o g n i z e i n R i c h a r d F ra n k lin a m a jo r ta le n t.

P e r h a p s it is F r a n k l i n ’s u n a s h a m ­ e d ly c o m m e r c i a l a p p r o a c h t o f i l m ­ m a k i n g t h a t h a s le d c r it i c s c o n s i s t e n t l y t o u n d e r r a t e h is w o r k . H e h a s e v e n m a d e a s e x f i lm (Fantasm, 1 9 7 6 ) f r o m th e su c c e ss o f w h ic h h e w a s a b le to fin a n c e m o re re s p e c ta b le u n d e r­ ta k in g s .

P e r h a p s , a s f a r a s t h e i n d u s t r y is c o n c e r n e d , it is h is f a i l u r e t o f o r e ­ g r o u n d h is A u s t r a l i a n - n e s s t h a t h a s m a d e it d i f f i c u l t f o r h i m t o e s t a b l i s h h im s e lf as a n A u s tr a lia n d ire c to r a t le a s t o n a p a r w ith P e te r W e ir, B ru c e B e r e s f o r d a n d F r e d S c h e p is i, a ll o f w h o m a r e n o w o f c o u r s e f i l m i n g in t h e U .S ., so m e y e a rs a fte r F ra n k lin m a d e h is n a m e t h e r e .

T h e f a c t t h a t h is A u s t r a l i a n - m a d e f ilm s (Patrick, 1 9 7 8 , a n d Roadgames, 1981) h a v e b e e n m u c h m o re su c c e ss fu l in t h e U . S . t h a n h e r e m a y in p a r t b e d u e to th e ir n o t w e a rin g th e ir O z o r i g in s o n t h e i r s le e v e s . N o t t h a t t h e y g o o u t o f t h e i r w a y t o c o n c e a l t h e s e (a s d id id io tic e n te r p r is e s s u c h a s S im o n W i n c e r ’s Harlequin, 1 9 8 0 ), a n d n o t ju s t b e c a u se th e y h a v e u se d o v e rsea s a c t o r s ( S u s a n P e n h a l i g o n in Patrick, S ta c e y R e a c h a n d J a m ie L e e C u rtis in Roadgames): r a t h e r , t h e y a r e c o n c e r n e d t o te ll e x c i t in g s t o r i e s in s e t ti n g s t h a t j u s t h a p p e n t o b e A u s ­ t r a l i a n . T h e r e is n o c e l e b r a t i o n o f t h e o u tb a c k , no w a x in g l y r ic a l over in d ig e n o u s f lo r a a n d f a u n a : in s te a d , j u s t a b o r n f i l m m a k e r ’s u s e o f w h a t h e n e e d s f r o m w h a t h e h a s in t h e w a y o f a m b i e n c e — t h u s , in Patrick t h e o d d c ity s k y s c a p e o r in Roadgames t h e te r r o r p o te n tia l o f th e N u lla rb o r.

N o r h a s h e a d d re s s e d h im s e lf to th e B ig A u s t r a l i a n T h e m e s , w h i c h is n o t m e a n t a s a sid e -s w ip e a t th o s e w h o have; an d he has n o t so u g h t a p re ­ e a r n e d p re s tig e b y b u r r o w in g in to A u s ­ tr a lia n lite ra ry s o u rc e s . In n o t d o in g so , h e h a s b e e n s o m e w h a t s o lita ry a m o n g th e m a jo r A u s tr a lia n d ire c to rs .

W h a t c le a r l y d o e s e x c i t e h i m is t h e s c r e e n ’s p o t e n t i a l f o r g e n e r a t i n g its own e x c i t e m e n t . H e m a n i p u l a t e s t h e c i n e m a t i c c o d e s a n d t h e p o w e r o f miseen-scene w i t h a d e x t e r i t y a n d e x h i l a r a ­ tio n th a t o w e n o th in g to e x te rn a l so u rc e s o r o th e r m e d ia .

A ll t h i s h a s le d h i m t o b e t h e v i c t i m o f s o m e o f t h e m o s t f o o l i s h c r it i c a l m a n h a n d l i n g in t h e h i s t o r y o f n e w A u s t r a l i a n c i n e m a . B o b E ll i s , f o r e x a m p l e , i n The N a tio n a l Times w e n t so fa r as to su g g e st th a t th e re w as n o p la c e in th e re n a s c e n t lo c a l c in e m a f o r a f i lm s u c h a s Roadgames, a n d h is

“The clever stroke o f casting that has Jeanette Nolan and John McIntyre as the seemingly benevolent MacCreadys [Eunice and George] . . . ” Richard Franklin’s Cloak and Dagger. e a r l ie r ’p r e n t i c e w o r k , The True S t o r y of Eskimo Nell ( 1 9 7 5 ) , w h i c h b o t h e x p lo i t e d a n d r e a c t e d a g a i n s t t h e b o x ­ o f f i c e s u c c e s s o f f ilm s s u c h a s Alvin Purple (1 9 7 3 ) a n d The Adventures of Barry McKenzie ( 1 9 7 2 ) , d r e w t h e w ra th o f th e lo c a l M rs G ru n d ie s .

T h is l o n g p r e a m b l e is b y w a y o f in tro d u c in g F r a n k l i n ’s l a t e s t f i lm , Cloak and Dagger, h is s e c o n d t o b e m a d e in t h e U . S . I t is h is m o s t a c c o m p l i s h e d f i lm t o d a t e a n d o n e o f th e m o s t e n te rta in in g o f th e y e a r.

W it h Patrick, Roadgames, Psycho II (1 9 8 3 ) a n d n o w Cloak and Dagger, h e h a s d i r e c t e d a w i t ty , i n v e n t i v e , p a c y q u a r t e t w h i c h n o o t h e r d i r e c t o r o f th e A u s t r a l i a n r e v iv a l c a n m a t c h . P e r h a p s h e w ill t u r n o u t t o b e t h e M i c h a e l P o w e l l o f t h e A u s t r a l i a n c i n e m a in t h e s e n s e o f h a v i n g t o w a i t a d e c a d e o r so f o r p r o p e r a p p r e c i a t i o n w h ile o t h e r s m o r e in l in e w i t h t h e m a i n s t r e a m o f th e re v iv a l re c e iv e th e c u rre n t a p p la u s e . B e tte r, th o u g h , to b e th e A u s tra lia n P o w e ll th a n th e lo c a l D a v id L e a n o r C a ro l R e e d : lo o k w h a t th e d e c a d e s h a v e d o n e t o t h e m . ( L ik e P o w e ll, to o , h e c a te rs to o u r sc o p o p h ilia r a th e r th a n to a h ig h -m in d e d d e s ire f o r “ q u a lity ” c in e m a .)

T h e s o u r c e o f Cloak and Dagger is a l o w - b u d g e t , 1 9 4 7 s u s p e n s e f i lm , The Window, d i r e c t e d b y T e d T e t z l a f f a n d s t a r r i n g B o b b y D r i s c o l l a s a l it t le b o y w h o is s o g i v e n t o m a k i n g u p s t o r i e s t h a t n o o n e b e lie v e s h i m w h e n h e a c tu a lly d o e s see a m u r d e r — n o o n e , t h a t is, e x c e p t t h e m u r d e r e r . Cloak and Dagger, h o w e v e r , is n o t a r e - m a k e ; it s i m p ly u s e s t h e b o y - w h o - c r i e d - w o l f id e a as th e s ta r tin g p o in t f o r th e

t i g h t e s t , f a s t e s t t h r i l l e r o f t h e y e a r and a ric h ly te x tu re d s tu d y o f th e w e a lth a n d d a n g e r s o f a c h i l d ’s f a n t a s y lif e .

E . T . ’s s t a r , H e n r y T h o m a s , p l a y s D a v e y O s b o r n e w h o , in t h e w a k e o f h is m o t h e r ’s d e a t h , e n g a g e s in a v a r i e t y o f ro le -p la y in g gam es in v o lv in g h is frie n d s K im (8 -y e a r-o ld C h ris tin a N ig r a ) a n d M o r r i s (B ill F o r s y t h ) , w h o r u n s a v i d e o g a m e s s h o p . A s w e ll, h e h a s a n im a g in a ry su p e r-s p y h e ro J a c k F la c k (D a b n ey C o le m a n ) w ho m a t e r i a li z e s a t c r u c i a l t im e s t o u r g e h im o n t o t h e d a n g e r o u s e x p lo i t s w h ic h becom e n e ce ssa ry w hen D avey w itn e s s e s t h e m u r d e r o f a n F B I a g e n t b y R ic e ( M i c h a e l M u r p h y ) , t h e l e a d e r o f a s p y r i n g . N o o n e b e lie v e s h i m , i n c l u d i n g h is h a r d - p r e s s e d f a t h e r ( a ls o p la y e d b y C o le m a n ), a n d th e b o y w h o lo v e s p l a y i n g g a m e s f i n d s h i m s e l f c a u g h t u p in r e a l - l i f e p e r il s t h a t le a d h im t o t h e e d g e o f a m a t u r i t y in w h ic h J a c k F l a c k is n o l o n g e r n e e d e d .

Cloak and Dagger is n o t a f ilm w h o s e p l o t d e ta i ls o n e s h o u l d r e v e a l a n d T o m H o l l a n d ’s s c r e e n p l a y is a s i n v e n t i v e a s F r a n k l i n ’s h a n d l i n g o f th e m . F r a n k lin , a lo n g -tim e H itc h c o c k a d m i r e r (a s a s t u d e n t o f t h e U n i v e r s i t y o f S o u t h e r n C a l i f o r n i a h e w a s i n v it e d as a n o b s e rv e r o n th e set o f H itc h ­ c o c k ’s Topaz), h a s a c a p a c i t y f o r q u o t i n g t h e m a s t e r w i t h o u t f a ll i n g i n t o t h e t r a p o f s y c o p h a n t i c hommage. H is Psycho II, a s e q u e l t o H i t c h c o c k ’s g re a t 1960 th rille r, re ta in s N o r m a n B a te s ( p l a y e d b y t h e s a m e a c t o r , A n t h o n y P e r k i n s ) , t h e B a t e s ’s f a m o u s G o th ic h o u s e , a n d a se c o n d s ta r o f th e e a r l i e r f i lm ( V e r a M i le s ) , a n d , w h ile h o n o rin g i ts p r e d e c e s s o r , is v e r y

m u c h a s u c c e s s o n its o w n t e r m s .

F ra n k lin h a s le a rn t a lo t fro m H itc h ­ c o c k , a n d k n o w s h o w to u se w h a t h e h a s l e a r n t w i t h o u t b e in g i n h i b i t e d b y it. T h e r e a r e r e f e r e n c e s in Cloak and Dagger t o Rear Window ( w h a t D a v e y se e s in a w i n d o w o v e r a c o u r t y a r d ) , Strangers on a Train ( t h e r i v e r b o a t r i d e ) , Vertigo (a s t a ir w e l l s h o t ) , Sabo­ tage (a b u s - r i d e w i t h a p o t e n t i a l e x p l o s i o n ) , North by Northwest ( a f r a n t i c c a r - r i d e ) , a n d The Thirty Nine Steps (a h a n d w i t h f i n g e r s m is s i n g ) .

A n d b u f f s m a y w e ll i d e n t i f y o t h e r s : t h e p o i n t is t h a t in t h u s i n s c r i b i n g h is c in e m a tic in h e r ita n c e , F r a n k lin n e v e r­ th e l e s s m a n a g e s t o w r i t e h is o w n s i g ­ n a t u r e o n t h e f i lm . T h e teasing q u a l i t y t h a t m a d e h is e a r l i e r f ilm s s o e n j o y a b l e is a s m u c h in e v id e n c e a s b e f o r e : o n e n e v e r k n o w s f o r c e rta in w h e re th e fa c tf a n t a s y b o r d e r l i n e lie s . T h is t i m e , t h o u g h , h is d i r e c t i o n o f h is a c t o r s , e s p e c ia lly o f T h o m a s a n d C o l e m a n , e n su re s th a t th e s u s p e n s e , q u ite b r il­ l ia n t ly c o n t r o l l e d , h a s a h u m a n p o i n t t o it.

F o r , a l t h o u g h Cloak and Dagger is w h o l l y in v o lv i n g a s a t h r i l l e r — a u d a c i o u s in c o n c e p t s a n d e x e c u t i o n s a n d m a k i n g m a r v e l l o u s u s e o f i ts S a n A n t o n i o l o c a t i o n s — e v e r y t h i n g is h e ld t o g e t h e r b y t h e w a y it p l a y s s o p e r s i s ­ t e n t l y a n d v a r i o u s l y o n its t w o m a i n th e m a tic c o n c e rn s . T h e s e a re th e f a n t a s y - r e a l i t y n e x u s w h i c h t h e f i lm se e s a s a c r u c i a l a s p e c t o f t h e c h i l d ’s lif e , a n d t h e c h i l d - a d u l t ( e s p e c i a l l y c h ild - p a r e n t) r e la tio n s h ip s ; th e tw o c ro ss a n d re -c ro ss e a c h o th e r , u n d e r ­ p in n in g a n d n e v e r u n d e rm in in g th e t h r i l l e r ’s p e r v a s i v e d r i v e .

CINEMA PAPERS December — 455

Kemira: Diary o f a Strike

Cloak and Dagger

G a m e - p l a y i n g o p e n s t h e f i lm w i t h th e im p u d e n c e o f p e r fe c t c o n fid e n c e a s f a n t a s y - a d v e n t u r e g iv e s w a y t o o r d i n a r y u r b a n l if e w h i c h , in t u r n , ta k e s o n a n ed g e o f re a l te r r o r .

D a v e y ’s f a t h e r , t r y i n g h a r d t o d o t h e j o b o f b o t h p a r e n t s , t r ie s t o p e r s u a d e h i m t h a t J a c k F l a c k is m a k e - b e l i e v e a n d ta lk s o f ta k in g h im to a d o c to r fo r t h e “ h e l p ” t h a t h e b e lie v e s t h e c h il d n e e d s in t h e f a c e o f a f a n t a s y lif e t h a t s e e m s t o b e g e tt i n g o u t o f h a n d . A s h e d o e s s o , F l a c k a p p e a r s b e tw e e n h i m a n d D a v e y , a c t i n g e q u iv o c a l l y a s b o t h o b s ta c le to a n d b u f f e r a g a in s t re a lity .

T h e f i l m ’s in te l li g e n c e is e v id e n t in its u n d e r s t a n d i n g o f t h e c h i l d ’s n e e d f o r f a n t a s y a n d o f h is n e e d t o g e t a g r a s p o n re a lity , a n d th e in tric a c ie s o f p lo t w o rk to w a rd s e s ta b lis h in g b o th .

A g a i n s t t h e k i d s ’ — D a v e y ’s a n d K i m ’s — f a n t a s y w o r l d is a t a n g l e o f a d u l t s l e a d i n g o r d i n a r y , d i s b e li e v in g liv e s ( D a v e y ’s f a t h e r , K i m ’s m o t h e r , t h e p o l ic e , t h e s e n t r y a t t h e T o w e r L if e b u i l d i n g ) , o f a d u l t s a s c r o o k s (R ic e a n d h is t h u g s a n d h is u n l ik e l y e ld e r ly a c c o m p l i c e s ) a n d o f a d u l t s ( M o r r i s ) in to u c h w ith th e k id s ’ w o rld . A t th e i n t e r s e c t i o n o f g a m e s a n d lif e is t h e d a s h in g fig u re o f J a c k F la c k , ir r e s p o n ­ s ib le a n d i r r e s i s t i b l e t o a s m a ll b o y , e m b o d y i n g t h e d a r e - d e v il h e r o i c s t h e c h il d w o u l d lik e t o f i n d in h is f a t h e r .

T h a t F la c k a n d th e f a th e r a re p la y e d b y t h e s a m e a c t o r is t h e f i l m ’s c h ie f w a y o f c r y s t a l l iz in g t h e b o y ’s n e e d fo r b o th f a n ta s y - a d v e n tu r e a n d th e s e c u rity o f re a lity , a n d , a s a fig u re e m e r g e s f r o m t h e a i r p o r t e x p lo s io n c li m a x , d i s s o l v i n g fro m F la c k to f a t h e r , t h e b o y ’s need f o r a f a n t a s y h e ro h a s b e e n d isp la c e d b y a w a re n e ss o f w h a t h e c a n r e ly o n p r o p e r l y f r o m a n a d u l t . A n d t h e r e c u r r i n g p a t t e r n is s t r e s s e d b y t h e f a t h e r ’s s t o r y o f h o w h e h a d h im s e lf jo in e d th e a irfo rc e to b e a h e ro b u t w a s fo rc e d to le a rn th e m o re m u n d a n e fu n c tio n s o f h e ro e s.

A ll t h i s is n o t m e a n t t o m a k e th e f ilm s o u n d s o l e m n o r a s i f its a c t i o n i l l u s t r a t e s a t h e s is . I t h a s s p l e n d i d s e tp ie c e s ( f o r e x a m p l e , t h e m a n i p u l a t i o n o f s u s p e n s e in t h e r i v e r - b o a t r i d e a n d in t h e A l a m o m u s e u m s e q u e n c e s ) a n d b r i l l i a n t l y f i lm e d a n d e d it e d c h a s e s .

M y p o i n t is t h a t it is n o t j u s t e m p t y v is c e r a l e x c i t e m e n t b u t t h a t it is e n r i c h e d a n d h e ld t o g e t h e r b y t h e i n t e l ­ lig e n c e o f id e a s r e n d e r e d t h r o u g h a c in e m a tic im a g in a tio n o f a h ig h o r d e r.

T h is i m a g i n a t i o n w o r k s a t t h e le v e ls o f s tr u c tu r e s , o f tim in g a n d p a c in g , o f v is u a l fla ir, o f jo k e s a n d re s o n a n c e s in te g r a te d in to th e to ta l te x tu re o f th e f i lm . T h e c le v e r s t r o k e o f c a s ti n g t h a t h a s J e a n e tte N o la n a n d J o h n M c In ty re a s t h e s e e m in g ly b e n e v o l e n t M a c C r e a d i e s is a g o o d e x a m p l e . T h e s e t w o v e te ra n a c to rs b rin g w ith th e m e c h o e s o f n u m e r o u s r o le s in w h ic h t h e y h a v e p r o j e c t e d v a r i o u s s h a d e s o f m id d l e a g e d k i n d l i n e s s , in f i lm a n d t e l e v is io n .

O n e w a rm s to th e m h e re b e c a u s e th e y s e e m t o a n s w e r t h e s m a ll b o y ’s n e e d f o r p r o t e c t i o n : u s u a l l y t h e y l o o k l ik e k i n d ly g r a n d p a r e n t s , b u t t h e y a ls o r e c a ll H i t c h c o c k ’s u s e o f B r e n d a d e B a n z ie a n d B e r n a r d M ile s in The Man Who Knew Too Much, a n d o n e b e g in s t o w o n d e r . . . I t is t h e b e s t j o k e in t h e f i lm a n d it is s o g o o d b e c a u s e it is p a r t o f th e n a r ra tiv e a n d th e m a tic fa b ric o f a f i lm in w h i c h n o t h i n g g o e s t o w a s t e .

Cloak and Dagger: D ir e c te d b y : R ic h a r d F r a n k lin . P r o d u c e r : A lla n C a r r . E x e c u tiv e p r o d u c e r : C . O . E r ic k s o n . S c r e e n p la y : T o m H o lla n d . D ir e c to r o f p h o t o g r a p h y : V ic to r J . K e m p e r . E d it o r : A n d r e w L o n d o n . P r o ­

456 — December CINEMA PAPERS

d u c tio n d e s ig n e r: W illia m T u n tk e . M u s ic : B r ia n M a y . S o u n d r e c o r d is t: T o m C a u s e y .

C a s t: H e n r y T h o m a s ( D a v e y O s b o r n e ) , D abney C o le m a n (Ja c k F la c k /H a l O sb o rn e ), M ic h a e l M u rp h y (R ic e ), C h r is tin a N ig r a (K im G a r d e n e r ) , J o h n M c I n ty r e ( G e o rg e M a c C r e a d y ) , J e a n e tte N o la n (E u n ic e M a c C r e a d y ) , E lo y C a s a d o s ( A lv a re z ), T im R o s s o v ic h ( H a v e r m a n ) , B ill F o r s y th e ( M o r r is ) , R o b e r t D o Q u i ( L t F le m in g ), S h e lb y L e v e r in g to n ( M a r ily n G a r d e n e r ) . P r o d u c t io n c o m p a n y : U n i­ v e rs a l. D i s tr ib u to r : U I P . 35 m m . 101 m in s .

U .S . 1984.

Kemira: Diary of a Strike Jane Messer W i t h d o c u m e n t a r i e s w h ic h t r y t o p ro v id e so m e tr u th o n a m a tte r , in te r ­ p r e t a t i o n a n d s e l e c ti o n a r e c r u c i a l .

T o m Z u b ry c k i, u s in g th e d ire c t c in e m a a p p r o a c h in Kemira: Diary of a Strike, h a s d o c u m e n te d a n a sp e c t o f in d u s tria l d i s p u t e s u n d e r - e m p h a s i z e d in A u s ­ t r a l i a n f ilm a n d l i t e r a t u r e s o f a r : t h e n e c e s s a ry in v o lv e m e n t o f fa m ily a n d c o m m u n i t y in t h e d i s p u t e . Kemira r e c o r d s t h e e f f e c ts o f a s t r i k e a n d u n e m p l o y m e n t o n t h e d a il y liv e s a n d a s p ir a tio n s o f th e e m p lo y e e s , th e ir f a m ilie s a n d t h e c o m m u n i t y a t l a r g e .

In O c to b e r 1982, B H P a n n o u n c e d t h e r e t r e n c h m e n t o f h u n d r e d s o f its w o r k e r s , t h e w o r s t h i t c o ll i e r y b e in g K e m ir a , w h i c h w a s t o lo s e t w o t h i r d s o f its w o r k - f o r c e . I n a n a t t e m p t t o g e t a m o r a t o r i u m o n t h e s a c k in g s , 31 m e n s t a y e d f iv e k m d o w n t h e m in e f o r 16 d a y s , t a k i n g w i t h t h e m a f ilm c a m e r a .

W hen th e C oal B o a rd T rib u n a l o rd e re d B H P to w ith h o ld th e re tr e n c h ­ m e n t s f o r a f u r t h e r t w o w e e k s , th e s trik in g m e n c a m e b a c k u p to th e s u rfa c e . M in e rs , s te e lw o rk e rs a n d th e ir f a m i l ie s th e n sto rm e d P a rlia m e n t H ouse.

B u t a lth o u g h th e M in in g F e d e r a tio n a c h ie v e d b e tte r s e v e ra n c e c o n d i t i o n s , a ll t h e w o r k e r s l o s t t h e i r jo b s . N in e m o n th s la te r th e y m a rc h e d f r o m W o ll o n g o n g t o S y d n e y , b u t t o n o e f f e c t.

Z u b r y c k i h a s f i lm e d p e o p l e f a i r l y c o n tin u o u s ly w ith o u t th e in te rv e n tio n o f f o r m a l d e v ic e s s u c h a s n a r r a t i o n o r d r a m a t i z a t i o n . T h e s t o r y is p i e c e d to g e th e r w ith m a te ria ls f r o m th e tim e o f t h e s t r i k e a c t i o n : p e o p l e ’s c o n v e r s a ­ tio n s , v o ic e -o v e rs f r o m r a d io a n d te le ­ v i s io n r e p o r t s , a n d e x c e r p ts f r o m t h e T r ib u n a l h e a rin g s . H is u se o f th e c a m e r a t o s o m e e x te n t p a r a l l e l s Harlan County U S A . O f t e n , s e v e r a l p e o p le a r e i n c l u d e d in t h e o n e f r a m e s o t h a t th e ir d ia lo g u e s , a s o p p o s e d to m o n o ­ l o g u e s , a r e r e c o r d e d . A l t h o u g h t h is t e c h n i q u e c o u ld w e ll d e v o lv e t o a g i m m i c k , in Kemira it is a n e f f e c ti v e m e a n s o f s h o w in g t h e c o m m u n i t y o f s u p p o r t f o r t h e m in e r s b e lo w a n d a b o v e th e g r o u n d .

W i t h s o m a n y p e o p l e i n te r v i e w e d a n d re c o rd e d — w o m e n fr o m th e M i n e r s W o m e n s A u x i l i a r y , m in e r s , u n io n o ffic ia ls and d e le g a te s , m a r c h e r s , e tc . — a ll s p e a k i n g o f t h e i r d is s a tis fa c tio n w ith B H P a n d th e ir d e te rm in a tio n to fig h t th e c o m p a n y , a c o n s e n s u s o f o p i n i o n is p o r t r a y e d .

T h is c o n s e n s u s d e s c r i b e s a d i c h o ­ t o m o u s r e l a t i o n s h i p b e tw e e n g o v e r n ­ m e n t ( L ib e r a l a n d L a b o r ) , B H P a n d th e W o llo n g o n g C o u n c il o n th e o n e h a n d , a n d t h e m i n e r s , t h e i r f a m ilie s a n d th e M in in g F e d e r a tio n o n th e o th e r. B e c a u se th e d ire c t c in e m a o f Kemira w o u l d a r g u e t h i s a s a t r u t h ( t h e r e is n o r e t r o s p e c t i v e c o m m e n t a r y o n t h e e v e n t s ) , t h e f i lm a v o id s a ll c r it i c i s m o f t h e c o m p l e x it i e s o f t h e r e la tio n s h ip s b e tw e e n th e g ro u p s i n v o lv e d in t h e s t r i k e . I f , f o r i n s t a n c e , th e re w e re a n y d is s a tis f a c tio n w ith th e M i n i n g F e d e r a t i o n ’s t a c t i c s , t h e n it w as n o t re c o rd e d b y Z u b ry c k i.

T h e f ilm is p a r e n t h e s i z e d a t t h e b e g in n i n g a n d t o w a r d s t h e e n d w i t h n e w sre e l fo o ta g e o f p re v io u s c o a l m in e r a c t i o n s ; t h e y a r e s e l e c ti o n s i l l u s ­ tr a tin g a s tru g g le r a th e r t h a n h is to ric v ic to rie s . F o o ta g e a t th e o p e n in g o f Kemira p r e s u p p o s e s w h a t t h e l a t e r fo o ta g e s u g g e s ts : th e need fo r c o n tin u e d u n io n a c tio n . T h e f o o ta g e a t t h e e n d is i n t e r c u t w i t h t h e m i n e r s ’ s to rie s o f u n e m p lo y m e n t w h ic h , a t firs t, s u g g e s t t h a t th e m in e rs s h o u ld a n d w ill c o n t i n u e t h e s t r u g g l e . B u t t h e c h ro n o lo g y o f c o a l m in e r a c tio n h a s

The miners come up from five km underground. Tom Zubrycki’s Kemira: Diary o f a Strike.

b e e n b r o k e n : i n t h e p a s t,- m i n e r s fo u g h t f o r b e tte r w a g e s a n d c o n ­ d itio n s ; n o w th e y fig h t f o r j o b s a n d r e t r e n c h m e n t p a y . Kemira s i m p li f i e s th e p ro b le m c u rre n tly fa c in g u n io n s a n d u n e m p lo y e d w o r k e r s b y im p ly in g t h a t t h e f i g h t s h o u l d g o o n a s it h a s b e f o r e . A n d t h i s is w h e r e t h e u s e f u l ­ n e s s o f t h e ‘t r u t h f u l ’ d o c u m e n t a r y f a il s . I f Kemira is h o w t h e s t r i k e r e a l ly h a p p e n e d , a n d th e s trik e fa ile d , w o u ld it n o t b e b e t t e r e d w i t h a r e t r o s p e c t i v e c o m m e n ta ry ?

Kemira, n a m e d a “ D ia ry ” , re c o rd s a c o n s e n s u a l a llo c a ­ tio n o f b la m e to th e p o w e r f u l b o d ie s , BHP and t h e g o v e r n m e n t , w h ile Z u b ry c k i, v ia th e n e w s re e ls , c o m ­ m e n d s t h e m i n i n g c o m m u n i t y ’s d i g n i t y and d e te rm in a tio n .

B ut th is c o m m u n i t y is a d y i n g s p e c ie s , a n d Z u b r y c k i , w h o is t h e d i a r i s t , w o u l d p r o p o s e t h a t it g o o n a s b e f o r e , a s d i d t h e m in e r s in t h e n e w s r e e l s . T h e r e is s o m e d a n g e r in r e c o r d i n g s t r a t e g i e s — s t a y in g in t h e p i t , s t o r m i n g P a r l i a m e n t H o u s e , m a rc h in g to S y d n e y — w ith o u t a llo w in g fo r a n a ly s is of th o s e s t r a te g i e s in t h e c o n t e x t o f u n e m p l o y ­ m e n t, te c h n o lo g ie s a n d m u lti- n a tio n a l o w n e r s h i p , e tc .

B H P is g iv e n l it t le o f a n o v e r t v o ic e .

S o m e o f t h e c o m p a n y ’s a r g u m e n t s a r e e x p la i n e d w i t h e x c e r p ts f r o m th e T r ib u n a l h e a rin g s — “ T e c h n ic a lly s p e a k i n g , t h e r e is n o d i s p u t e ” — b u t m o r e i n t e r e s t i n g l y t h r o u g h t h e v o ic e s o f t h e m in i n g c o m m u n i t y . M i n e r s a n d t h e i r w iv e s e x p la i n h o w m u c h c o a l is l e f t t o b e m i n e d , t h e f l u c t u a t i o n in e m p lo y m e n t r a te s , th e e ffe c ts o f o p e n c u t m i n i n g , e tc . K e m i r a i n s i s t s t h a t w h ile t h e s e p e o p le a r e o p p r e s s e d , t h e y c e rta in ly a re n o t ig n o r a n t. O n e m in e r s t a t e s t h a t it is n o t t h e g o v e r n m e n t w h ic h r u n s th e c o u n tr y . W h e n a s k e d w h a t d o e s, he a n sw e rs, “ BH P” , p r o v id in g a n iro n ic a l tu r n o n th e m a s s m e d i a ’s c r ie s t h a t it is t h e u n i o n s w h i c h r u n th e c o u n tr y . S ta te m e n ts s u c h as th e s e p ro v id e a c o n s ta n t a r g u m e n t t h r o u g h o u t t h e f ilm a g a i n s t c o n s e r ­ v a ti v e a s s u m p t i o n s a b o u t t h e e f f i c a c y o f u n i o n s a n d g o v e r n m e n t in d i s p u t e s .

T h e r o l e o f B H P in t h e c o m m u n i t y is a ls o e x p r e s s e d b y s c e n e s o f W o l ­ l o n g o n g i ts e l f , t h e c ity v i s u a ll y d e f i n e d b y t h e s t e e l w o r k s a n d m in e s . A s h o t o f t w o s m a ll w e a t h e r b o a r d c o t t a g e s , t h e s m o k y s t e e l w o r k s b e h i n d t h e m , d e f ie s c lic h é w h e n j u x t a p o s e d w i t h t h e s t o r i e s o f t h e m in e r s a n d w iv e s . N g a i r e W i l t ­ s h i r e te lls h o w s h e a n d h e r h u s b a n d h a d b o u g h t a h o u s e e ig h t w e e k s e a r l i e r o n t h e a s s u m p t i o n t h a t h e r h u s b a n d ’s j o b w a s s e c u r e . T h e t w o s m a ll w e a t h e r ­ b o a r d s a r e r e c a ll e d a n d t h e i m a g e re g e n e ra te d .

O f t e n o n e p e r s o n ’s s t o r y w ill b e g iv e n a c o n c lu s io n th ro u g h th e n a r r a t i o n o f a n o t h e r . V o ic e s o f w o r r y a n d d e te r m in a tio n to su c c e e d in th e d i s p u t e a r e i n t e r w o v e n u n t i l , in t h e l a s t s e c ti o n o f t h e f i lm , m in e r s a n d t h e i r w iv e s a r e a s k e d a b o u t t h e i r p o s t ­ r e tr e n c h m e n t s itu a tio n . D iv o rc e , lo s t h o m e s a n d u n e m p lo y m e n t a re ju x ta ­ p o s e d w i t h s u b - t i t l e s w h i c h te ll t h a t BHP h a s b e e n g iv e n g o v e r n m e n t f in a n c ia l a s s is ta n c e a n d h a s m o v e d to t e c h n o l o g y - i n t e n s i v e , o p e n - c u t m in e s in Q u e e n s l a n d . T h e m in e r s w h o s t a y e d d o w n in t h e p i t h a v e b e e n b l a c k - l i s t e d b y t h o s e c o llie r s s till e m p l o y i n g in W o l ­ lo n g o n g ; so m e h a v e b e e n fo rc e d to w o rk in te rs ta te .

M e a n w h ile , an a d v e r t i s e m e n t f r o m W I N - 4 t e l e v is io n s a y s t h e “ S o u t h C o a s t Is A liv e a n d W e ll” .

Kemira c o n t r i b u t e s t o a b o d y o f l i t e r a t u r e a n d a c t i o n s ( e . g . , Greetings From Wollongong a n d t h e J o b s F o r

Kemira: Diary o f a Strike

Iceman

Blacksmith

W o m e n C a m p a ig n ) w h ic h re a lis tic a lly d e p i c t W o l l o n g o n g a s a c o m p a n y c ity fa c e d w ith g ro w in g u n e m p lo y m e n t p r o b le m s . T o th is e n d , E liz a b e th D r a k e ’s m u s i c is m o s t e f f e c t i v e , w i t h c e r ta in s o u n d e ffe c ts r e s o n a n t w ith th e c l a u s t r o p h o b i c b r e a t h i n g o f m e n f iv e k m b e n e a t h t h e e a r t h . D r a k e ’s m u s i c a l s o g iv e s a c o n t i n u i t y t o t h e w id e v a r i e t y o f s h o t s in t h e f i lm , e c h o i n g t h e s t e a d y a n d r h y t h m i c a l e d i t i n g in t h e f i lm . I t is u s e d s p e c if i c a l ly , u s u a l l y w h e n t h e m in e r s a r e t a k i n g a c t i o n : b r e a k in g in to th e m in e f o r th e s ta y d o w n s trik e o r ta k in g th e tr a in to P a r lia m e n t H o u s e . A n d , a lth o u g h th e m u s ic c e rta in ly d ra m a tiz e s th e s e s c e n e s , i t is s o r e s t r a i n e d t h a t t h e s e h i s t o r i c e v e n t s a r e n o t a ll o w e d in Kemira t o b e c o m e m e r e c e l e b r a t i o n s o f “ w o rk e r s o lid a rity ” .

Kemira: Diary of a Strike:

D ir e c te d b y : T o m Z u b r y c k i. P r o d u c e r : T o m Z u b r y c k i.

D ir e c to r o f p h o t o g r a p h y : F a b i o C a v a d in o .

E d it o r : G il S e r in e . M u s ic : E liz a b e th D r a k e .

S o u n d r e c o r d is t: R u s s H e r m a n n . P r o d u c ­ tio n c o m p a n y : K e m ir a P r o d s . D is t r i b u t o r : S y d n e y F i lm a k e r s C o - o p e r a tiv e . 16 m m . 61 m in s . A u s tr a l i a . 198 4 .

Iceman Christine Cremen Iceman

is p a r t o f a n i n t e r e s t i n g v o g u e in t h e c i n e m a w h i c h d e a l s w i t h t h e t h e m e o f t h e a li e n v e r s u s s o - c a l l e d c iv iliz a tio n , of w h ic h E.T. — the Extra-terrestrial w a s a f o r e r u n n e r , w ith Greystoke — The Legend of Tarzan a n d e v e n t h e p o p u l a r D i s n e y p r o d u c t Splash a t t e m p t i n g t o e x p lo r e t h is c o n f l i c t .

Iceman, h o w e v e r , is n o m e r e E.T. on Ice: F r e d S c h e p is i t a k e s t h i s t h e m e , w h ic h a t b e s t m ig h t b e d e s c rib e d as h a c k n e y e d , a n d p r e s e n t s it in a p a l a t ­ a b le f o r m , a t t h e s a m e t i m e i n c o r ­ p o r a t i n g h is r e c u r r e n t p r e o c c u p a t i o n w ith in d iv id u a ls a tte m p tin g to b r e a k a w a y fr o m a n o p p re s s iv e so c ie ty . T o m ( S i m o n B u r k e ) in The Devil’s Play­ ground, J i m m i e B l a c k s m i t h ( T o m m y L e w is ) i n The Chant of Jimmie Black­ smith a n d B a r b a r o s a ( W illie N e l s o n ) a n d h is a p p r e n t i c e d e s p e r a d o , K a r l (G a ry B u se y ) — n o n e o f th e s e c h a r a c ­ te rs fit in to o r a re w e lc o m e in th e ir o w n w o rld s, n o m a tte r h o w h a rd so m e o f th e m m ig h t try .

T i m o t h y H u t t o n is S t a n l e y S h e p ­ h a rd , th e b e ard e d , b e s p e c ta c le d a n th r o p o lo g is t w ith a sh a g g y m o p o f c u r ls w h o is t h e g o o d - n a t u r e d b u t t o f h is c o l l e a g u e s ’ j o k e s . L i k e m a n y a y o u n g m a n in a S o m e r s e t M a u g h a m sh o rt sto ry , S h e p h a rd has gone “ n a tiv e ” in th e ir e y es b e c a u s e h e fr a te r n iz e s w ith th e I n u it o r E s k im o p e o p l e in t h e a r e a .

T h e m e m b e r s o f h is t e a m are in itia lly in d is tin g u is h a b le f r o m o n e a n o th e r , e x c e p t b y th e ir sex o r ra c e .

T h e o p e n in g s c e n e s s h o w th e m a s tin y , s c u r r y i n g f i g u r e s o n t h e i m m e n s e , ic y v is ta s . A n d , in th e fir s t p a r t o f th e f i lm , S c h e p is i f o c u s e s o n t h e t e c h ­ n o lo g y th e y h a v e b r o u g h t w ith th e m .

O n e is u n d e r t h e i m p r e s s i o n t h a t t h e s e p e o p l e , f a r f r o m b e in g a t t h e m e r c y o f th is h a rsh e n v iro n m e n t, a re h e r­ m e t i c a l l y s e a le d o f f i n t h e i r c a m p f r o m th e ir s u rro u n d in g s , a n d th a t th e ir w ay o f l if e w o u l d b e j u s t t h e s a m e i f t h e e x p e d i t i o n h a d t a k e n p l a c e d e e p in so m e e q u a to r ia l ju n g le .

Dr Shephard (Timothy Hutton) and the Iceman (John Lone) in Fred Schepisi’s Iceman, a fresh re-working o f a hackneyed theme.

N o t o n ly a re th e y c u s h io n e d f r o m th e o u ts id e w o rld b y th e ir m a c h in e s , t h e y a r e a ls o d e h u m a n i z e d b y t h e m .

S c e n es o f th e s c ie n tis ts e n jo y in g th e ir le is u r e s h o w t h e m s t a t i o n e d a t a l o n g ro w o f v i d e o - g a m e m a c h i n e s lik e a u to m a to n s ; th e y a re tru e re p re s e n ­ ta tiv e s o f th e M a r c u s ia n , o n e - d im e n ­ s i o n a l m a n p o s i t iv e l y r e v e l li n g in h is u n - f r e e d o m . W h e n S h e p h a r d t r ie s t o c o n v in c e th e s t a t i o n ’s r e s e a r c h d ir e c to r , D r D ia n e B ra d y (L in d s a y C r o u s e ) , t o d e la y t h e t e s t i n g s h e w is h e s to c a rry o u t o n th e Ic e m a n ( J o h n L o n e ) — sh e w a n ts to e x p e rim e n t o n h im to fin d a f o o l p r o o f m e th o d o f c o n d u c tin g c ry o g e n ic p r e s e r v a tio n — s ig n ific a n tly h e d o e s n o t a tte m p t to s w a y h e r v e r b a l l y , b u t i n s t e a d i n s is ts sh e w a tc h a v id e o -ta p e .

T h is s u c c e e d s , b u t n o t b e f o r e a n iro n ic a l m is u n d e r s ta n d in g o c c u rs : D r B ra d y th in k s th a t S h e p h a rd is a t t e m p t i n g t o w o o h e r . “ I ’v e a l r e a d y s e e n Debbie Does Dallas” , s h e s a y s , a s h e p a s s io n a te ly p re s s e s th e ta p e u p o n h e r , a c o m m e n t o n t h e c o ld i m p e r s o n ­ a li t y o f c iv iliz e d c o u r t s h i p t h a t m a k e s t h e I c e m a n ’s d e c i d e d l y u n e q u i v o c a l re s p o n s e to h e r w h e n th e y m e e t p o s i t iv e l y r e f r e s h i n g b y c o m p a r i s o n .

S c h e p is i, t h e e x - s e m i n a r i a n , h a s n o t to ta lly a b a n d o n e d C h ris tia n ity — a t le a st, n o t as a s o u rc e o f re fe re n c e . T h e f i r s t s h o t o f t h e I c e m a n ’s f a c e is re m in isc e n t o f th e im p rin t o n th e T u rin S h r o u d , a n d h is f r o z e n f i g u r e is p o s e d o n t h e o p e r a t i n g t a b l e l ik e a m a r b l e , c ru c ifie d C h r is t (in c lu d in g th e o b lig ­ a t o r y c o y c l o t h a b o u t h is l o in s ) , b u t w i t h o n e b e s e e c h in g h a n d t h r u s t r ig id l y to w a r d s th e d o c to r s s u r r o u n d in g h im .

E v e n w h e n t h e y a r e n o t s lic in g i n t o t h e I c e m a n ’s f le s h o r s i p h o n i n g o f f h is b lo o d b u t a re , in s te a d , a tte m p tin g to r e v iv e h i m , t h e y a r e c o s t u m e d a n d p h o to g r a p h e d to lo o k q u ite g h o u lis h .

S h e p h a rd a lo n e d o e s n o t r e g a rd th e I c e m a n a s s o m e k i n d o f u s e f u l objet

trouv'e.

T h o u g h o n e is m e a n t t o r e c o g n i z e th e Ic e m a n a s a k in d o f s u ffe rin g C h ris t-lik e c r e a tu re — th e In u it l e g e n d , m e n t i o n e d tw i c e in t h e f i lm , s p e a k s o f s o m e o n e w h o w a s “ b o r n to d ie ” b u t “ s h a ll liv e ” — L o n e ’s “ C h a r l i e ” , t h e I c e m a n , is n o H o l l y ­ w o o d C h r i s t , n o r d o e s S c h e p is i e n g a g e

in t h e f a m i l i a r , i l l e g i t i m a t e u s e o f t h e p r i m i t iv e b y s h o w in g h i m a ls o t o b e a k in d o f R e d e e m e r fig u re .

S o o n a f t e r h e is r e v iv e d , t h e s c e n e changes and C h a rlie is sh o w n , s e e m in g ly fre e , as a N e a n d e rth a l N i j i n s k y l e a p i n g a b o u t in id y llic E d e n lik e s u r r o u n d i n g s ( i n c l u d i n g s e r p e n t ) w ith b i r d s o n g , t h e s p l a s h i n g o f a w a te rfa ll a n d flu te m u s ic b y B ru c e S m e a t o n p l a y i n g in t h e b a c k g r o u n d .

E v e n i n g t h e n c o m e s t o t h is A r c a d i a n p a r a d i s e , a n d C h a r l i e r e t r e a t s t o h is tra d itio n a l h a b ita t, a cav e.

B y n o w , so m e m e m b e rs o f th e a u d ie n c e m a y b e a le rte d to th e fa c t th a t s u c h a p e rfe c t p la c e m u s t n e c e s ­ s a r i ly b e a n i l l u s i o n , a n d w ill n o t s h a r e t h e n a s t y j o l t t h e h e r o r e c e iv e s w h e n h is h u n t i n g f o r a y s l e a d h i m t o c a t c h n e ith e r a fis h , n o r w h a t a t firs t g la n c e a p p e a r s t o b e a n e e l, in t h e s t r e a m w h i c h f lo w s n e a r b y h is d e n , b u t t h e h o s e -p ip e w h ic h s u p p lie s th e a f o r e ­ m e n t i o n e d w a t e r f a l l a n d t h is r i v u l e t .

T h is p ie c e o f j a r r i n g t e c h n o l o g y is t h e r e a l s e r p e n t in h is p r i s o n - p a r a d i s e . T h e I c e m a n ’s s u r r o u n d i n g s a r e a s h a m , a m o s t e l a b o r a t e c a g e in w h i c h h e h a s b e e n c o n f i n e d t o a s s is t h is c a p t o r s in t h e i r o b s e r v a t i o n s . E m p a t h y is t h e r e b y c re a te d f o r h im , a n d a n a u d ie n c e , ev en i f n o t f e e lin g s i m il a r ly d u p e d , w ill w a n t t o s e e h im o u t w i t h is g a o l e r s .

W hen th e in e v ita b le escap e is e f f e c t e d , S c h e p is i m a k e s s h r e w d u s e o f th e ty p e o f s u b je c tiv e c a m e ra -w o rk w h ic h c o n t i n u e s t h i s s e n s e o f a u d i e n c e i d e n t i f i c a t i o n , a n d o n e is , l ik e t h e e s c a p e e , s t a r t l e d a n d t e r r i f i e d b y g la s s d o o r s , lifts , a la rm s a n d e v e n p h o t o ­ c o p ie r s a c c i d e n t a l l y s e t in m o t i o n . T h e f r a n t i c n o i s e o f h is f l i g h t a n d t h e m u s i c w h i c h a c c o m p a n i e s it s t o p s i m m e d ­ ia t e ly w h e n h e f i n d s h i m s e l f o u t s i d e in th e sn o w .

V ie w s o f t h e i m m e n s e A r c t i c l a n d ­ sc a p e h a v e b e e n c u t to fre q u e n tly t h r o u g h o u t t h e f i lm , p r o v i d i n g a m a rk e d c o n tr a s t to th e la b y rin th in e a n d n o is y in te r io r s in h a b ite d b y th e s c i e n t i f ic t e a m . I a n B a k e r ’s p h o t o ­ g r a p h y g iv e s t h i s o v e r w h e l m i n g b l e a k ­ n ess a b e a u ty c o m p a ra b le to th e c ru e l t e r r a i n o f Barbarosa’s R i o G r a n d e , o r t h e l o n e l y b u s h l a n d i n The Chant of Jimmie Blacksmith. T h e r e is a s i m il ­ a r i t y a ls o t o The Chant of Jimmie

a n d Barbarosa in t h e f r i e n d s h i p w h i c h s p r i n g s b e tw e e n t h e tw o o u ts id e rs — C h a rlie a n d S h e p h a r d — a n d o n e o f th e m o s t m o v in g s e q u e n c e s in Iceman is t h e o n e in w h ic h th e y a tte m p t a v e ry d if f e r e n t k i n d o f d u e t , a n o l d C r o s b y , S tills , N a s h & Y o u n g s o n g , s ittin g to g e th e r n e a r a c a m p fire o n e n ig h t. (O n e m ig h t e x p e c t a c o u n te r - c u ltu r a lis t s u c h as S h e p h a r d — P a u l i n e K a e l in h e r r e v ie w o f t h is f ilm d e s c r i b e s h i m a s a “ p o s t ­ h i p p y ” 1 — t o h a v e t h is k i n d o f t a s t e in m u s i c .) T h e f e e lin g is r e i n f o r c e d b y a n im m e d ia te sc e n e change s h o w in g C h a r l i e s u b j e c t e d t o f u r t h e r p i tile s s t e s ti n g .

O f t h e f i lm s p r e v i o u s l y m e n t i o n e d a s c o m p a r i s o n s t o Iceman, Greystoke is t h e o n e w h ic h h a s r e c e iv e d t h e m o s t s e rio u s c r itic a l a tte n tio n , th o u g h Splash, s u r p r i s i n g l y , h a s m o r e t o s a y , a lb e it s u p e rfic ia lly , a g a in s t c e rta in s o c ia l c u s t o m s t h a n t h e o t h e r s . T h e r e a r e h i n t s in Greystoke o f t h e D a r w i n ­ i a n d e b a t e ( v ia R o b e r t L o u is S t e v e n ­ s o n ) , e s p e c i a l l y in t h e l a b o r a t o r y s c e n e s , a n d t h e s e a r e a ls o p r e s e n t in Iceman. N e v e r t h e le s s , Greystoke is m e r e ly a t r a d i t i o n a l t a l e s e n t i m e n t a l l y re to ld . G re y s to k e a n d C h a rlie , th e I c e m a n , a r e “ n o b l e s a v a g e s ” b u t , in t h e G r e y s t o k e c h a r a c t e r , n o b i l i t y is c a r r i e d t o e x tr e m e l e n g t h s t o m il k t h e p a th o s : su re ly , fo r e x a m p le , a n y m a n b r o u g h t u p in t h e j u n g l e w o u l d b e m o re p h ilo s o p h ic a l a b o u t d e a th w h e n it o c c u r s .

A n y r is k o f s o m e t h i n g s i m il a r o c c u r ­ r i n g t o m a r Iceman is m in i m i z e d . T h e v ie w e r se e s t h a t C h a r l i e m is s e s h is f a m i l y , b u t t h is is n o t l in g e r e d o v e r .

T h e c le v e r p a c i n g o f t h e f i lm , w h i c h is p o s s ib l y i ts m o s t a d m i r a b l e q u a l i t y , d o e s n o t e n c o u r a g e r e f l e c t i o n . ( T h is b e c o m e s a u s e f u l f a c t o r in i n s t a n c e s s u c h a s C h a r l i e ’s c h o o s i n g t o e s c a p e p r e c is e ly a t t h e m o m e n t w h e n h is v i v a r i u m p r i s o n is u n g u a r d e d . ) Ju st as Barbarosa is n o t a s t a n d a r d S a t u r d a y a f t e r n o o n ‘s h o o t e m - u p ’ , S c h e p is i p r o v e s a g a i n t h a t h e c a n a t t e m p t a f i lm f r o m a p o p u l a r g e n r e a n d m a k e it h is o w n . W i t h t h e k i n d o f p l o t - l i n e w h i c h is a l m o s t a s p r e v a l e n t in c i n e m a a s B o y - m e e t s - G i r l, e t c ., h e h a s f a s h i o n e d a f r e s h a n d e n g r o s s i n g f i lm in Iceman. T h i s is a w o r k w h ic h d o e s n o t p r o f e s s t o b e p r o f o u n d o r in n o v a tiv e , b u t y e t w h ic h g iv e s one th e “ n o b le savage” , w i t h o u t t h e a t t e n d a n t , d i d a c t i c , h ig h m in d e d r o m a n tic is m o r s e n tim e n ta lity of w h ic h even a Je a n -Ja c q u e s R o u s s e a u m a y h a v e b e e n g u i lt y .

Ic e m a n : D ir e c te d by: F re d S c h e p is i.

P ro d u c e rs: N o rm a n J e w is o n , P a t r i c k P a lm e r.

A s s o c ia te p ro d u c e r: C h a rle s M ilh a u p t. S c r e e n p la y : C h ip P r o s e r , J o h n D r im m e r . D ir e c to r o f p h o t o g r a p h y : I a n B a k e r. E d ito r : B illy W e b e r . A r t d ir e c to r s : L e o n E r ic k s e n , J o s a n R u s s o . M u s ic : B r u c e S m e a to n . S o u n d r e c o r d is t: F r a n k W a r n e r .

C a s t: T im o th y H u t t o n ( D r S ta n le y S h e p ­ h a r d ) , L in d s a y C r o u s e ( D r D ia n e B r a d y ) , J o h n L o n e ( C h a r lie , th e N e a n d e r th a l) , Jo sef Som m er (W h itm a n ), D a v id S t r a th a ir n ( D r S in g e ), P h ilip A k in (D r V e r m e il), D a n n y G lo v e r ( L o o m is ) , A m e lia H a ll ( M a b e l) , R ic h a r d M o n e tte ( H o g a n ) , J a m e s T o lk a n (M ay n a rd ).

P r o d u c t io n com pany: A N o rm an Je w is o n -P a tric k P a lm e r P r o d . D i s tr ib u to r : U I P . 35 m m . 99 m in s . U .S . 1984.

1. P a u lin e K a e l, 1984, p . 9 9 .

The New Yorker,

30 A p r il

CINEMA PAPERS December — 457

Once Upon a Time in America

Once Upon a Time in America

a p a r t i n t o a n a r r a y o f l o o s e ly c o n ­ n e c te d c h u n k s .5

Rolando Caputo “ S o w e b e a t o n , b o a ts a g a in s t th e c u r r e n t , b o r n e b a c k c e a s e le s s ly i n t o t h e P a s t.’’

F . S c o tt F itz g e r a ld ,

The Great Gatsby 1933. “ N o o d le s ” (R o b e rt D e N iro ) e n te r s a C h in e s e t h e a t r e t h r o u g h a se c o n d -s to re y sid e -d o o r. H e p a u se s b r i e f l y t o g la n c e a t t h e s h a d o w p u p p e t p l a y b e lo w , t h e n m o v e s o n t o t h e o p i u m d e n . A C h i n a m a n t a k e s h is o v e r c o a t a s N o o d l e s s its o n a s h a b b y m a ttre s s , h is fa ce s e e m in g ly e x p r e s s io n le s s . A s h e t o y s w i t h t h e r in g o n h is f i n g e r , t h e C h i n a m a n p r e p a r e s t h e o p i u m p i p e . N o o d l e s s t r e tc h e s o u t o n th e m a t t r e s s , ly in g o n h is s id e . H e p u l ls a h e m p m a t u n d e r h is h e a d , t a k e s t h e p i p e a n d i n h a l e s , a n d , a f t e r s e v e ra l p u f f s , r o lls o n t o h is b a c k . T h e r e is a c h a n g e o f c a m e r a a n g le t o a h i g h ­ a n g le , m e d iu m c lo s e -u p ; s till e x p r e s s i o n le s s , t h e f a c e is f in a l l y b r o k e n o p e n b y a s m ile . F r e e z e f r a m e .

S e c o n d s l a t e r , t h e e n d c r e d i ts b e g in r o l li n g , s u p e r i m p o s e d o n D e N i r o ’s s m ilin g f a c e . A p p r o x i m a t e l y s e v e n m in u t e s o f s c r e e n t im e , it is o n e o f t h e m o st b e a u tifu l scen es e v er p ro d u c e d by t h e c in e m a , a n d t h e la s t s h o t is a s s y m ­ b o lic a lly s u g g e s tiv e a n d m y s t if y i n g a s t h e f a m o u s c lo s e - u p o f G r e t a G a r b o ’s f a c e a t t h e e n d o f Queen Christina (1 9 3 3 ).

I n th e d o z e n o r s o f ilm r e v ie w s I h a v e r e a d , th is s c e n e b a r e l y r e g is te r s m e a n i n g . F o r N e il J i l l e t t , t h e s c e n e is s u r e ly p r o o f o f w h a t h e c a lls t h e f i l m ’s “ p o i n tl e s s c le v e r n e s s ” 1. F o r M e a g h a n M o r r i s , t h e s c e n e d o e s n ’t e x is t a t a ll; t h e e n d in g f o r h e r c o m e s in a p r i o r seq u en ce.

S till, e v e n a t t h e e n d L e o n e c a n c o m b in e D e N iro w ith a g a rb a g e t r u c k t o c r e a te a fe w m in u t e s o f c l a u s t r o p h o b i c t e r r o r . I t ’s a f in e c o n c l u s i o n f o r a p u l p f ilm s a v e d o n ly b y its s p l e n d id f l o u r is h e s o f v io le n c e f r o m its f a te a s a m e r e f a ile d a r t . 2 E v e n b e t t e r , f o r L y n M c C a r t h y , th e f ilm “ . . . b e g in s a n d e n d s w i t h a n o p i u m - i n d u c e d d r e a m s e q u e n c e ” 3.

T h e f a c t t h a t t h e f ilm d o e s n o t b e g in w ith N o o d l e s in t h e o p i u m d e n o r t h a t t h e r e a r e n o n a r r a t i v e s h i f t e r s w h ic h in d ic a te th e d re am m ode seem s irre le v a n t to M c C a r t h y ’s u n d e r ­ s t a n d i n g o f t h e f i lm . W i t h o u t b e in g u n f a ir , o n e c o u ld sa y th e n th a t th e la s t s c e n e o f S e r g io L e o n e ’s Once Upon a Time in America r e m a i n s , f o r m o s t r e v ie w e r s , e it h e r u n a c k n o w l e d g e d o r a b i z a r r e c o d a , a r tl e s s l y t a c k e d o n t o a film w ith a less t h a n c o n v e n t i o n a l n a rra tiv e s tru c tu re .

T h e f i l m ’s n a r r a t i v e s t r u c t u r e — th e t e m p o r a l i n t e r p l a y b e tw e e n t h e p e r i o d s 1 9 2 3 , 1933 a n d 1968 — h a s i t s e l f c o m e u n d e r s i g n i f i c a n t c r it i c i s m : “ . . . th e u n n e c e s s a r y c o m p l i c a t i o n s w h ic h th e t im e s h i f t s i m p o s e o n t h e p l o t ” 4 o r : . . . th e re n e v e r se e m s to b e a n y s p e c ia l r e a s o n f o r a n y p a r t i c u l a r s h i f t e x c e p t p u r e a r t - e f f e c t — s o it a ll b e c o m e s i n c r e a s in g l y i r k s o m e a n d s illy . I t a ls o m a k e s t h e f ilm fa ll

1.

2.

The Age, 8 O c to b e r 1984.

The Australian Financial Review,

M u c h o f th e c o n fu s io n a b o u t O n ce U p o n a T im e in A m e r i c a s te m s f r o m a c e r t a i n c r it i c a l i n a b i l i t y t o u n d e r s t a n d w h y th e f ilm is s t r u c t u r e d t h e w a y it is, a n d w h y L e o n e c h o o se s to c o n c lu d e t h e f i c t i o n w ith s u c h a s u p p o s e d l y e n ig m a ti c s c e n e .

T o a d d r e s s t h e is s u e o f t h e f i l m ’s n a r r a t i v e s t r u c t u r e a n d mise-en-scene f ir s t: M e a g h a n M o r r i s , t o h e r c r e d i t , is o n e o f th e fe w w h o a t t e m p t s t o s e t o u t c e r t a i n l it e r a r y a n t e c e d e n t s f o r th e f i l m ’s n a r r a t i v e p r e s e n t a t i o n : I t is a t y p e o f n a r r a t i v e w h ic h a lm o s t f o r m s a g e n r e in i t s e l f a s a b r o k e n d o w n v e rs io n o f th e n in e te e n th c e n t u r y n o v e l- s a g a o f s o c ia l a n d p e r s o n a l g e n e s is . I ts m a i n l it e r a r y p r a c t i t i o n e r s t o d a y w r i t e h ig h - c la s s p o t - b o i l e r s , l ik e W il l ia m S t y r o n o r J o h n F o w le s — a n d s o it p r o m i s e d t o b e t h e p e r f e c t s ty le f o r L e o n e to c h o o s e f o r a g a n g s te r d y n a s ty s to ry w ith a f o rty y e a r s p a n .6 T h e r e f e r e n c e t o S t y r o n a n d F o w le s i m p lic itly c o n n e c ts L e o n e ’s f i lm t o t h e p s e u d o -m o d e rn is t n a rra tiv e d ra m a s o f Sophie’s Choice a n d The French Lie u ­ tenant’s Woman. I t w o u l d b e m o r e a c c u r a t e t o s a y t h a t L e o n e ’s f ilm is a n a t t e m p t t o c o m b i n e tw o d i s t i n c t , b u t a t t im e s i n t e r c o n n e c t e d , l i t e r a r y t r a d i ­ tio n s r e p r e s e n t e d w i t h in t h e A m e r i c a n n o v e l o f th e e a rly 2 0 th C e n tu ry . O n e tra d itio n is t h a t a s s o c ia te d w ith a u th o rs su c h as J a c k L o n d o n , F ra n k N o r r i s a n d T h o m a s W o lf e : t h e y w r o t e s a g a s a b o u t A m e r i c a ’s b i r t h a s a n a t i o n , f i c t i o n s p o i s e d b e tw e e n t h e o ld f r o n t i e r s a n d th e e n c r o a c h m e n t o f c iv i l iz a t i o n , t h e e m e r g e n c e o f t h e g r e a t m e t r o p o l is e s , o f u r b a n e x p a n s io n i s m , c o m m e r c e a n d t h e e th n i c c ity d w e lle r s .

G iv e n t h e m a g n i t u d e o f n a r r a t i v e s c o p e , t h e n o v e ls a r e h e a v ily p l o t t e d a n d e x c e s s iv e ly d e s c r i p t i v e a n d , lik e t h e n o v e ls o f J o h n D o s P a s s o s , t h e r e is a lw a y s m o r e o r less a s e n s e o f s o c ia l h i s t o r y in s c r ib e d w i t h in t h e i r f i c t i o n s .

W it h i n t h is c o n t e x t , it s h o u l d b e re m e m b e re d th a t L e o n e ’s o r i g in a l s c r ip t o f 10 o r m o r e y e a r s a g o w a s e n ti t le d “ O n c e U p o n a T im e , T h e r e W as A m e ric a ” ; “ A m e ric a ” , th e re ­ fo re , w as to b e th e c e n tra l c h a ra c te r o f th e f ilm .

The a b o v e -m e n tio n e d a u th o r s , to g e th e r w ith o th e rs s u c h as F . S c o tt F i t z g e r a l d , D a s h i e ll H a m m e t t a n d R a y m o n d C h a n d le r, a n d th e A m e r ic a n c in e m a w o u l d f u r n i s h L e o n e w ith t h e v is io n s n e c e s s a r y f o r h i m t o o rc h e s tra te h is ow n im a g in a ry A m e r ic a . T h e e v e n t u a l r e v is io n in th e t itle s u g g e s ts t h e p a r t i a l d i s p l a c e m e n t f r o m t h e o b s e s s io n w i t h A m e r i c a t o o t h e r th e m e s .

T h e f ilm m o s t c le a r ly in v o k e s its l i t e r a r y a n t e c e d e n t s in its m e t i c u l o u s r e c r e a t i o n o f t h e J e w i s h q u a r t e r in th e L o w e r E a s t s id e o f N e w Y o r k in t h e 1 9 2 0 s. T h e a r t d i r e c t i o n a n d p h o t o ­ g r a p h y c o m b i n e t o p r o d u c e a mise-enscene e f f e c t s i m il a r t o t h a t o f a c e r ­ ta in lite r a r y p ic to ria l n a tu ra lis m , d e p e n d e n t a s it is o n a h ig h ly d e s c r i p ­ tiv e s ty le . L in g u i s t i c s m a k e s it e a s y f o r l it e r a r y t h e o r y t o f o r m u l a t e a d i f f e r e n c e b e tw e e n t h e a c t i v it y o f d e s ­ c r i p t i o n a n d n a r r a t i o n ( t h e r e is a w h o le lite ra ry p ra c tic e b a s e d u p o n th is d if f e r ­ e n c e : e .g ., t h e n o v e ls o f A l a in R o b b e ­ G r i l le t ) . N o t s o in t h e c in e m a , g iv e n t h a t t h e im a g e h a s t h e c a p a c i t y t o s i m u lt a n e o u s ly r e n d e r n a r r a t i o n a n d

12

O c to b e r 1984.

3. Rolling Stone, N o . 3 8 0 , O c to b e r 1984.

4 . N eil J ille tt, The Age, op.cit.

458 — December CINEMA PAPERS

M o rris , The Australian Financial Review, op.cit. ibid.

5. M e a g h a n 6.

Top: the young “Noodles” (Scott Tiler) and his obsession, Deborah (Jennifer Conelly).

Above: the boys’ gang roams the streets o f the Lower East side o f New York in the 1920s.

Sergio Leone’s Onee Upon a Time in America.

Once Upon a Time in America

“Noodles” (Robert De Niro) and Deborah (Elizabeth McGovern) in the early 1930s: “Time and the years are an essential element in the film. In the course o f them, characters have changed, rejecting their past identities . . . ” Once Upon a Time in America.

description (when is an image solely narrational and non-descriptive?), and much of the descriptive potential of film resides in the area of art direction and mise-en-scene generally.

Leone wants to make full descriptive use of the extravagant art direction.

The photography, therefore, is pushed to capture a grand-scale pictorialism through the repeated use of the wideangle long shot, a framing device which places the childhood gang in the lower forefront of screen and, stretching behind them in depth of field the crowded streets and apart­ ment buildings of the Jewish quarter or, in the now famous image of the film, places the gang, dwarf-like in scale, with the Brooklyn bridge in the background.

It is within the childhood sequence of the film that one feels the grand scale of the image composition is dis­ proportionate, given the not-toosignificant narrative events. While acknowledging that the art direction and set designs are of the highest standard, they only ever function as a descriptive backdrop to the narrative events: the characters’ movements are rarely orchestrated so as to make use of the spatial dimensions of the set designs (notice the absence of dolly shots which would allow the penetra­ tion of screen space). Finally, it should be noted that the 1920s’ period is the only temporally autonomous sequence in the film: that is, there are no temporal shifts to the other time periods within its 54-minute duration.

There is much in Leone’s excessive pictorialism, narrative duration, grand scale compositions, overt symbolism and stylistically baroque flourishes which remind one of Erich von Stro­ heim, certainly the von Stroheim of Greed (1923). Both directors refuse to sacrifice material for the sake of narrative economy.

Although the film can be faulted at times at the level of mise-en-scene, it succeeds, in turn, almost fully at the level of the narrative structuring of events. To invoke the second literary tradition drawn upon the film, its narrative structure can be called Faulk­ nerian. William Faulkner’s novelistic

devices such as narrative fragmenta­ tion, the non-linearity of story events, and the parallel articulation of past and present narrative tenses find a kind of filmic equivalent in Once Upon a Time in America. But, more impor­ tant, is Faulkner’s use of repetition as a means through which characters and events acquire a progressively layered significance, just as in Leone’s film the repetition of events and objects pro­ duces a progressive addition of meaning. Given that the film is also a mystery story, it is another way to prevent the enigmas from being resolved until the very end. Given Leone’s comments on the film, it is clear that the narrative is as much of thematic concern as it is of structural concern: Time and the years are an essential element in the film. In the course of them, the characters have changed, some rejecting their past identities and even their names. And yet, in spite of themselves, they have remained bound to the past and to the people they knew and were.

They have gone separate ways. But, growing from the same embryo, as it were, after the careless self­ confidence of youth, they are united again by the force that had made them enemies and driven them apart — time.7 Given the film’s epic dimension and Leone’s ambitiousness, one expects Once Upon a Time in America to be cluttered with grand themes and so it is: time, the past, and memory offer one cluster of themes; the criminal underbelly of American capitalism, gangsterism, corruption and politics form another cluster; and so forth.

But, finally, it seems these grand themes drift out of the film, as if they could never be fully integrated. The film settles (in the last hour) into its true themes: the shedding of innocence and how an individual lives with grief.

Loss of innocence (which does not mean the absence of guilt) for David “ Noodles” Aaronson has to do with the clarity of understanding which the 7. Film Illustrated, J a n u a r y 1982.

V ol.

11,

N o.

124,

individual has acquired about his exis­ tence within a corrupt world. Per­ versely enough, Noodles’ innocence is manifested in his violent relation to people and events. He acts but does not think and, therefore, commits violence without moral culpability: for example, his stabbing of the police officer and his rape of Deborah (Elizabeth McGovern) and Carol (Tuesday Weld). Noodles’ innocence is fostered by an unquestioning, childish belief in the codes of masculine bonding — friendships cannot be betrayed — and this prevents him from realizing in advance Max’s (James Woods) twisted ambitions. The 1968 scenes with Deborah and Secretary Bailey (alias Max) mark the shedding of innocence about life and the past, the acquisition of knowledge and a kind of maturity which is affirmed in his denial of the past to Secretary Bailey. Noodles now understands and, in that understanding, he outstrips the possible violent response which the revelations demand. Which is not to say that Noodles forgives, but, as the scene with Secretary Bailey clearly indicates, Noodles is progressively detaching, withdrawing, from the emotional pull of the past — not easily, one must add, because there is much suppressed anguish in that scene.

There is much in De Niro’s char­ acterization of the old Noodles which evokes a somnambulist’s behaviour.

One can trace through the fiction a set of metaphors and motifs about sleep and death which traverse the char­ acter’s destiny. Most are obvious, given Leone’s predilection for overt symbolism: the outline of his body bullet-holed into the bed; Noodles’ making love in a coffin in the back of a hearse (driven by Max!); and, soon after his return to New York in 1968, Noodles is framed below a rising tombstone supported by a bulldozer.

The torn-up gravestones are only another symbol of the return of the repressed, the past and reawakened memories.

If one thinks back to the 1933 scene, the viewer never sees Noodles leave New York; after buying a ticket to Buffalo, he pauses to contemplate his

reflection and from that reflection emerges the Noodles of 1968. That single shot produces a temporal transi­ tion marking a 35-year ellipse. Diegetically, of course, Noodles does leave, but, metaphorically, the shot indicates a ‘time freeze’. Nothing of those 35 years is ever represented. It is as if he went nowhere and did nothing; a life without meaning is also a symbolic form of death. The metaphor of ‘frozen time’ also finds iconic repre­ sentation: Noodles’ first words to “ Fat” Moe on his return in 1968 are, “ I brought back the keys to your clock.” Moe’s clock has not marked time for 35 years; the clock hands have remained frozen. Moe eventually rewinds the clock as if, with Noodles’ return, time can begin again.

The film’s coda — the final scene of Noodles in the opium den — offers a scene of purely metaphoric association and reveals fully the fate of Noodles in those 35 years of absence, the “ dead time” in his life and in the film. The (mistaken) guilt and grief Noodles feels after the death of his friends can only but turn him into a “ sleeping corpse” — a retreat from life into oblivion. Time and grief have made a sleepwalker of Noodles, and that is the Noodles summoned to New York in 1968. In an exchange of dialogue which can be taken as more than a pun, Fat Moe asks, “ Noodles, what you been doin’ all these years?” “ Going to bed early” is the reply.

Finally, the coda transcends the temporal relations of the film’s events (the mise-en-scene of 1933): the last image is a kind of forever Noodles. In that last close-up a fine netting is placed between the character and the camera’s point-of-view: it is a veil — the garment of the dead wrapped around a corpse — and with the use of the freeze-frame, the image produces an almost shroud-like effect, the impression left on cloth of a dead figure’s features. Finally, for Noodles, there is oblivion; the smile is the last sign of the withdrawal from life and its memories. Metaphorically, it is the arrival of a sweet death, the kind of death Raymond Chandler once called “ the big sleep” .

Deborah’s words to Noodles: “ You can’t live in the past . . . or the future.” But, between the past and future, is the opium den. The past can never fully be exorcised; one must understand it and, in understanding it, find a kind of peace within its memories.

For all its faults — and the film has many — the last scene totally redeems it.

O n ce U p o n a T im e in A m e ric a : D irected b y : S e rg io L e o n e . P r o d u c e r : A rn o n M ilch a n . E x ecu tiv e p ro d u c e r: C lau d io M a n c in i. S c reen p lay : L e o n a rd o B en v en u ti, P ie ro D e B e rn a rd i, E n ric o M ed io li, F ra n c o A rc alli, F ra n c o F e rrin i, S ergio L eo n e.

D ire c to r o f p h o to g ra p h y : T o n in o Delli C o lli. E d ito r: N in o B arag li. A rt d irecto rs: C a rlo S im i, Ja m e s Singelis. M u sic: E n n io M o r r i c o n e . S o u n d r e c o r d i s t : F a u s to A n c illa i. C a st: R o b e rt D e N iro (D avid “ N o o d le s ” A a r o n s o n ) , Ja m e s W o o d s (M ax ), E liz a b e th M c G o v e rn (D e b o rah ), T r e a t W illia m s ( J im m y O ’D o n n e ll) , T u e s d a y W eld (C a ro l), B u rt Y o u n g (Jo e), J o e P esci (F ra n k ie M o n a ld i), D a n n y A iello (P o lice C h ie f A ie llo ), W illiam F o rsy th e (C o c k e y e ), Ja m e s H a y d e n (P a ts y ), D a rla n n e F leu g el (E v e), L a rry R a p p (F at M o e ), A m y R y d e r (P eg g y ). P ro d u c tio n co m p a n y : L a d d C o . D is trib u to r: R o a d ­ sh o w . 35 m m . 227 m in s. U .S . 1984.

CINEMA PAPERS December — 459

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Carmen

Carmen Paolo Weinberger If the initial sequence, with a bull­ fighter’s cold-blooded execution of a wounded bull, is somewhat off-putting — especially for those who see this cruel sport as an inexcusable aberra­ tion of mankind — what comes next is so captivating that, even if the viewer is not an opera lover, Carmen should prove to be a most pleasurable experience.

In the past few years, there have been several operatic films, of which some of the most accomplished are Ingmar Bergman’s Trollflojten (The Magic Flute) and Franco Zeffirelli’s La traviata. Nevertheless, George Bizet’s Carmen is most certainly the opera which has inspired more cine­ matic versions and adaptations than any other. Since 1982, there have been at least six Carmen films: Carlos Saura’s flamenco version with Antonio Gades; Peter Brook’s three filmed versions of his daily Parisian stagings with three different sets of singers; Jean-Luc Godard’s Prenom: Carmen, in which, as is typical of Godard, there are quite a few surprises, such as the use of Beethoven’s music; and Francesco Rosi’s latest film.

Although Brook’s and Godard’s films have not, as yet, reached Aus­ tralia — and one hopes they do — Rosi’s Carmen is a unique achieve­ ment: this is Carmen the opera, of that there is no doubt, but most of all it is a film, with all the implications of the word, and not just an opera on film.

Having behind him a history of fas­ cinating, mainly socio-political film­ making, including Salvatore Giuliano (1961), II caso Mattei (The Mattei Affair, 1972), Lucky Luciano (1973), Cristo si e fermato a Eboli (Christ stopped at Eboli, 1979) and Tre

fratelli (Three Brothers, 1980), it is obvious that Rosi did not choose to take Bizet’s Carmen to the screen by chance: what Carmen represents is of historical significance.

The realism and sensuality of Carmen, when it was first produced in 1875, caused a scandal and changed the history of opera. Bizet (1838-1875), in letters he wrote to his friend Edmond G alab ert1, apart from describing himself as a “pagan” , rejecting religion (“ religion is a police­ man”) and philosophy altogether, also encouraged a direct approach to the passion, sensuality and reality of life: “ Do not neglect sensuality . . . think of Mozart . . . read Weber . . . vive le soleil et I’amour.”2 In Carmen, Bizet portrays life in a truly Dionysiac fashion (to use a term defined by Nietzsche, a great admirer of the opera), not only in the music for the main characters but also in the con­ tinuous presence of ensembles and choruses in which different groups of people are given an attention they hadn’t received in opera until then.

When examining the possibility of filming Carmen, Rosi imposed one condition: That I would make it as I made my previous films: that is, in intimate terms with the social and cultural reality that brought about and con­ ditioned the story in the first place.3 Knowing Spain well — his film D momento della verita (The Moment of Truth), in which the main character is a bullfighter, was filmed there in 1964 — Rosi identified the opera’s links with the Spanish reality of today and 100 years ago: the streets and plazas, the interiors, the soldiers, the street 1. E d m u n d

G a la b e rt, Lettres a un ami

1867-72.

2. M ichel R a b a u d , Carmen: a tragedy o f love, sun and death.

3. F ro m th e press k it.

kids, the girls in the cigar factory, the tavern, the gypsies, the flamenco dancers, the crowds, the bulls and the bullfighters — all of which sensitively establish Carmen’s solidly Spanish character, creating a firm basis for the development of the story.

With all its action, Carmen appears perfect as a film, maybe more so than as a stage production. In fact, reading the original libretto of the opera, as it was first performed in 1875, one cannot avoid noticing how close it is to a film script — even the dynamics of the score seem to have been conceived for the cinema, as Rosi himself points out.

The music, structured with clear and precise directions by Bizet, when trans­ ferred to film, whether used as back­ ground to the scenes or not, works extremely well. The breathtakingly beautiful settings, mostly found in Andalusia, also add a new dimension to the score. The integration is perfect.

The naturality of the film is further enhanced by Rosi’s faithfulness to Bizet’s original idea of using spoken dialogue as well as singing.4 The story is so well known that it is already part of our collective uncon­ scious. Freud could disagree — maybe, for him, Jung’s collective unconscious is a concept that takes things a bit too far — but, even within a Freudian 4.

Julia Migenes Johnson as Carmen in Francesco Rosi’s Carmen: " the social and cultural reality that brought about and conditioned the story in the firs t place” .

O rig in al lines o f P ro s p e r M e rim e e ’s s h o rt sto ry w ere in te n d e d as sp o k e n d ialo g u e by B izet, b u t la te r re p la ce d by sung recitativ es p ro v id e d b y B izet’s frien d E rn e s t G u ira u d , fo r th e first p e rfo rm a n c e o f th e w o rk in V ie n n a in O c to b e r 1875, som e th re e m o n th s a fte r B izet’s d e a th . (M a rtin C o o p e r, Op'era-

Comique.)

approach, where could one find a better example of a story in which eros and thanatos, love and death, are so clearly seen as the driving energy of all things human? The emotional power of Carmen’s last scene is masterfully expressed in a sequence which stresses the dichotomy of a crowd’s cheering a bullfighter’s slaughter of a bull while Carmen leaves the arena to meet the same fate from the hands of the man who loves her. This is done not only through the camera-work, which fol­ lows Carmen and her lover Don José according to the heightening emotional levels of their dialogue and the corres­ ponding music, but also by the setting of the scene in a secondary arena, outside the bullfighting stadium, which invites direct association between the two confrontations. The bullfighter’s victory marks the begin­ ning of Don José’s final despair. The heavy irony of the situation is empha­ sized by the chorus, in the bullring, singing: “ Toreador on guard now! Do not forget that when you draw your sword, two dark eyes look down, and love is your reward.”

Carmen has other fine scenes, especially those in which the crowd is the protagonist, such as the tracking shots of a group of children walking the streets and parodying the changing of the guards, or shots of the gypsy camps at night, with the fire burning next to the tents.

Rosi intended Carmen to be a realistic film adaptation of the opera, and this has been achieved. It is due mainly to his masterful direction and selection of settings, Enrico Job’s design and costumes, Antonio Gades’ choreography and Pasqualino De Santis’ stunning photography (which CINEMA PAPERS December — 461

Carmen

Second Time Lucky

has been a feature of Rosi’s work throughout the past 20 years).

Nevertheless, Carmen transcends Rosi’s aim, boasting brilliant operatic performances by Placido Domingo (Don José), Julia Migenes Johnson (C arm en), Ruggero Raim ondi (Escamillo, the toreador) and Faith Esham (Micaela). Indeed, Johnson is such a convincing, passionate, sensual and amazing Carmen that this film should be seen, apart from everything else, just for the talent of this American-born (of Puerto Rican and Greek parentage) and internationallyacclaimed singer.

Carmen:

D ir e c te d b y F ra n c e s c o R o s i.

P r o d u c e r : P a tr ic e L e d o u x . S c r e e n p la y : F r a n c e s c o R o s i, T o n in o G u e r r a . D ir e c to r o f p h o t o g r a p h y : P a s q u a l in o D e S a n tis .

E d ito r s : R u g g e ro M a s tr o ia n n i, C o le tte S e m p r u n . P r o d u c t io n d e s ig n e r: E n ric o J o b .

M u s ic : Carmen, G e o rg e s B iz e t. S o u n d r e c o r d is ts : H a r o ld M a u r y , G u y L e v e l, H u g u e s D a r m o is . C a s t: J u lia M ig e n e s J o h n s o n ( C a r m e n ) , R u g g e ro R a im o n d i (E s c a m illo ) , P la c id o D o m in g o ( D o n J o s é ) , F a i t h E s h a m (M ic a e la ), J u lie n G u io m a r (L ilia s P a s h a ) , L ilia n W a ts o n ( F r a n q u ita ) .

P r o d u c t io n c o m p a n y : G a u m o n t P r o d s M a rc e l D e s s a u lt- O p e r a F ilm P r o d u z io n e .

D is tr ib u to r : F ilm w a y s . 35 m m . 152 m in s .

S p a in . 1984.

Second Time Lucky Mark Spratt Antony I. Ginnane’s latest multi­ million dollar international produc­ tion, Second Time Lucky, is directed by veteran English director Michael Anderson, who has most recently been working in television (The Martian Chronicles, Bells). It is the type of one-joke comedy that film critics by and large treat as beneath consideration, and which the producer usually counters by waving a balance sheet with black figures in the bottom corner. Given the film’s distinctly poor box-office reception in Australia, it would be intriguing to learn the details of Ginnane’s financial wizardry if he can turn a profit on this film in the world-wide market.

That Second Time Lucky is lavishly produced and competently directed makes it worthy of some analysis of its intended appeal and efforts made to make it succeed, even if the critical bottom line is that it is a superfluous addition to the year’s releases.

The story is based on a concept as old as the cinema, if not humanity: a wager, a battle of wits, between God and the Devil for the souls and allegi­ ance of mankind. The Devil appar­ ently won the first time around, causing the fall from grace and banish­ ment from Eden. The Devil (Sir Robert Helpmann) wants to prove he can do it again.

God (Robert Morley) accepts the challenge and despatches Gabriel (Jonathan Gadsby) to find a suitable couple for the game in the form of two shy, awkward American students, Adam and Eve (Roger Wilson and Diane Franklin). They are transported to Eden where, transformed into a pair of naked innocents, they accept their new roles and begin exploring the world and each other (with much speculation about the purpose of Eve’s “ lumps” and Adam’s “ banana and 462 — December CINEMA PAPERS

Top left: the modern-day Adam (Roger Wilson). Top right: the German General (Sir Robert Helpmann), an alias fo r the Devil, and Eve (Diane Franklin), disguised as a nurse. Above: the Big Boss (Helpmann), Eve/Evie (Franklin) and Lumber (John-Michael Howson).

Michael Anderson’s Second Time Lucky.

berries”). The script contains a great deal of innuendo and double entendres suggesting it might have been called Carry On Adam and Eve. The pattern is set for the film: Adam will receive advice and encouragement from Gabriel not to fall into temptation (the main warning sign will be an erection), while Eve is tutored by the Devil, appearing in different guises, to lead Adam astray. (A theological digres­ sion: did the Almighty never intend his creations to procreate? Then why the necessary organs?) Things go predict­ ably in Eden but then the couple is transported to different periods in his­ tory to play out new rounds in the game. It is a resurrection of the De Millean formula of milking a Biblical source for maximum titillation while relentlessly hammering the message that sexual temptation is bad.

In the Roman Empire sequence, Adam is a heroic soldier and Eve the fiancée of the Emperor (the Devil).

Eve tries to seduce Adam before her wedding but they are caught. Adam refuses to acknowledge the Emperor as God but succumbs in the face of death.

During World War 1, Eve is a spy for the Germans, disguised as a nurse,

and Adam a British soldier. God has arranged a wound that threatens Adam’s immediate potency to thwart further seduction attempts. After Eve has been unmasked and sentenced to the firing squad, she gets a chance to test Adam’s sexual prognosis. Adam resists but Eve is saved from death by God’s intervention in ending the war.

The final two encounters take place during the American Prohibition era and the present day rock ’n’ roll scene. Adam and Eve come closer to working out their relationship as Adam urges her to search for good to betray her mentor, the Devil. Love finally triumphs during a televised rock concert when Adam is fatally attacked by his new manager, Lou Seffer (Helpmann again), for not singing the right songs; Eve, however, intervenes and sends the Devil back to Hell. God is persuaded by Gabriel to give the couple back their lives and they once again appear in their original forms to continue their romance.

Second Time Lucky is clearly con­ ceived as a commercial comedy for the international market. In putting together this package, the producer and writers may have overlooked the

main stumbling block: is a large, young, cinema-going audience inter­ ested in a reworking of a hoary old myth? The positive elements in making this project viable presumably include a pair of personable young American leads, two venerable actors for God and the Devil, two comic actors in supporting roles for local market appeal (Australia’s John-Michael Howson as the Devil’s sidekick and New Zealand’s Jonathan Gadsby as Gabriel), rock music, a humorous anachronistic romp through the ages (proven commercial by the likes of History of the World Part 1) and not forgetting the freedom to present un­ self-conscious nudity in the Eden sequence to gratify anyone who felt bored-and cheated by John Huston’s version in The Bible.

That the film can only be considered a failure lies more in the concept than the execution. The experienced hand of director Michael Anderson, while doing little to actually enliven the material, at least displays enough con­ trol to not let it drag through too many moments of puerile and unfunny humor. The production and set design are by and large slick and attractive,

Second Time Lucky

although some of the more minuscule sets create a feeling of claustrophobia and sudden budget restriction: e.g., a Roman arena suggested by a gateway and off-screen crowd sounds, and Hell seen only as the Devil’s throne and a few flames.

Ginnane cannot be criticized for failing to put Australian content in a film presumably of relevance to the Christian world and he has spread the $5 million plus budget around Britain (studio interiors), New Zealand (loca­ tions) and Australia (laboratories and sound mixing). But a few incongruities of detail in the present day (New Zealand for the U.S.) sequences make one wonder if it is worth the effort trying to convince the audience that it is really an “ American” story. The student party scenes have a few phony American accents amidst the real ones and Adam drinks from an English pint beer mug seldom seen in American films. However, as New Zealanders have long considered they inhabit “ God’s Own Country” , they at least will be sure Paradise was shot on the right location.

The problem with the script lies really in treating a hackneyed theme as if it were something fresh. Predict­ ability is the keynote of every episode, some of which are somewhat con­ fusing as to who has ‘won’, which decreases one’s ability to care even further. An exception is the final episode which introduces the Mephistophelean theme with Adam’s actually signing a contract with the Devil on the promise of untold success in order to betray him once and for all.

The sort of quirky inspiration that made Time Bandits a comparatively successful mythological time-and-space contest between good and evil is lacking here as the film has no interest in finding new ways to approach its premise. Adam and Eve’s relationship develops in fits and starts across the ages without being given any dimen­ sion or feeling that they are the suffer­ ing pawns in a cosmic game.

Most disappointing and obnoxious is the film’s acceptance of an “ Old Testament” approach to gender roles.

Thus, homosexuals gravitate and flutter around the Devil, and Eve represents the Eternal Woman, influ­ enced by evil to continually lead Man away from Virtue and Higher Pur­ poses (whatever they may be). She is weak-willed and a constant threat, only gradually perceiving she has a mind and instincts of her own. The film ends on an ambiguous note with G o d ’s will having apparently triumphed through the force of love but with an apple, with two bites in it, rolling from Adam and Eve’s doorway also suggesting that human nature has run its course at last.

S eco n d T im e L u ck y : D ire cted by: M ich ael A n d e rs o n . P ro d u c e rs : A n to n y I. G in n a n e , B rian W . C o o k . A sso c ia te p ro d u c e r: J o n T u rtle . S cre en p lay : R o ss D im sey, H o w a rd G rig sb y . D ire c to r o f p h o to g ra p h y : J o h n M c L ea n . E d ito r: T o n y P a te rs o n . P r o d u c ­ tio n d esig n er: D a v id C o p p in g . M usic: L a u rie S to n e , G a rry M c D o n a ld . S o u n d re c o rd ist: T im L lo y d . C a st: D ia n e F ra n k lin (E v e), R o g e r W ilso n (A d a m ), Sir R o b e rt H e lp m a n n (T h e D evil), R o b e rt M o rley (G o d ), J o n a th a n G a d sb y (G a b rie l), J o h n M ic h ae l H o w so n (T h e D e v il’s a ssista n t).

P r o d u c tio n c o m p a n y : E a d e n ro c k . D istri­ b u to r: U I P . 35 m m . 95 m in s. N ew Z e a la n d .

1984.

Nineteen Eighty-Four

Nineteen Eighty-Four Dave Sargent The emergence of a film adaptation of George Orwell’s Nineteen Eighty-Four in the same year as its title has helped to construct it as a major film event.

But despite bold newspaper advertise­ ments, Nineteen Eighty-Four is not “the movie of the year” (as if there could ever be such a thing), and it is not even “the movie of the year”. It is, however, a darkly chilling, though narrowly focused, interpretation of a text which by now has become so deeply entrenched in our collective memory that the mere mention of Oceania, Big Brother, newspeak, celibacy, doublethink, victory gin, brainwashing, vaporization, Ministry of Truth, tele-screen and Room 101 is enough to induce a wretched case of “ future shock” . '

Written and directed by Michael Radford and featuring John Hurt, R ichard B urton and Suzanna Hamilton, Nineteen Eighty-Four sombrely displays a distinct economy of style and meaning as it pieces together its universally valorized tale of the struggle of the heroic individual against the authoritarian State.

Winston Smith (John Hurt) is an Outer Party Worker in the Ministry of Truth. His job is to re-write history by altering news reports at the command of party leaders. Although he appears to conform to the dictates of The Party, which includes unfailing loyalty to Big Brother, Winston maintains a glint of resistance. He keeps a forbidden diary and tries to under­ stand a world to which he only has access through the limiting view of a tele-screen.

Into Winston’s life comes un­ expected romantic interest in Julia (Suzanna Hamilton), another rebel of

sorts. In a society in which celibacy is encouraged, the two become sexual outlaws, having to rent a secret room above a shop where they can meet.

At the same time, Winston meets O’Brien (Richard Burton), an Inner­ Party leader who misleads Winston into believing that he is part of an organized resistance to The Party.

Soon, Winston and Julia are caught out and O’Brien’s false front is revealed. He subjects Winston to a brainwashing exercise where he is tortured to accept “ doublethink” and, ultimately, in Room 101 comes face to face with . . . the worst thing in the world.

The description of the plot purposely has been kept slight because the film seems to work against a focus on plot; only the bare bones of the narrative structure are presented.

Instead, the elaboration of the story is accomplished by placing attention on dialogue, which sounds reverentially

Top: a crowd gathers to watch public executions in Victory Square. Above: John H urt as the rebellious Winston Smith. Michael Radford’s Nineteen Eighty-Four.

CINEMA PAPERS December — 463

Nineteen Eighty-Four

precise, and the creation of mood, which at all times speaks desolation, despair and impending doom.

This is achieved through static camera movements, long takes and claustrophobic framing. It also is the result of murky coloring and post­ apocalyptic sets. In addition to this, and crucially important, is a unified acting style which sparked Hurt in a recent interview to quip: “ Michael [Radford] was always saying to me: ‘Can you find a way of doing less?’ I’d say: ‘Michael, I’m already doing absolutely nothing.’

While this actor’s anecdote is not quite true, it does point to a style of acting in which prominence is placed on modified gestures and facial expression, a style which is skilfully executed by all the main actors.

Nineteen Eighty-Four nicely resists painting an overly-elaborate picture that would have made it just another sci-fi blockbuster. On the other hand, one can’t help thinking that the film’s honing down of the narrative and its dark vision denies spectators a view of the many contradictions and ambig­ uities that appear in Orwell’s text. As a result, the audience is presented with a singular set of meanings which seems to invoke some sentimental notions about love and the individual.

In spite of this, Nineteen EightyFour is a harrowing though compelling film to view. It may offer little that is new in its reinterpretation of Orwell’s text, but it certainly does it justice.

Nineteen

Eighty-Four: D i r e c t e d b y : M ic h a e l R a d f o r d . P r o d u c e r : S im o n P e r r y .

E x e c u tiv e p r o d u c e r : M a r v in J . R o s e n b lu m .

S c r e e n p la y : M ic h a e l R a d f o r d . D ir e c to r o f p h o t o g r a p h y : R o g e r D e a k in s . E d ito r : T o m P rie s tly .

P ro d u c tio n d e s ig n e r: A lla n C a m e r o n . M u s ic : D o m in ic M u ld o w n e y .

C a s t: J o h n H u r t ( W in s to n S m ith ) , R ic h a r d B u rto n ( O ’B r ie n ) , S u z a n n a H a m ilto n ( J u lia ) , C y ril C u s a c k ( C h a r r i n g t o n ) , G r e g o r F is h e r ( P a r s o n s ) , J a m e s W a lk e r (S y m e ), A n d r e w W ild e ( T illo ts o n ) , D a v id T r e v e n a ( T illo ts o n ’s f r ie n d ) , D a v id C a n n ( M a r tin ) , A n t h o n y B e n s o n ( J o n e s ) . P r o d u c t io n c o m ­ p a n y : V irg in F ilm s - U m b r e lla - R o s e n b lu m F ilm s . D i s tr ib u to r : R o a d s h o w . 35 m m . 108 m in s . B r ita in . 1984.

Funny Dirty Little War Paolo Weinberger Winner of the Silver Bear at the 1984 Berlin Film Festival, Héctor Olivera’s No habra mas penas ni olvido (Funny Dirty Little War) is a masterpiece of tragi-comedy, a multi-faceted film which is a superbly accomplished mixture of comedy, farce, black humor and horror.

Set in Argentina in 1974, in the imaginary town of Colonia Vela, somewhere in the leading province of Buenos Aires, the events are based on the armed confrontations which occurred within the Peronist Party during Juan Peron’s last presidency, when its Right Wing launched a violent anti-Leftist campaign with the tacit support of Perón himself.

In the film, the order to remove Ignacio Fuentes (Federico Luppi), a 1. R o b e r t M illik e n , “ F ilm in g th o u g h t : th e p a i n o f b e in g H u r t ’’ , The National Times, 2 6 O c to b e r t o 1 N o v e m b e r , 1 9 8 4 .

464 — December CINEMA PAPERS

Funny Dirty Little War

Peronist municipal administrator, is passed down from Regional Mayor Guglielmini (Lautaro Murua) to Peronist Secretary General Suprino (Hector Bidonde), and then to Com­ missioner Llanos (Rodolfo Ranni), Chief of Police. Since Fuentes has been elected by Colonia Vela’s people and is a respected and popular figure, the party chooses his assistant, Mateo (Jose Maria Lopez), as scapegoat.

Mateo is declared a “ Marxist infil­ trator” and Fuentes a Leftist sym­ pathizer for having him under his umbrella. Friends become enemies in their eagerness to assert their beliefs in their political alignments. Violence erupts when Fuentes barricades himself in the Town Hall and resists the attempt to oust him.

From the beginning, Funny Dirty Little War draws forth different levels of interpretation, particularly when the words of a popular song by Horacio Guarany can be understood as an ironical comment on what is about to happen: I cannot go on living without love or loving; love, as I have loved you and you have loved me.1 The initial, farcical set-up also provides for some effective use of satire. The seemingly natural exchanges between the characters are depicted so openly, in such a straight forward manner, that their absurdity becomes blatant.

There are many examples of the use of this technique, from Commissioner Llanos’ reluctant acquiescence when told by Suprino that Mateo is a Marx­ ist infiltrator to Llanos’ stupefying way of explaining this to Fuentes: “ We must normalize things: orders from above.” 2 Fuentes’ way of convincing police­ man Garcia (Julio de Grazia) to join him (by instantly promoting him to corporal) is an instance when corrup­ tion is shown as part of the daily activities of the politician fighting for survival, although politicians seem to resort to corruption even when they apparently are not fighting for survival. When Fuentes then hands a gun to Mateo and tells him they have been accused of being Bolsheviks, Mateo replies: “ I’ve always been a Peronist — never meddled in politics.”

The wide scope of the word Peronist is hinted at, again using the same technique of naïveté.

There are other great pieces of pol­ itical satire in which Fascism is ridi­ culed in the person of Mayor Gugliel­ mini, who sends his professional para­ military agents to help Colonia Vela’s local police. These agents are obviously thugs who would want to kill anybody not in accordance with their Fascist views. Mayor Guglielmini arrives from San José and decides to use the loudspeaker to talk to Fuentes, barricaded inside the Town Hall. The chief thug interrupts: ‘What are you doing? They’re finished!’

‘Leave it to me.’ (says Guglielmini) ‘We’ve got to blast them!’

‘Right now, when the journalist will be arriving?’

‘We must blast those off, too!’

So much for the press in democratic dictatorships or Fascist democracies.

The sequence continues with what could be seen as an ironical comment on one of Peron’s sayings, found on the wall inside the Town Hall (“ For a Peronist there’s nothing better than another Peronist” 3): Guglielmini, still with the loudspeaker, goes ahead and says, in all honesty: Fuentes, let’s talk. We’re all Argen­ tinians. The people of Colonia Vela accused you of being a subversive infiltrator. What can we do? Your mandate is terminated. That’s democracy. Surrender and be tried by the Party Tribunal. Peron or death!

• Fuentes’ answer comes on a piece of paper: “ Go to the whore-mother who gave you birth! Peron or death!”

Funny Dirty Little War is full of witty lines and funny scenes, but it doesn’t take long for things to get nasty. When the nightmare becomes reality and cold-hearted killing, sickening violence and atrocious torture illustrate the recent events of Argentinian history, Colonia Vela can be seen not only as a microcosm of Argentina, but also as an incisive reminder of the need to avoid violence and war. Although for some viewers this kind of explicit anti-violence comedy may be hard to swallow, the most positive attitude of this film is the irony of laughing at one’s own suffering, which may be the only way to get essential messages across on a wide scale, especially to viewers from Third World countries.

Nevertheless, there are also refer­ ences to typical, world-wide police practices. The office of the CGT (National Confederation of Trade Unions)4 is bombed by Guglielmini’s thugs, and members of the Peronist Youth are accused and arrested. The thugs also invade Fuentes’ home, arresting his wife and leaving a gun and subversive leaflets on one of the wardrobe shelves.

“Para un Peronista no hay nada mejor que otro Peronista. ” ( J u a n D . P e r o n ) 4 . Confederación General de Trabaja­ dores.

Despite its apparent specificity, Funny Dirty Little War does not

require any background knowledge on the part of the viewers. Its many levels of interpretation allow for a probable lack of historical insight by non­ Argentinian audiences. However, the nuances of the film are significantly enhanced by looking at Argentina’s long history of internal instability and dispute, going back to the proclama­ tion of independence from Spain in 1816.

After years of government by a ruling oligarchy, followed by alter­ nating periods of democracy and military interventions for a so-called “ conservative reorientation” of the country, Argentina witnessed the rise of Colonel Juan Peron to the office of president. Since October 1943, when running the Labor and Social Welfare Department, Peron had been building a political empire based in the trade unions. A charismatic, populist­ nationalist leader, Peron pushed through a welfare program, and was then elected president in 1946, re­ elected in 1951 and finally overthrown by the military in 1955.

A period of economic problems followed the coup, with student and labor unrest, leading to the appearance of u nderground activities by the Trotskyite group ER P5 and Peronist Left-Wing groups, including the Monteoneros, who, in 1970, captured and killed former president General Aramburu. The Peronists were allowed to participate in the elec­ tions in 1973, and an old Peron returned to the country, taking office in October of the same year. He joined the campaign against the Left, but died on 1 July 1974. Isabelita, his wife, assumed the presidency until 24 March 1976, when she was deposed by a mili­ tary coup which led to the brutal dictatorship imposed on the country until the 1983 election of Radical Civic Union’s Raul Alfonsin as president.

Political irony is one of the main tools of Olivera’s film and is obvious in references to the Army. At a press

3.

5.

Ejercito

Revolucionario

del Pueblo

( P e o p le ’s R e v o lu tio n a r y A r m y ) .

1. “ No puedo vivir

sin amar, amando amar como te ame y me has amado. ” 2 . “ Hay que normalizar: arriba. ”

ordenes de

Commissioner Llanos (Rodolfo Ranni) and Juan (Miguel Angel Sola) in Hector Olivera’s black comedy, Funny D irty Little War.

Funny Dirty Little War

Agente Garcia (Julio de Grazia), Juan and Ignacio Fuentes (Federico Luppi) inside the Town Hall. Funny D irty Little War.

conference, during the fighting, when Mayor Guglielmini denounces an international plot against Colonia Vela, a journalist asks, “ Do you think the Army might be needed?” , to which Guglielmini answers, “ Please! What country do you think we are in?”

Later, a conservative, newly-converted Peronist is told that it looks like the Army is coming, to which he replies: “ The Army? Then we are saved!” A radio program then mentions the news of the battle in Colonia Vela and appropriately plays Carlos Gardel’s tango, “ Mi Buenos Aires Querido” (“ My dear Buenos Aires” ). The original title of the film, No habra mas penas ni olvido, is a quote from that song: Mi Buenos Aires querido Cuando yo te vuelva a ver No habra mas penas ni olvido.6 The song is heard almost in its entirety, as background to one of the last dialogues in the film, between Suprino 6. “My dear Buenos Aires When I see you next There will be no forgiving Or forgetting.”

and Guglielmini. Suprino says, “ It was a big mess. The military don’t like civilians shooting things up without their permission” , and this turns out to be a sour comment on Argentina’s long history of military interventions.

It is interesting that in the film the Peronist Youth decides to back Fuentes. Being a natural ally of the Left Wing of the party, this was to be expected, but their decision to do so by kidnapping Commissioner Llanos instead of joining the battle at the Town Hall is significant; it can be regarded as direct reference to the 1970 Monteoneros’ kidnapping and execution of General Aramburu.

The events portrayed in Funny Dirty Little War can also be better under­ stood if one considers the long period for which the Peronists were banned from elections, and the many military coups (including one backed by Peron­ ist sectors) within that period. The divisions within the party become unavoidable; Peron’s populist policies of “ social justice” were claimed by both Conservative and Progressive sectors, by both wings of the party; and the radicalization of their views led to an irrevocable clash.

Olivera, whose previous films include La Patagonia rebelde (Rebel­ lion in Patagonia, 1973) and Los viernes de la eternldad (Fridays of Eternity, 1981) — and also Adolfo Aristarain’s Tiempo di revancha (Time for Revenge), as a producer — based Funny Dirty Little War on a novel written by Osvaldo Soriano, who himself had to go into exile. Federico Luppi, who plays the role of Fuentes, is one of the most popular and talented Argentinian actors, and has also had problems in his country because of his outspoken liberalism. Two other fine aspects of the film are Leonardo Rod­ riguez Solis’ photography and Oscar Cardozo Ocampo’s music: both add to the strength and dramatic effect of the production.

One particular sequence stands out and summarizes Olivera’s approach: the scene at the school, which alter­ nates between pictures of Argentina’s national heroes, drawings made by school kids and appalling details of Guglielmini’s thugs’ torture tech­ niques.

Olivera’s success with this film is the result of his combination of comedy to captivate the viewer, and an unexpect­

ed use of brutal and almost graphic violence to shock the viewer and remind him that certain things should not be forgotten — or forgiven — a direct reference to the film’s original title.

Funny Dirty Little War:

D ir e c te d b y : H é c t o r O l iv e r a .

P ro d u c e rs: F ern an d o A y a la , L u is O. R e p e tto .

A s s o c ia te p r o d u c e r : A le x S e s s a . S c r e e n p la y : R o b e r to C o s s a , H é c t o r O liv e r a . D ir e c to r o f p h o t o ­ g rap h y : L e o n a rd o R o d rig u e z S o lis .

E d ito r : E d u a rd o L ópez.

P ro d u c tio n d e s ig n e rs : E m ilio B a s a ld ú a , M a r ia J u lia B e r to tto . M u s ic : O s c a r C a r d o z o O c a m p o .

S o u n d r e c o r d is t: N o r b e r t o C a s tr o n u o v o .

C a s t: F e d e r ic o L u p p i ( Ig n a c io F u e n te s ), H e c to r B id o n d e ( S u p r in o ) , V ic to r L a p la c e ( R e in a ld o ) , R o d o l f o R a n n i ( C o m m is s io n e r L la n o s ) , M ig u e l A n g e l S o la ( J u a n ) , J u lio d e G ra z ia (P o lic e m a n ), L a u ta ro M u ru a (G u g lie lm in i), G ra c ie la D u fa u ( F e lis a F u e n te s ) , U lis e s D u m o n t ( C e r v in o ), R a u l R iz z o ( S u b I n s p e c t o r R o s s i) , A r t u r o M a ly ( T o to ), Jo sé M a ria L opez (M a te o ).

P r o d u c t io n c o m p a n y : A r ie s C i n e m a t o ­ g r á f ic a . D i s t r i b u t o r : J o s e M a r i a n o . 35 m m .

80 m in s . A r g e n t i n a . 1 9 83. ★

CINEMA PAPERS December — 465

The Quarter

The Quarter

Best First Feature

Continued fro m p. 392

Best Performance by an Actress in a Supporting Role

The Writer

Lousy Little Sixpence

Best Screenplay

Anna Jemison (Silver City)

Michael Jenkins (Careful He Might Hear You)

Best Screenplay (Original)

John Dingwall and other writer-directors discuss dual roles and why they chose them.

Best Documentary

Best New Talent

Teno (Directed by Margot Nash)

Rod Zuanic (Fast Talking)

Best Screenplay (Adaptation) John P a tte rso n , C h ris (Annie’s Coming Out)

Most Innovative

Best Director

Private and Confidential (Directed by Joseph Bogdanov)

Carl Schultz (Careful He Might Hear You)

Best Narrative

Robyn Nevin (Careful He Might Hear You)

Boys and Girls (Directed by Don McBrearty, Canada) Heads ’n Tails (Directed by Jane Oehr)

Best Performance

Pacific International Media Market

Jury Prize Margot Nash (Best Direction, Teno) Jaems Grant (Best Cinematography, Every Day, Every Night)

Critics’ Circle Awards Christine Cremen reports on the 1984 Sydney Film Critics’ Circle Awards: On 13 September, the winners of the 1984 Sydney Film Critics’ Circle Awards were announced at a presentation ceremony held at North Sydney’s 729 Club. This is the second year the group has voted for what they consider to be representative of the best in Australian filmmaking (an award is also given to “ Best Foreign Film’’).

The Critics’ Circle evolved in 1981 because of the dissatisfaction felt by Sydney film critics (particularly those who are freelance) about their status with the major film distributors’ publicity depart­ ments. Their initial representation to these companies to hold preview screenings on a regular weekly basis at times more con­ venient for reviewers was unsuccessful.

Since then, however, a system has been set up whereby listings of previews — supplied by the distributors — can be obtained by members of the Critics’ Circle by telephoning a contact person at the Sydney Film Festival Office.

The AFC has recently agreed to con­ sider favorably a submission from the Critics’ Circle to fund necessities such as their own office and staff, as well as a plan to establish a central resource centre for Critics’ Circle members and other film industry people.

The Critics’ Circle will be sponsoring screenings of Australian short films over the next three months at either the Dendy, W alker Street, or Academ y Twin independent cinemas. Forums on film­ making are also to be held in conjunction with these screenings.

1984 Sydney Film Critics ’ Circle A wards Best Production Design John Stoddart (Careful He Might Hear You)

Best Music Tie with Porter, Smeaton et al (Street Hero) and Ray Cook (Careful He Might Hear You)

Major international buyers will be attend­ ing Australia’s first international film and television market, to be held at the Regent Hotel in Melbourne next year.

According to the Pacific International Media Market’s (PIMM) director, Suzanne Wagner, PIMM has attracted top executives from many of the major internationals in­ cluding TBS (Japan), CBS (U.S.), Sveriges Television (Sweden), BBC (Britain), the Canadian Broadcasting Corporation, Nikkatsu Corporation (Japan) and the South West African Broadcasting Corporation. We are in the unusual situation of having more buyers than sellers. When we started we thought that our major problem would be to get the overseas majors, but now . . . it is the local producers who are holding back. We think it is only temporary, and that once they know who is coming they will come along and show-case their product.

Philippe de Montignie, the co-director of PIMM, says, There is a tremendous surge of interest in Australian film and television product . . . Interestingly, the buyers are looking for all types of product, from feature films, children’s programs and mini­ series to documentaries, short films and educational material.

PIMM will be taking place from 22 to 26 January 1985. For further information con­ tact Philippe de Montignie or Suzanne Wagner, 25 Palmerston Crescent, South Melbourne, Vic., 3205. Tel: (03) 690 7366.

I B i l i H I B l I l l l l l l B

Australian Film Institute A wards

Best Achievement in Editing

Omissions, Obsessions, Fashions and Controversies

Tracey Watt (Strikebound)

Best Original Music Score Garth Porter; Bruce Smeaton; Hunter, Hunter and Pigott; Sayer and Poncia; Sharon O’Neill; Wilson, Black and Pepper; Morrison and Barker; Del Shannon (Street Hero)

Best Achievement in Costume Design Jan Hurley (Silver City)

Non-Feature Section

Producers Jane Ballantyne, David Elfick and Dick Mason discuss their relationship with writers and what is really involved in producing.

Best Documentary Kemira — Diary of a Strike (Producer: Tom Zubrycki; Director: Tom Zubrycki)

Best Sponsored Documentary One Last Chance (Producer: Jennings; Director: Scott Hicks)

Terry

Best Short Fiction Getting Wet (Producer: AFTS; Director: Paul Hogan)

Best Animation Ned Wethered (Producer: Lee Whitmore; Director: Lee Whitmore)

Best Experimental Passionless Moments (P roducer: AFTS; Directors: Jane Campion, Gerard Lee)

Best Cinematography A Girl’s Own Story (Producer: AFTVS; Director: Jane Campion)

Best Screenplay A Girl’s Own Story (Producer: AFTS; Director: Jane Campion) Every Day, Every Night (Producer: Swin­ burne Ltd; Director: Kathy Mueller)

Best Editing

Roger Savage

Paul Cox (My First Wife)

Best Performance by an Actor in a Supporting Role

La nuit de Varennes

Steve Bisley (Silver City)

Life After Satellite When the satellite goes into operation three-quarters of a million people will receive commercial television for the first time. Will this provide a new audience for writers? Michael Frankel, Director of Policy at the Australian Film Commission, co-ordinates this session.

Mary-Anne Fahey, Ian McFadyen, Peter Moon and Steve Vizard provide nervous entertainment only days before the latest comedy television series goes to air.

For further information contact the Administrator, National Screenwriters’ Conference. Tel.: (008) 22 6615.

Best Sound

Best Achievement in Direction

(A nnie’s

Philip Brophy and Adrian Martin co­ ordinate a multi-media entertainment which looks at the new and changing directions of audio-visual language.

Comic Relief Before

The Byron Kennedy Memorial Award

McGregor

Manipulating the Medium

Comedy

Annie’s Coming Out

Angela Punch Coming Out)

The Future

Best Direction

The Raymond Longford Award

Best Performance by an Actress in a Leading Role

There’s More To Producing Than Raising Money

A Girl’s Own Story (Producer: AFTS; Director: Jane Campion)

David Williams

John Hargreaves (My First Wife)

Michael Carson, Robert Caswell and Michael Jenkins have been invited to elaborate on the most controversial tele­ vision series of 1984.

Constraints and Influences

Feature Section

Best Performance by an Actor in a Leading Role

Scales of Justice

Gary Wilkin, Mark Waziutak, Roger Savage, Bruce Lamshed, David Harrison, Terry Rodman (Street Hero)

Getting Wet (Producer: AFTS; Director: Paul Hogan)

Best Film

What Stories and Why? Richard Lowenstein, Hyllus Maris and Roger Simpson outline their preoccupa­ tions and obsessions.

Best Achievement in Sound

The winners of the Australian Film Institute Awards for 1984 were announced in Melbourne on 5 October at the award ceremony at the State Theatre. They are:

Best Foreign Film 466 — December CINEMA PAPERS

Working Models Representatives from Crawford Produc­ tions and The Grundy Organisation dis­ cuss the way they work, with particular reference to their strategies.

Best Achievement in Production Design

Best Social Issues

Total Control? Television Chris Thomson (writer-director), Sophia Turkiewicz (writer-director) and Roger Simpson (writer-producer) discuss their roles: why they chose them, and their advantages and disadvantages.

Dean Semler (Razorback)

Fast Talking

llliBlllillllllll

Every Day, Every Night (Directed by Kathy Mueller)

Best Achievement in Cinematography

William Anderson (Razorback)

Boys and Girls (Directed by Don McBrearty, Canada)

Best Tertiary Student Production

B orthw ick

Best Feature

Best Overseas

Arms Race: Where Do We Stand?

(Directed by John Davis) Anna (Directed by Gordon Gienn)

Paul Cox, Bob Ellis (My First Wife)

Total Control? Film

BBB9BBBIIBIBIIIII

Screenwriters’ Conference The first National Screenwriters’ Confer­ ence, to be held at Noahs Hotel in Mel­ bourne from 4 to 9 February 1985, will be called “ The first and last word” . It will have as its theme the writer as initiator.

The program of the Conference has been released and some of the sessions to be held include:

Corrigendum Dear Sir, In "The Quarter” section of Cinema Papers (No. 48, October-November 1984, p. 300) you stated that no live sex shows are interspersed with porno film shows in Australian adult cinemas. This may be the case in Melbourne, but here in Sydney almost all of the hard-core cinemas have live sex shows on stage between movies.

These live shows incorporate a variety of sexual acts including actual intercourse.

Nothing is simulated or left to the imagina­ tion.

David Johnson The sentence to which Johnson refers in Scott Murray’s report on Censorship should have read: “ It is reported that the mackintosh brigade misses the sleaziness of tone (they are now catered for in Aus­ tralia with live shows which intersperse film screenings).”

July 1984

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: Frequence

Films Registered Without Deletions

Explicitness/lntensity

Purpose

Infrequent

Frequent

Low

Medium

High

Justified

Gratuitous

i i i i

f f f f

I I i I

m m m m

h h h h

j j j j

g g g g

G (For General Exhibition) Alm onds and Raisins: R. Karel-D. Elstein, Britain-U.S., 2413.84 m, Sharm il Film s Backstage at the Kirov: B. Saunders-K. Locker, U.S.j 2139.54 m, Pan Am erican Prods The Camel Boy: Y. Gross, Australia, 1837.81 m, Yoram Gross Electric Dreams: E. Lem orande, U.S., 2715.57 m, Roadshow Dist. ~~ Hambone & Hillie (reduced version) (a): G. Gillingham-S. Howard, U.S., 2426.03 m, Roadshow Dist.

Magic BMX (16 mm): M ing Chi, Taiwan, 1075 m, Chinese Cultural Centre The M uppets Take Manhattan: D. Lazer, U.S., 2550.99 m, Fox Colum bia Film Dist.

Reef Safari (videotape): J. Harding, Australia, 100 mins, John Harding (a) Reduced by producer’s deletions to obtain lower classification.

NRC (Not Recommended for Children) Beat Street (revised version) (a): D. Picker-H. Belafonte, U.S., 2915 m, Roadshow Dist., V (i-l-g ) The Boys in Blue (16 mm): G. Sm ith, Britain, 993 m, Reid and Puskar, L (i-l-g ), O f s e x u a l in n u e n d o ) Breakdance: Cannon G roup, U.S., 2304 m, Hoyts Dists, 0 ( a d u l t c o n c e p t s ) The Company: Continental C entury, Hong Kong, 2496 m, Joe Siu Int’ l Film Co., V (f-l-g ), O f a d u lt c o n c e p t s ) Das martyrium des Peter O ’Hey (16 mm): H. Von Bechtolsheim, W. G erm any, 625 m, Australian Film Institute, O f a d u lt c o n c e p t s ) Ghostbusters: I. Reitman, U.S., 2852.72 m, Fox Colum bia Film Dist., O f a d u l t c o n c e p ts ) , L (i-m -g ) Ghost Dance (16 mm): K. M cM ullen, Britain-France, 1097 m, Australian Film Institute, L (i-m -j) Jakob von G unten (16 mm): ZDF, W. Germany, 910.51 m, Australian Film Institute, O f a d u lt c o n c e p t s ) The Karate Kid: Colum bia Pictures, U.S., 3346.46 m, Fox Colum bia Film Dist., V (f-l-j) The Last Stand: J. M cLean, Australia, 2249 m, Cap­ tured Live Prods, L ( i- m - g ) La Victoria (16 mm): ZDF, W. Germ any, 921 m, Austra­ lian Film Institute, V (i-m -j) La vie est un roman (Life is a Bed of Roses): P Durrant, France, 3044 m, Valhalla Films, O fa d u lt c o n c e p ts )

M alatesta (16 mm): M. Durnick, W. G erm any, 877 m, Australian Film Institute, V fi-l-j) Rhinestone: H. Sm ith-M. W orth, U S., 2989.87 m, Fox Colum bia Film Dist., O f s e x u a l a llu s io n s ) Sahara (reduced version) (b): M. Golan-Y. Globus, U.S., 2910 m, Fox C olum bia Film Dist., V ff-l-j), S fl-m - j) Secret Places: S. Relph, Britain, 2715 m, Greater Union Film Dist., O f a d u l t c o n c e p t s ) She: R. Dandi, U.S., 2605 m, Hoyts Dist., V ff-l-g ), L (i-l-g ) Star Trek III: The Search for Spock: H. Bennett, U.S., 2825.29 m, United Int’ l Pictures,, V fi-l-g ) Supergirl: T. Burrill, Britain, 3099 m, Hoyts Dist., V fi-l-g ) Ten Days that Shook the World: S. Bondarchuk, Italy, 3538.47 m, R oadshow Dist., V fi-l-j) W here the G reen Ants Dream: W erner Herzog ProdsZDF, Australia-W . Germ any, 2688.14 m, Newvision Film Dist., L fi- m - j) (a) Previously shown on May 1984 list. (b) Reduced by producer’s deletions from 3017 m.

M (For Mature Audiences) Airwolf: Belisarius Prods, U.S., 2358.98 m, United Int’ l Pictures, V ff-m -j), L fi- m - g ) Ashes and Embers: H. G erim a, U.S., 1316 m, Austra­ lian Film Institute, L fi- m - g ) Before Dawn: Fong Films, Hong Kong, 2468.70 m, Joe Siu Int’l Film Co., S fi-l- g ), O f a d u lt c o n c e p t s ) Brothers and Sisters: K. G riffiths, Britain, 2605 m, Aus­ tralian Film Institute, L ff- m - j) , O f a d u lt c o n c e p t s ) Chan is Missing (videotape): New Yorker Films, U.S., 76 mins, Australian Film Institute, L ff-m -j) The Corsican Brothers: P. Scott, U.S., 2413.84 m, Roadshow Dist., O f s e x u a l a llu s io n s ) The Dozens (16 mm): C. Dall-R. Conrad, U.S., 811 m, Australian Film Institute, L ff- m - j) , O f a d u lt c o n c e p t s ) Emerald Cities (16 mm): L.L. Prods, U.S., 965 m, Aus­ tralian Film Institute, O f a d u l t c o n c e p ts ) , L fi- m - g ) Es Herrscht Ruhe Im Land (Calm Reigns Throughout the Land) (16 mm): ZDF, W. Germ any, 1097 m, Austra­ lian Film Institute, V fi-m - j) Fords on W ater (16 mm): N. Amy-J. Pack, Britain, 899 m, Australian Film Institute, V fi-m -j) Future Shlock (16 mm): B. Peak-C. Kiely, Australia, 833.72 m, Valhalla Films, O f a d u lt c o n c e p t s ) Horror (16 mm): W. Som m er, W. Germ any, 866 m, Aus­ tralian Film Institute, V fi-m -j), O f a d u lt c o n c e p t s ) Imposters (16 mm): M. Rappaport, U.S.-W. Germany, 1206 m, Australian Film Institute, O f a d u lt c o n c e p t s ) Kid From Kwantung: Shaw Bros, Hong Kong, 2688.14 m, Joe Siu In ti Film Co., V ff-m -g ) Killer of Sheep (16 mm): Not shown, U.S., 844.69 m, Australian Film Institute, L (i- m - j) La balance: G. Dancigers-A. M nouchkini, France, 2743 m, Ronin Film s, V ff- m -j) La lune dans le caniveau (Moon in the Gutter): L. Fayolle, France, 3401.32 m, AZ Associated Film Dist., V fi-m -j), O f s e x u a l a llu s io n s )

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) ....................................

Title

Producer

Country

Last Night at the Alam o (16 mm): E. Pannell-K. Henkel, U.S., 866.63 m, Australian Film Institute, L ff-m -g ) M aybe It’s Love: Shaw Bros, Hong Kong, 2633.28 m, Joe Siu Int’l Film Co., S fi-m -g ), O f a d u lt c o n c e p t s ) Out: E. Hollander, U.S., 2249.26 m, Australian Film Institute, V fi-m -j), L fi-m -j), O fs e x u a l a llu s io n s ) Outside in (Das Innere Blob) (16 mm): S. Dwoskin, Britain-W . G erm any, 1097 m, Australian Film Institute,

Submitted length (m)

Note: The title of the film In Our Tim e (shown on June 1983 list) has been altered to Strikebound. The applicant of the film Aphrodesia's Diary (shown as Roadshow Dist. on June 1984 list) should read Blake Films.

L fi-m -g ), O fa d u lt c o n c e p t s )

Purple Rain: B. Cavallo-J. Ruffalo-S. Fargnoli, U.S., 3044 m, Roadshow Dist., L ff-m -g ), S fi-m - g ) Roadhouse 66: S. Rosenfelt-M. Levinson, U.S., 2523 m, Roadshow Dist, V fi-m -g ), S fi-m - g ) , L fi-m - g ) Rumble Fish (a): F. Roos-D. Claybourne, U.S., 2578 m, Hoyts Dist.

Savage Islands: L. Phillips-R. W hitehouse, New Zealand, 2770 m, Roadshow Dist., V fi-m -g ) Shadow Play (16 mm): National Film and Television School, Britain, 745.9 m, Australian Film Institute, O fn u d ity ) , L fi-m - j)

Top Secret: J. Davison-H. Lowry, Britain, 2413.84 m, United Int’l Pictures, O fa d u lt c o n c e p t s ) Voice Over (16 mm): C. M onger-L. M cFadden, Britain, 1140.88 m, Australian Film Institute, O f a d u lt c o n c e p ts ) , L fi-m - g )

We Cut Heads — Joe Bed-Stuy Barbership (16 mm): Z. Shelton-S. Lee, U.S., 647.23 m, Australian Film Institute, L ff-m -j) (a) Issued at the direction of the Films Board of Review.

See also under Film s Board of Review.

R (For Restricted Exhibition) Alphabet City: A. Brainsberg, U.S., 2358.98 m, Road­ show Dist., L (f-m -g ), S fi-m -g ), V fi-m -g ) First Turn On: L. Kaufm an, U.S., 2386.41 m, Roadshow Dist., S ff- m -g ) Hell Has No Boundary: Shaw Bros, Hong Kong, 2633.28 m, Joe Siu Int’ l Film Co., O fh o rro r) , V ff-m -g ) King Blank (16 mm): M. O blowitz, U.S., 888.50 m, Aus­ tralian Film Institute, L fi-m - g ), V fi-m -g ), S fi-m - g ) Once Upon a Tim e in America: A. Milchan, U.S., 6226.60 m, Roadshow Dist, V fi-m -g ) Prostitute (videotape): A. Garnett, Britain, 92 mins, O ceania M edia Network, S fi-m -j), L fi-m - j) Splatter University: R. Haines-J. M ichaels, U.S., 2166.97 m, Roadshow Dist., V ff-m -g ) Tara, Tara, Tara, Tara (reconstructed version) (a): Taurus Films, U.S., 1974 m, 14th Mandolin, S ff- m -g ) (a) Previously shown on April 1984 list.

Films Registered With Deletions R (For Restricted Exhibition) Confessions of Seka (reconstructed version) (a): L. Gucci, U.S., 1974.96 m, 14th M andolin, S ff- m -g ) Deletions: 13.7 m (30 secs) Reason for deletions: S (i-h -g ) Princess (reconstructed version) (b): Taurus Prods, U.S., 2057.25 m, 14th Mandolin, S ff- m -g ) Deletions: 2 m (4 secs) Reason for deletions: S fi-h -g ) (a) Previously shown on Septem ber 1982 list. (b) Previously shown on March 1982 list as Princess Seka.

Films Refused Registration Amor estranho am or (Love Strange Love) (pre-censor cut version): Anibal M assani Neto, Brazil, 2899 m, Film ways A ’asian Dist., O fs e x u a l a c tiv it y in v o lv in g a m in o r)

August 1984 Films Registered Without Deletions G (For General Exhibition) Blazing Boards (videotape): C. Bystron, U.S., 150 mins, Alan Rich Films The Bostonians: I. M erchant, Britain-U.S., 3319 m, Greater Union Film Dist.

Carmen: P. Ledoux, France-Spain, 4114 m, Filmways A ’asian Dist.

David (16 mm): ZDF, W. G erm any, 1371 m, Australian Film Institute Explorer Safari (16 mm): Norm ella Pictures, Australia, 1042.15 m, Shearwater Promotions The Great Chess Movie (16 mm): National Film Board of Canada, Canada, 844.69 m, Pan Am erican Prods A Hard Day’s Night: W. Shenson, Britain, 2468.7 m, Newvision Film Dist.

Hauptlehrer Hofer (Head Teacher Hofer) (16 mm): W estdeutscher Rundfunk, W est G erm any, 1207 m, Aus­ tralian Film Institute Pavlova — A W oman for all Time: F. Constantine, Britain-Soviet Union, 3620.76 m, Film ways A ’asian Dist.

Rhina — Now After So Many Years (16 mm): P. Schnabel-H. Luders, W. Germany, 647.23 m, Goethe Institute Rue cases negres (Sugar Cane Alley): Su Ma Fa-OrcaNef, French M artinique, 2907.58 m, Pan Am erican Prods Shatrank ke khilari: S. Jindal, India, 3291 m, Pan Am erican Prods A Sunday in the Country (Un dim anche h la campagne): A. Sarde, France, 2578 m, AZ Assoc. Film Dist.

NRC (Not Recommended for Children) Amerikai anzix (American Postcard) (16 mm): G. Body, Hungary, 987.30 m, RMIT Union, S fi-l- g ) Ballad of Gregorio Cortez: M. Esparza-M. Hausman, U S , 2852.72 m, C om m unications and Entertainm ent, V ff-l-g )

The Country Girls (16 mm): A. Young, Britain, 1174 m, Ronin Films, O fa d u lt c o n c e p ts ) Drunken Tai Chi: Dragons Group Film Co., Hong Kong, 2520 m, Golden Reel Films, V ff-l-g ) Heart Like a Wheel: C. Roven, U.S., 3017 m, Filmways A ’asian Dist., V fi-m -j), L ff-l-j) The Last Starfighter: G. Adelson-E. Denault, U.S., 2743 m, C om m unications and Entertainm ent, V fi-m -j) My Darling Genie: Shaw Bros, Hong Kong, 2530.99 m, Joe Siu Int’ l Film Co., O fa d u lt c o n c e p t s ) The Next One: N. M astorakis, Greece, 2715.57 m, All Media Enterprises, L fi-l-g ), O fe m o tio n a i c o n c e p t s ) Paris, Texas: Road M ovies-Argos Film s, U.S.-W. Germany-France, 4032.21 m, Roadshow Dist., O f a d u lt

Applicant

Firestarter: F. Capra, U.S., 3072.16 m, United Int’ l Pic­ tures, V ff-m -j) From a Far Country: G. Pezzali-V. Labella, Britain-ltaly, 3373 m, AZ Assoc. Film Dist, V fi-m -j) Heaven Can Help: K. Maka-D. Shek, Hong Kong, 2413 m, Joe Siu Int'l Film Co., V ff- m -g ), O f n u d ity ) The Hidden Power of the Dragon Sabre: 2441 m, Joe Siu Int’l Film Co, V ff- m -g ) Invitation of Ghost: Gold City Film s Co., Hong Kong, 2686 m, Golden Reel Films, V fi-m - g ) , O fh o r r o r ) , S fi- m - g ) Les com peres: Efve Film s-DD Prods, France, 2468.70 m, Roadshow Dist., V fi-m -j) Making the Grade: Cannon Group, U.S., 2797.86 m, Hoyts Dist., S fi-m - g ) , L fi- m - g ) M eantime (16m m j: G. Benson, Britain, 1140.88m , Ronin Films, L ff-m -j) , O f a d u l t c o n c e p t s ) My First Wife: J. Ballantyne-P. Cox, Australia, 2633 m, Roadshow Dist., L fi-m - j), S fi-m - j), O f a d u lt c o n c e p t s ) The Naked Face: Cannon Group, U.S., 2880 m, Hoyts Dist., V ff- m -g ) Return of the Bastard Swordsman: Shaw Bros, Hong Kong, 2578.42 m. Joe Siu in t’ l Film Co., V ff- m -g ) The Shaolin and Wu Tang: Hang Fat Film Co., Hong Kong, 2660 m, Joe Siu Int’ l Film Co., V ff- m -g ) Street Hero: J. Monton, Australia, 2743 m, Roadshow Dist., V fi-m -j), L fi- m - j) Swordkill: C. Band, U.S., 2194 m, Hoyts Dist., V ff- m -g ) 2019 after the Fall of New York: Nuova Dania Cinem atografica-Les Films du Griffon, Italy-France, 2576 m, Filmways A ’asian Dist., V ff- m -g ) W hite Dog: J. Davison, U.S., 2468.7 m, Film ways A ’asian Dist., V ff- m -j) Wits of the Brats: Shaw Bros, Hong Kong, 2468.7 m, Joe Siu Int’l Film Co, V fi-m -g ), O f s e x u a l a llu s io n s ) A Woman in Flames: Robert Van Ackeren Prods, W. Germany, 2825.29 m, M cLernon Film Dist., S fi- m - g )

R (For Restricted Exhibition) Cheerleaders Wild Weekend: C. Russel, U.S., 2304 m, Filmways A ’asian Dist., O f e x p lo it iv e n u d it y a n d a llu s io n s to s e x u a l v io le n c e )

Co-ed Teasers (reconstructed version) (a): L. Gucci, U.S., 1755.52 m, 14th M andolin, S ff- m -g ) Gwendoline: J. Fleury, France, 2825 m, C om m unica­ tions and Entertainm ent, S fi-m - g ) , V fi-m - g ) Peaches and Cream (reconstructed version) (b): M. Corby, U.S., 1810.38 m, Blake Films, S ff- m - g ) The Princess and the Call Girl: Highbridge Film Prods, U.S., 2441.27 m, Roadshow Dist., S ( f- m - g ) (a) Previously shown on June 1984 list. (b) Previously shown on D ecem ber 1982 list.

Films Registered With Deletions Nil

Films Refused Registration Abduction of Lorelei (4th reconstructed version) (a): R. Rank, U.S., 1009 m, 14th M andolin, O f s e x u a l v io le n c e ) Nurses of the 407 (soft version): J. O rynski, U.S., 1865 m, Blake Films, S fi- h - g ) (a) Previously shown on January 1984 list.

Films Board of Review Nil

c o n c e p ts )

The Undaunted Wu Dang: C hang Chun Film Studios, China, 2633 m, Joe Siu Int’ l Film Co., V ff-l-j) The W onders of China, Part II: Nam Sam Film Co., Hong Kong, 2496 m, Joe Sui Int’ l Film Co., O fs u r g ic a l p ro c e d u re s )

Films Board of Review Em manuelle IV (a): A. Siritzky, France, 2755 m, Filmways A ’asian Dist.

Decision Reviewed: Refusal to Register by Film Censor­ ship Board.

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

Rumble Fish (b): F. Roos-D. C laybourne, U.S., 2578 m, Hoyts Dist.

Decision Reviewed: C lassify " R ” by Film Censorship Board.

Decision of the Board: Direct Film Censorship Board to classify “ M ” . (a) Previously shown on May 1984 list. (b) See also under “ Film s R egistered W ithout Deletions” (For M ature Audiences). Previously shown on June 1984 list.

Reason for Decision

Video

M (For Mature Audiences) Another Country: Virgin Films, Britain, 2441 m, Com­ m unications and Entertainm ent, O f a d u lt c o n c e p ts ) Baby It’s You: G. Dunne-A. Robinson, U.S., 2880.15 m, Filmways A ’asian Dist., S fi-m -g ), L ff-m -g ) Bachelor Party: R. Moler-R. Israel, U.S., 2797 m, Fox C olum bia Film Dist., L ff-m -g ), O f a d u lt c o n c e p ts ) Cal: S. Craig-D. Puttnam , Eire, 2770.43 m, Roadshow Dist., V fi-m -j), S fi-m - j) The Daring Kung-Fu Refugee: Kwok Kong Film s Co., Hong Kong, 2496 m, Golden Reel Film s, V ff-m -g ), S fi-m - g )

Dear Mr W onderful (16 mm): Vietinghoff, W. Germany-U.S., 1184 m, Australian Film Institute, S fi-m - j) Der aufstand (The Uprising) (16 mm): ZDF, W. Ger­ many, 1075 m, Australian Film Institute, V fi-m -j)

Week Ending 13 April, 19841 G Atom Ant: Hanna-Barbera, U.S., 53 mins, Rigby-Cic Video Bon Voyage Charlie Brown (and D o n’t Come Back): L. Mendelson-B. Melendez, U.S., 74 mins, Rigby-Cic Video The R ight of Dragons: A. Rankin-J. Bass, Viacom Int’ l, Japan, 98 mins, Vestron Video 7. P u b lis h e d in G eneral Gazette, 1 5 M a y , 1 9 8 4 .

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Film Censorship Listings

Greatest Heroes of the Bible: Daniel and the Lions Den: Viacom Int’l, U.S., 40 m ins, V ideo Classics Greatest Heroes of the Bible: David and Goliath: Viacom Int’ l, U.S., 36 mins, V ideo Classics

Greatest Heroes of the Bible: The Deluge: Viacom Int’ l, U.S., 50 mins, Video C lassics

Greatest Heroes of the Bible: The Judgement of Solomon: Viacom Int’l, U.S., 32 mins, Video Classics Greatest Heroes of the Bible: Moses: Viacom Int’ l, U.S., 60 mins, Video Classics

Greatest Heroes of the Bible: Samson and Delilah: Viacom Int’l, U.S., 50 mins, Video Classics

Greatest Heroes of the Bible: Tower of Babel: Viacom Int'l, U.S., 50 m ins, Video Classics Gulliver’s Travels: Hanna-Barbera, U.S., 48 mins, Rigby-Cic Video Hansel & Gretel: Am erican Int. Child Prods, U.S., 60 mins, Video Classics A Hard Day’s Night: W. Shenson, Britain, 85 mins, Vestron Video Jack and the Beanstalk: G. Kelly-Hanna-Barbera, U.S., 60 m ins, Rigby-Cic Video A Kid for Two Farthings: C. Reed, Britain, 97 mins,

The Little Ark: R. Radnitz, U.S., 94 m ins, CBS-Fox Video

Mighty Thor: M arvel Com ics, U.S., 54 m ins, Rigby-Cic Video

The Missiles of October: H. Brodkin-R. Berger, U.S., 155 mins, Video Classics

Mountain Family Robinson: A. Dubs, U.S., 102 mins, Video C lassics

Neil Diamond — Love at the Greek. G. Smith-D. Hemion, U.S., 52 mins, Vestron Video

She Wore a Yellow Ribbon: RKO, U.S., 103 mins, Video Classics Sub-Mariner 2: Marvel Comics, U.S., 51 m ins, RigbyCic Video The Superbug Rally: Barbara Films, U.S., 88 mins, Video C lassics Treasure island: N icholson-M uir Prods, U.S., 62 mins, Video Classics Tubby the Tuba: A. Schure, U.S., 81 mins, Vestron Video

PG

Frankenstein: Universal Pictures Corp., U.S., 71 mins, Rigby-Cic Video, Ofhorror) French Connection II: R. Rosen, U.S., 114 mins, CBSFox Video, Vfi-m-g) God’s Gun: M. Golan-Y. Globus, Italy, 93 mins, Video Classics, Vff-m-g) Hard Contract: M. Schwartz, U.S., 101 mins, CBS-Fox Video, Ofadult concepts), Vfi-l-j) Homework: J. Beshears, U.S., 88 mins, Rigby-Cic Video, Sfi-l-j), Ofdrug references) Killerfish: C. Ponti-Film ar Do Brazil, U.S.-Brazil-ltaly, 97 mins, CBS-Fox Video, Vfi-m-g) La Ronde: R. Hakim , France, 105 mins, Rigby-Cic Video

M *A *S*H *: I. Prem inger, U.S., 112 mins, CBS-Fox Video, Ofadult concepts) Missing: E. Lewis-M. Lewis, U.S., 116 mins, Rigby-Cic Video, Ofemotional stress) The Missing Link: J. Gerard-M . Gast, France-Belgium , 89 mins, Video Classics, Lfi-m-j'), Ofsexual innuendo) Nasty Habits: G. Barrie-R. Enders, U.S., 100 mins, CBS-Fox Video, Ofadult concepts) Nights of Cabirla: D. De Laurentiis, Italy, 107 mins, Video Classics, Vff-m-j) 100 Rifles: M. Schwartz, U.S., 106 mins, CBS-Fox Video, Vff-m-j) Players: R. Evans, U.S., 115 mins, Rigby-Cic Video, Sfi-m-g) Pretty Baby: P. Platt, U.S., 106 mins, Rigby-Cic Video, Sfi-m-g) Prophecy: R. Rosen, U.S., 102 m ins, Rigby-Cic Video, V(f-m-g) P sycho: Sham ley Prods, U.S., 108 m ins, Rigby-Cic Video Rage: D. Silver, U.S., 96 mins, V ideo Classics, Ofadult

concepts) The Rebel Rousers: M. Cohen, U.S., 77 mins, Video Classics, V(f-m-g) The Romantic Englishwoman: D. Angel, Britain, 112 mins, Video Classics, Ofadult concepts) The Seduction of Joe Tynan: M. Bregm an, U.S., 107 mins, Rigby-Cic Video, Sfi-m-g) Shame of the Jungle: B. Szulzinger, not shown, 70 mins, Pakenham Video Library, Ofadult concepts), Lff-m-g) Where Does It Hurt?: R. Am ateau-W . Schwartz, U.S., 85 mins, Video Classics

Airport '77: W. Frye, U.S., 116 mins, Rigby-Cic Video, Ofadult concepts) Beneath the Planet of the Apes: A. Jacobs, U.S., 91 mins, CBS-Fox V ideo21

Buck Rogers in the 25th Century: R. Caffey-L. Stevens, U.S., 89 m ins, Rigby-Cic Video, V(i-m-g) Catch Me a Spy: Ludgate Films, Britain, 90 mins, Video Classics, Ofadult concepts) Duel: G. Eckstein, U.S., 88 mins, Rigby-Cic Video, Ofadult concepts) Empire Inc: Fathers & Sons: P. Risacher, Canada, 59 mins, Video Classics, Ofadult concepts) Empire Inc: Hello Sucker: P. Risacher, Canada, 59 m ins, Video Classics, Ofadult concepts) Empire Inc: The Last Waltz: P. Risacher, Canada, 59 m ins, Video Classics, Ofadult concepts) Empire Inc: Titans Don’t Cry: P. Risacher, Canada, 59 m ins, Video Classics, Ofadult concepts) The Greatest Heroes of the Bible: Abraham’s Sacrifice: Viacom In t’l, U.S., 45 m ins, V ideo Classics,

vm

Greatest Heroes of the Bible: Daniel and Nebuchad­ nezzar: Viacom Int’ l, U.S., 50 mins, Video Classics, Vfi-H) Greatest Heroes of the Bible: Sodom and Gomorrah: Viacom Int’l, U.S., 48 mins, Video Classics, Vfi-m-g) Greatest Heroes of the Bible: Story of Esther Viacom Int’ l, U.S., 50 m ins, V ideo Classics, Vfi-l-j) Greatest Heroes o f the Bible: The Ten Command­ ments: Viacom Int’l, U.S., 50 mins, Video Classics, Grey Fox (35 mm): P. O ’ Brian, U.S., 2441.27 m, Road­ show Home Video, Vfi-m-g) Hitler's Children: RKO, U.S., 83 m ins, Video Classics The Hostage Tower: B. Nodella, U.S., 96 mins, Video Classics, Vfi-m-j) Kid Blue: M. Schwartz, U.S., 96 m ins, CBS-Fox Video, Ofadult concepts) The Last American Hero: W. Roberts-J. Cutts, U.S., 91 m ins, CBS-Fox Video, Vfi-m-g) The Last of the Mohicans: E. Sm all, U.S., 91 mins, Video Classics

The Lucky Star: C. Leger, Canada, 110 m ins, Video Classics, Vfi-H) The Martian Chronicles: A. Donnaily-M . Subotsky, U.S., 290 mins, Video Classics,, Vfi-l-j) Modesty Blaise: J. Janni, U.S., 115 mins, CBS-Fox Video

Monte Walsh: H. Landers-B. Roberts, U.S., 90 mins, CBS-Fox Video

North Sea Hi}ack: E. Kastner, U.S., 99 m ins, Rigby-Cic Video, Vfi-H) Patton: F. M cCarthy, U.S., 164 m ins, CBS-Fox Video, Vfi-m-g) .

The Racket: RKO, U.S., 84 m ins, Video Classics The Sicilian Clan: J. Strauss, France, 114 m ins, CBSFox Video, Vfi-m-g), Ofsexual allusions) Sunburn: J. Daly-G. Green, U.S., 98 mins, Video Classics, Vfi-m-g) The Thing: RKO, U.S., 80 mins, V ideo Classics To Be or Not to Be: M. Brooks, U.S., 107 mins, Fox Colum bia Film Dist., Ofadult concepts) Under Capricorn: T ransatlantic Pictures, Britain, 115 mins, Video Classics

Voltus 5: T. Hjim a, Japan, 93 mins, Video Classics, Vffl-g) War of the Worlds: Param ount Pictures, U.S., 85 mins, Rigby-Cic Video

M B o rd e rlin e : J. Nelson, U.S., 85 mins, CBS-Fox Video,

Vfi-m-g) Cat People: V. Lewton, U.S., 73 m ins, V ideo C lassics Cheech & Chong’s Next Movie: H. Brown, U.S., 95 mins, Rigby-Cic Video, Ofdrug abuse), Lfi-m-g) Dracula: W. M irisch, U.S., 109 m ins, R igby-Cic Video, Vfi-m-g) Empire Inc: Buddy Can You Spare $17 Million: P. Risacher, Canada, 59 m ins, Video Classics, Sfi-m-g) Empire Inc: The Party's O ver P. Risacher, Canada, 59 m ins, Video Classics, Sfi-m-g) Escape From Alcatraz: D. Siegel, U.S., 112 mins, Rigby-Cic Video, Vfi-m-g) Flashdance: D. S im p son-J. B ruckhe im er, U.S., 91 mins, Rigby-Cic Video, Lff-m-g), Ofnudity) The Four Seasons: M. Bregm an, U.S., 104 mins, Rigby-Cic Video, Ofadult concepts) 2. Code reasons unavailable for films originally classi­ fied before 1972.

Kiss and T e ll: Not shown, U.S., 66 mins, Venus Video,

Pled Piper and Cinderella: M. Hall-B. Cosgrove,

Lesbian Love: Show W orld Video, U.S., 56 mins, Auspania, Sfi-h-g) Lolita Climax 1 — Lolita Special: Film Lab, Denmark, 26 mins, Auspania, Sff-h-g) Lolita Climax 3 — After Schooltime. Film Lab, Denmark, 24 mins, Auspania, Sff-h-g) Lolita Climax 4 — Lolita: Film Lab, Denmark, 24 mins, Auspania, Sff-h-g) Lolita 3: Not shown, Denmark, 54 mins, Auspania,

Play Golf with Peter Alliss: G. M enzies, Britain,

Britain, 70 m ins, Pioneer Electronics

Sff-h-g) Love You: J. Derek, U.S., 80 mins, Auspania, Sff-h-g) Malibu Days — Big Bear Nights: Laguna Pacific, U.S., 120 mins, Venus Video, Sff-h-g) Miss P Video — Teeny Party: C. Anrop, W est Ger­ many, 83 mins, Auspania, Sff-h-g) Moments of Love: M utt and Sherm an, U.S., 90 mins, Showtim e Video, Sff-h-g) Never So Deep: G. Damiano, U.S., 94 m ins, Joyfrey Nominees, Sff-h-g) One W ay at a Time: A. Colberg, U.S., 78 mins, Show­ tim e Video, Sff-h-g) Orient Sexpress: S. Verlags, W est G erm any, 24 mins, Auspania, Sff-h-g) Sex Show: S. Verlags, W est Germ any, 22 mins, Auspania, Sff-h-g) Sex Show — Jean Girls: Imperial Video, W est G er­ many, 30 mins, Auspania, Sff-h-g) Sex Show — Sex Extase: Imperial Video, W est Ger­ many, 22 mins, Auspania, Sff-h-g) Shana Blonde Superstar: G ourm et Video Collection, U S., 60 mins, Venus Video, Sff-h-g) Shore Leave: Nova Prods, U.S., 69 mins, Venus Video, Sff-h-g) Strange Family: G ourm et Video Collection, U.S., 60 mins, Venus Video, Sff-h-g) Swinging Both Ways: A. Stephen, U.S., 80 mins, K. and C. Video, Sff-h-g) Teacher’s Pet: G ourm et Video Collection, U.S., 60 mins, Venus Video, Sff-h-g) Teenage Lovers: Love Film , W est Germ any, 32 mins, Auspania, Sff-h-g) Young, Hot ’n Nasty Teenage Cruisers: Raunchy Tonk, 83 mins, Auspania, Sfi-h-g)

Refused Classification R Behind th e Door: E. Doria, Italy, 110 m ins, Video Classics, Vff-m-g), Ofhorror) Chartl: G. Daniels, U.S., 72 mins, Joyfrey Nominees, S(f-m-g) The Daughter of Emanuelle: R. Randall, France-ltaly, 90 mins, Video Classics, Sfi-m-g) Halloween: D. Hill, U.S., 90 mins, Video Classics, Vfi-m-g), Ofhorror) High Plains Drifter: R. Daley, U.S., 105 mins, Rigby-Cic Video, Vff-m-g) Hot Connection: J. Haig, U.S., 87 m ins, Pakenham Video Library, Sff-m-g) Indecent Exposure: H. Lime, U.S., 80 mins, Blake Films, Sff-m-g) The Island: R. Zanuck-D. Brown, U.S., 114 m ins, RigbyCic Video, Vff-m-g) Julia: E. Tom ek, W est G erm any, 86 m ins, Pakenham Video Library, S(f-m-g) The Klansman: W. Alexander, U.S., 86 m ins, Video Classics, Vff-m-g) Unda: Lisa Film s, W est Germ any, 82 mins, Video Classics, Sff-m-g) The Mistress Speaks: Royce D istributing Co., U.S., 57 mins, Venus Video, Ofbondage) M itchell: R. Efraim , U.S., 97 m ins, Video Classics,

Vff-m-g) The Omen: H. Bernhard, U.S., 106 m ins, CBS-Fox Video, Vff-m-g) Revenge of the Ninja: M. Golan-Y. Globus, U.S., 90 mins, Fox C olum bia R im Dist., Vff-m-g) Sissy’s Hot Summer: A. G olberg-L. Golberg; U.S., 54 mins, K. and C. Video, Sff-m-g) Slumber Party ’57: J. Ireland, U.S., 89 mins, Video Classics, Sff-m-g) Without Warning: G. Clark, U.S., 89 mins, Syme Home Video, Ofhorror) Young Warriors: Star C inem a Productions, U.S., 104 m ins, Fox C olum bia Film Dist., Vff-m-g), Sfi-m-g)

X Angel Buns: J. Mackenzie, U.S., 84 mins, Video Classics, Sff-h-g) Anytime Anyplace: M. Stevens, U.S., 96 mins, Joyfrey Nominees, Sff-h-g) Blonde Superstar Danielle: G ourm et Video C ollection, U.S., 60 mins, Venus Video, Sff-h-g) Boiling Point: R. Augustus, U.S., 90 mins, Video Classics, Sff-h-g) Bondage Interludes Volume I: M. Cates, U.S., 60 m ins, Balesarn, Ofbondage) Caught from Behind: R H F Film Prods, U.S., 76 mins, Auspania, Sff-h-g) Charii: G. Daniels, U.S., 81 mins, Joyfrey Nominees, Sff-h-g) Class Reunion: Laguna Pacific, U.S., 65 m ins, Venus Video, Sff-h-g) Companions: G ourm et Video C ollection, U.S., 60 mins, Venus Video, Sff-h-g) Danish Climax 6 — Lolita Special: Film Lab, Denmark, 24 mins, Auspania, Sff-h-g) Danish Climax 7 — Masturbation: Film Lab, Denmark, 42 mins, Auspania, Sff-h-g) Danish Climax 9 — Shaved Cunts: Film Lab, Denmark, 24 mins, Auspania, Sff-h-g) Daughters of Emmanuelle: J. River, U.S., 95 mins, Joyfrey Nominees, Sff-h-g) Expensive Tastes: W. Dancer, U.S., 71 mins, Blake Film s, Sff-h-g) Expose Me Now: R. M cBride-J. Sherm an, U.S., 75 mins, Blake Rim s, Sff-h-g) ■ Fantasy: G. D a m ia n o , U .S ., 90 m ins, J o y fre y Nominees, Sff-h-g) Fantasy: G. Damiano, U.S., 90 mins, W .B. and J.E. W athen, Sff-h-g) Female Athletes: L. G ucci, U.S., 83 mins, Video Classics, Sff-h-g) The Girl from S.E.X.: E. G orley, U.S., 80 m ins, Caballero Home Video, Sff-h-g) The Health Spa: W. Emerson, U.S., 70 m ins, Venus Video, Sff-h-g) Huge Bras Vol 1: W estern Visuals, U.S., 60 mins, Venus Video, Sff-h-g) Huge Bras Vol 2: W estern Visuals, U.S., 60 m ins, Venus Video, Sff-h-g) Inspirations: M utt and Sherm an, U.S., 92 m ins, Show­ tim e Video, Sff-h-g)

Bom to Raise Hell: Psychofilm s Inc., U.S., 60 mins, W .B. and J.E. W athen, Ofsexual violence with extreme cruelty)

Week Ending 4 May, 1984 G Abba — In Concert: C. Edman, Britain, 60 mins, Pioneer Electronics

Adam and the Ants Live in Japan: M. M ansfield, Japan, 60 mins, Pioneer Electronics BBC Children’s Entertainment: O. Postgate, Britain, 55 mins, Pioneer Electronics

Bob Mariey and the Wallers: Live at Santa Barbara: W. Phelps, U.S., 64 mins, Pioneer Electronics Bugsy Malone: A. Marshall, Britain, 93 m ins, Pioneer Electronics Bugsy Malone: A. M arshall, Britain, 93 mins, V alley View Video Chariots of Fire: D. Puttnam , Britain, 118 mins, Pioneer Electronics

Cliff Richards and the Shadows: Thank You Very Much: Not shown, Britain, 52 m ins, Pioneer Electronics Colonel Culpepper’s Flying Circus: A. Salm on, U.S., 50 m ins, Pioneer Electronics Conquest of the Earth: G. Larson, U.S., 94 mins, Pioneer Electronics

David Attenborough Presents the BBC Videobook of British Garden Birds: K. Hopkins, Britain, 72 mins, Pioneer Electronics

Delia Smith’s Home Baking: J. Rogers-P. Riding, Britain, 105 m ins, Pioneer Electronics Englebert Humperdinck Live In Las Vegas: D. O ’ Domoran, U.S., 95 mins, Pioneer Electronics Fantastic Voyage: S. David, U.S., 90 m ins, Pioneer Electronics Five Weeks in a Balloon: Hanna-Barbera, U.S., 48 mins, Rigby-CIC Video From the New World: K. Takem oto, U.S., 42 mins, Pioneer Electronics The Great Race: M. Raymond, Australia, 60 mins, Rigby-CIC Video Grover Washington Jr — In Concert: BuschelDelfomer, U.S., 53 mins, Pioneer Electronics Harry Carpenter’s Videobook of Sport: J. Vigar, U.S., 110 mins, Pioneer Electronics Harry Carpenter’s Videobook of Sport, Volume 2: J. Vigar-M. Brock, U.S., 114 mins, Pioneer Electronics Hello Dolly: E. Lehman, U.S., 140 m ins, Pioneer Elec­ tronics The Incredible Hulk: M arvel Comics, U.S., 60 mins, Rigby-CIC Video Jules Verne’s Mystery on Monster Island: J. Piquer Simon, U.S., 100 mins, Pioneer Electronics Joni Mitchell — Shadows and Light: L. Johnson, U.S., 60 mins, Pioneer Electronics Kate Bush Live at the Hammersmith Odeon: Keefco Prods, U.K., 52 mins, Pioneer Electronics The King and I: C. Brackett, U.S., 128 mins, Pioneer Electronics The Little River Band — Live Exposure: Keefco Prods, Britain, 77 mins, Pioneer Electronics The Longest Day: D. Zanuck, U.S., 169 mins, Pioneer Electronics Manhattan Transfer in Concert: K. Ahrlich, U.S., 53 m ins, Pioneer Electronics Ma Vlast — My Fatherland: K. Takem oto, U.S., 73 mins, Pioneer Electronics Melissa Manchester: M. Lippm an, U.S., 59 mins, Pioneer Electronics The Mikado: A. Havelock-Allan-J. Brabourne, Britain, 112 m ins, Pioneer Electronics Mr Smith’s Rower Garden: B. Davies, Britain, 109 mins, Pioneer Electronics Mr Smith’s Indoor Garden: B. Davies, Britain, 110 mins, Pioneer Electronics Mr Smith’s Vegetable Garden: B. Davies, Britain, 109 mins, Pioneer Electronics No Nukes — The Muse Concert: D. Goldberg-J. Schlossberg, U.S., 103 mins, Pioneer E lectronics Nutcracker: H. Krawitz, U.S., 90 m ins, Pioneer Elec­ tronics Paul Simon: M. Tanmen-P. Ram one, U.S., 53 mins, Pioneer Electronics

108 mins, Pioneer Electronics

Play Tennis with Derek Horwood: P. Ramsden, Britain, 100 mins, Pioneer Electronics

The Queen’s Birthday Parade: I. Sm ith/M . Begg, Britain, 88 mins, Pioneer Electronics Queen: The Greatest Flix: EMI M usic, Britain, 60 mins, Pioneer Electronics Race for Your Life Charlies Brown: L. M endelson-W .

M elendez, U.S., 74 mins, Pioneer Electronics The Riddle of the Sands: R ank O rganisation, Britain, 102 mins, Pioneer Electronics Rostropovich: Not shown, Britain, 60 m ins, Pioneer Electronics The Royal Wedding: M. Lum ley, Britain, 114 m ins, Pioneer Electronics Sea Power: J. Dekker-W . Jones, Britain, 109 mins, Pioneer Electronics Shane: G. Stevens, U.S., 117 mins, Rigby-CIC Video Simon and Garfunkel: Concert in Central Park: J. Signorelli, U.S., 87 mins, Pioneer Electronics Sky at Westminster Abbey: M. Lewis, Britain, 86 mins, Pioneer Electronics The Sound of Music: R. W ise, U.S., 167 mins, Pioneer Electronics The Story of English Furniture: R. Drake-P. Sm ith, Britain, 215 mins, Pioneer Electronics Tarka the Otter: Tor Films, Britain, 91 mins, Pioneer Electronics Those Magnificent Men In Their Flying Machines: S. M argulies, Britain, 127 m ins, Pioneer Electronics Toyah at the Rainbow: A. Edwards-J. Craig, Britain, 55 mins, Pioneer Electronics Training Dogs the Woodhouse Way: P. Riding, Britain, 104 mins, Pioneer Electronics Treasures of the British Crown: M. Gill, Britain, 100 mins, Pioneer Electronics Tropical High Noon: Not shown, Japan, 56 mins, Pioneer Electronics

PG Beneath the Planet of the Apes: A. Jacobs, U.S., 91 mins, Pioneer Electronics’ Breaking Away: P. Yates, U.S., 96 mins, Pioneer Elec­ tronics, Lfi-l-g), Vfi-l-g) Buck Rogers in the 25th Century: R. Caffey-L. Stevens, U.S., 89 mins, Pioneer Electronics, Vfi-m-g) Butch Cassidy and Sundance Kid: J. Forem an, U.S., 106 mins, Pioneer Electronics, Vfi-l-g) The Cannonball Run: A. Rudd, 100 mins, Pioneer Elec­ tronics, Vfi-l-j) The Chairman: M. Abraham s, U.S., 94 m ins, CBS-Fox Video, Vfi-l-j), Sfi-l-j) The Culpepper Cattle Company: P. H elm ick, U.S., 92 mins, Pioneer Electronics, Vff-m-g) The Electric Horseman: R. Stark, U.S., 120 mins, Pioneer Electronics Elephant Parts: K. Nesm ith, U.S., 60 mins, Pioneer Electronics, Ofadult concepts) The Enemy Below: D. Powell, U.S., 98 mins, Pioneer Electronics Heaven Can Walt: W. Beatty, U.S., 101 m ins, Pioneer Electronics, L(i-m-g) High Anxiety: M. Brooks, U.S., 94 m ins, Pioneer Elec­ tronics, Ofadult concepts) The Ipcress Rie: S. Furie, Britain, 108 mins, Pioneer Electronics Kagemusha: Kurosawa-Tanaka, Japan, 153 m ins, Pioneer Electronics, Vfi-l-j) Nine to Five: B. Gilbert, U.S., 110 m ins, Pioneer Elec­ tronics, Lfi-l-j) Oh Heavenfy Dog: J. Camp, U .S.-Britain, 101 mins, Pioneer Electronics, L(i-l-g), Ofsexual innuendo) Patton: F. M cCarthy, U.S., 164 m ins, Pioneer Elec­ tronics, Vfi-m-g) Planet or the Apes: APJAC Prods, U.S., 108 m ins, Pakenham Video Library The Poseidon Adventure: I. Allen, U.S., 113 mins, Pioneer Electronics, Lfi-l-g), Vfi-l-g) R ough C ut: D. M errick, Britain, 108 m ins, Pioneer Elec­ tronics, Ofsexual Innuendo) Star Wars: G. Kurtz, U.S., 116 m ins, Pioneer Elec­ tronics, Vfi-l-j) The Thirty-nine Steps: Rank R im s, Britain, 78 mins, Pioneer Electronics The Undefeated: R. Jacks, U.S., 114 mins, Pioneer Electronics

M Alien: G. Carroll-D. Giles-W . Hill, U.S., 117 m ins, Pioneer Electronics, Vfi-m-g) All that Jazz: R. Arthur, U.S., 118 m ins, Pakenham Video Library, Ofadult concepts) All th a t Jazz: R. Arthur, U.S., 118 m ins, Pioneer Elec­ tronics, Ofadult concepts) An American Werewolf in London: G. Folsey, Britain, 93 mins, Pioneer Electronics, Sfi-m-g), Vfi-m-j) Back Roads: R. Shedlo, U.S., 94 m ins, Pakenham Video Library, Lfi-m-j), Ofadult concepts) Being There: A. Braunsberg, U.S., 121 m ins, Pioneer Electronics, Sfi-m-j) The Blue Max: t . W illiam s, U .S.-lreland, 110 m ins, Pioneer Electronics, Vff-l-g), Sfi-l-g) The Boston Strangler: R. Fryer, U.S., 110 mins, Pioneer Electronics, Ofadult concepts), Vfi-m-g) Brubaker: E. Mann, U.S., 125 m ins, Pioneer Elec­ tronics, Vfi-m-j), L(f-m-j) City on Fire: C. Heroux, Canada, 103 m ins, Pioneer Electronics, Vfi-m-g) Damien Omen II: H. Bernhard, U.S., 103 m ins, Paken­ ham Video Library, Vff-m-g) Damien Omen II: H. Bernhard, U.S., 103 mins, Pioneer Electronics, Vff-m-g) Deadly Blessing: M. Keller-P. Herskovic, U.S., 98 mins, Pioneer Electronics, Vff-m-g) Death Valley: E. Kastner, U.S., 86 m ins, Pioneer Elec­ tronics, Vfi-m-g) Dirty Mary, Crazy Larry: N. Herm an, U.S., 89 mins, Pioneer Electronics, Vff-m-g) The Duchess and the Dirtwater Fox: M. Frank, U.S., 100 m ins, P ionee r E lectron ics, Lff-l-g), Ofsexual allusions) Emperor of the North: S. Hough, U.S., 120 m ins, Pioneer Electronics, Vff-m-g) The French Connection: P. D ’Antoni, U.S., 100 m ins, Pioneer Electronics, Vff-m-g) French Connection II: R. Rosen, U.S., 112 mins, Pioneer Electronics, Vfi-m-g) Hands o f the Ripper: Ham m er Film s, Britain, 85 mins, Pioneer Electronics, Vfi-m-g) 1. Code reasons unavailable for films originally classi­ fied before 1972.

CINEMA PAPERS December — 469

Film Censorship Listings

History of the W orld, Part 1 : M. Brooks, U.S., 89 mins, Pakenham Video Library, L (i-m -g ), 0 ( a d u lt c o n c e p ts ) History of the World, Part 1 : M. Brooks, U.S., 89 mins, Pioneer Electronics, L (i-m -g ), 0 ( a d u lt c o n c e p ts ) Kids Are Alright — The Who: W. Curbishley, Britain, 97 mins, Pioneer Electronics, S (i-m -g ) Kremlin Letter: C. De Haven-S. W iesenthal, U.S., 116 mins, Pioneer Electronics, V (f-m -g ), 0 ( s e x u a l a llu s io n s )

Lassiter (35 mm): A. Ruddy, U.S., 2660.71 m, Road­ show Home Video, S (i- l-g ), V (i-m -j) Laura: S. Laski, France, 90 mins, Pakenham Video Library, 0 ( n u d it y , s e x u a l a llu s io n s ', Love at First Bite: J. Freeman, U.S., 93 mins, Pioneer Electronics, 0 ( a d u lt c o n c e p ts ) M *A *S *H : I. Preminger, U.S., 111 mins, Pioneer Elec­ tronics, 0 ( a d u lt c o n c e p t s ) McVicar: R. Baird-W. Curbishley-R. Daltrey, Britain, 109 mins, Pioneer Electronics, V (l-m -g ), S (i-m -g ) The Odd Angry Shot: S. M illiken-T. Jeffrey, Australia, 92 mins, Pakenham Video Library, V (i-m -g ), S (i-m -g ) 100 Rifles: M. Schwartz, U.S., 105 mins, Pioneer Elec­ tronics, V (f-m -j) Race with the Devil: W. Bishop, U.S., 84 mins, Pioneer Electronics, V (i-m -g ) The Rose: M. W orth-A. Russo, U.S., 128 mins, Paken­ ham Video Library, L (i-m -g ), S (i-m -g ), 0 ( d r u g r e fe r e n c e s ) The Rose: M. Worth-A. Russo, U.S., 128 mins, Pioneer Electronics, L (i-m -g ), S (i- m -g ), 0 ( d r u g r e fe r e n c e s ) The Seven Ups: P. D’Antoni, U.S., 99 mins, Pioneer Electronics, V (f-m -g ) Silver Streak: T. Miller-E. Mikis, U.S., 108 mins, Pioneer Electronics, V (i-m -g ), 0 ( s e x u a l in n u e n d o ) Sisters: E. Pressman, U.S., 90 mins, Pioneer Elec­ tronics, V (i-m -g ) Skyriders: T. Morse, U.S., 90 mins, Pioneer Elec­ tronics, V (f-m -g ) An Unmarried Woman: P, Mazursky-A. Ray, 119 mins, Pioneer Electronics, S (i- m -j) , 0 { s e x u a l r e fe r e n c e s ) The W ild Geese: E. Lloyd, Britain, 129 mins, Pioneer Electronics, V (i-m -g )

Ft After School Girls: J. Gottlieb, W. Germany, 83 mins, Pakenham Video Library, S (f-m - g ) Apocalypse Now: F. Coppola, U.S., 148 mins, Paken­ ham Video Library, V (f-m -g ) Bedroom Mazurka: F. Henriksen, Denmark, 92 mins, Pakenham Video Library, S (f-m -g ) Bilitis: S. Tabet, France, 96 mins, Pakenham Video Library, S (f-m - g ) Bloodbeat: H. Boley-H. Zarphiratos, Canada, 85 mins, Thorn EMI Video, S (i- m -g ), V (i-m -g ) Chatter-Box: B. Curtis, U.S., 74 mins, Pakenham Video Library, S (f-m - g ) Class of 1984: A. Kent, U.S., 98 mins, Pakenham Video Library, V (f-m -g ) Cruising: J. W eintraub, U.S., 99 mins, Pioneer Elec­ tronics, S (i- m -g ), V (i-m -g ), L (i-m -g ) Death Hunt: M. Shostak, U.S., 97 mins, Pioneer Elec­ tronics, V (f-m -g ) The Deer Hunter: B. Spikings-M . Deely, U.S., 176 mins, Pakenham Video Library, V (f-m -g ) Drum: R. Serpe, U.S., 98 mins, Pakenham Video Library, V (f-m -g ) Emmanuelle: J. Chagrin, France, 86 mins, Pakenham Video Library, S (f-m - g )

Brian McKenzie Continued fro m p. 411 think I get quite as frustrated, quite as unhappy. Unless you are happy doing something, there is no point in doing it. But in the past few months I have become frazzled and harder to live with. I have been denying the things that I cherish because I have been doing most of the film by myself and it has just got a bit too much. But, on the other hand, I am fairly lucky to be able to make films and to have a group of people who are relatively supportive yet not so professional that they have to be back stabbing.

Like everyone else, I am sucked into consumer goods and pro­ cessed foods and eating in restaurants and driving cars and buying petrol, which means I have to have money. So, somehow I either have to be paid for the films, or go and work away from film, which I did for a long time.

Brian McKenzie

Emmanuelle 2: Y. Rousset-Rouard, France, 87 mins, Pakenham Video Library, S (f-m -g ) Frank and I: W. Dodd, Britain, 80 mins, Hoyts Inter­ national, S (f-m -g ) Frightmare: P. W alker, Britain, 83 mins, Pakenham Video Library, O (h o rro r) The Fruit is Ripe: E. Tomek, W. Germany, 93 mins, Pioneer Electronics, S (f-m -g ) The Fruit is Ripe: E. Tomek, W. Germany, 93 mins, Pakenham Video Library, S (f-m -g ) The Fury: F. Yablans, U.S., 114 mins, Pioneer Elec­ tronics, V (f-m -g ) The Fury: F. Yablans, U.S., 114 mins, Pakenham Video Library, V (f-m -g ) Goodbye Emmanuelle: Y. Rousset-Rouard, France, 95 mins, Pakenham Video Library, S (f-m -g ) Halloween II: D. Hill-J. Carpenter, U.S., 91 mins, Pakenham Video Library, V (f-m -g ) High Plains Drifter: R. Daley, U.S., 105 mins, Paken­ ham Video Library, V (f-m -g ) Horror Hospital: R. Gordon, U.S., 90 mins, Pakenham Video Library, V (f-m -g ) Kill Squad: P. Donohue, U.S., 82 mins, Pakenham Video Library, V (f-m -g ) The Last American Virgin: M. Golan-Y. Globus, U.S., 92 mins, Pakenham Video Library, S (i-m -g ), L (i-m -g ) The Last of the Knucklemen: T. Burstall, Australia, 92 mins, Pakenham Video Library, L (f-m -g ), V (i-m -g ), S (i-m -g ) ' .

Looking for Mr Goodbar: F. Fields, U.S., 136 mins, Pakenham Video Library, 0 ( d r u g a b u s e ) Mad Max: B. Kennedy, Australia, 91 mins, Pakenham Video Library, V (f-m -g ) Man to Maiden: K. Vore, U.S., 75 mins, W.B. and J.E. Wathen, 0 ( b o n d a g e ) Matinee Hookers: R. Leigh, U.S., 88 mins, Pakenham Video Library, S (f-m -g ) Midnight Express: A. Marshall-D. Puttnam, Britain, 116 mins, Pakenham Video Library, V (i-m -g ), 0 ( d r u g abuse)

Montenegro: B. Johnson, Sweden-Britain, 95 mins, Pakenham Video Library, S (i-m -g ) The Never Dead: D. Coscarelli, U.S., 89 mins, Paken­ ham Video Library, V (f-m -g ) Nightmares: J. Lamond-C. Eggleston, Australia, 82 mins, Pakenham Video Library, S (i-m -g ), V (f-m -g ) The Nine Lives of Fritz the Cat: S. Krantz, U.S., 78 mins, Pakenham Video Library, 0 ( a d u lt c a r to o n e x p lo itin g s e x a n d v io le n c e )

The Omen: H. Bernard, U.S., 106 mins, Pioneer Elec­ tronics, V (f-m -g ) The Omen: H. Bernard, U.S., 106 mins, Pakenham Video Library, V (f-m -g ) The Panic in Needle Park: D. Dunne, U.S., 106 mins, Pakenham Video Library Panorama Blue: R. Éllm an, U.S., 86 mins, Video Classics, S (f-m -g ) Porky’s: D. Carmody-R. Clark, U.S., 94 mins, Paken­ ham video Library, L (f-m - g ) , S (i-m -g ) Private Nurse: La Persane Prods, France, 80 mins, Pakenham Video Library, S (f-m -g ) Quadrophenia: R. Baird-W . C urbishley, Britain, 113 mins, Pioneer Electronics, V (i-m -j), L (f-m - j)t 0 ( d r u g abuse)

Rabid: J. Dunning, U.S., 88 mins, Pakenham Video Library, V (f-m -g ) Scanners: C. Heroux, Canada, 103 mins, Pioneer Elec­ tronics, V (f-m -g )

family necessarily helps, from the point of view of having a better perspective. But you should some­ how be involved in the nuts and bolts of life if you are going to make films about life. If you are not going to make films about life, you can’t make films about any­ thing else, can you? That is what is wrong with contemporary film­ making as art or as a facility for working through ideas. People become so involved with the industry, with the sense of profes­ sionalism, and the pushiness and operating to get money, that they lose anything that they might have initially had anyway. I went to see a season of Wim Wenders films. It is very interesting because he has obviously become that way. But at least he is turning it back on him­ self and examining what he is doing as a filmmaker and looking at what he has lost.1

Many people are totally obsessive about film and filmmaking: they live, eat and breathe it every waking moment. Do you think that is a good way to be?

In Australia, there are so many terrible features being made, usually about macho guys rushing around, being gangsters or car drivers, being brutal to each other and in their personal relationships.

It is partly to do with the life-style of the people making those films: they haven’t the time to explore

I am lucky in that I have been much more involved in other areas. I don’t think having a

1. See “Wim Wenders: An American Saga” , Rod Bishop and Tom Ryan, Cinema Papers, No. 47, pp. 224-29.

470 — December CINEMA PAPERS

Smokey Bites the Dust: Roger Caram Prods, U.S., 86 mins, Pakenham Video Library, V (f-m -g ) The Story of O: J. Jaeckin, France, 94 mins, Pakenham Video Library, S (f-m -g ) Strawdogs: D. Melnlck, Britain, 118 mins, Pakenham Video Library, V (f-m -g ) 10 to Midnight: M. Golan-Y. Globus, U.S., 101 mins, Pakenham Video Library, V (f-m -g ) Up in Smoke: L. Adler-L. Lombardo, U.S., 86 mins, Pakenham Video Library, 0 ( d r u g a b u s e ) The Warriors: L. Gordon, U.S., 90 mins, Pakenham Video Library, V (f-m -g )

Adventures of Mark Noll: S. Keen, U.S., 90 mins, W.B. and J.E. Wathen, S (f-h -g ) Age Tendre et Sexes Droits: J. Cadinot, France, 60 mins, W.B. and J.E. Wathen, S (f-h -g ) All about X: M. Miller, U.S., 59 mins, 14th Mandolin, S (f-h -g )

All American Boys: W. Stevens, U.S., 90 mins, W.B. and J.E. Wathen, S (f-h -g ) American Desire: L. Braun, U.S., 80 mins, W.B. and J.E. Wathen, S (f-h -g ) Aunt Peg Goes Hollywood: Caballero, U.S., 80 mins, Caballero Home Video, S (f-h -g ) Baby Face: A. De Renzy, U.S., 102 mins, W.B. and J.E. Wathen, S (f-h -g ) Baylon Blues: M. Dejou, U.S., 88 mins, Video Classics, S (f-h -g )

The Baby Sitter: G. Carey, U.S., 60 mins, W.B. and J.E. Wathen, S (f-h -g ) Beauty: W. Evans, U.S., 90 mins, W.B. and J.E. Wathen, S (f-h -g ) The Big E: Not shown, Not shown, 60 mins, Auspania, S (f-h -g )

A Bit Too Much Too Soon: M. Joseph, U.S., 75 mins, Videoforce, S (f-h -g ) The Blonde: Lewis Brothers, U.S., 73 mins, Videoforce, S (f-h -g )

Blonde Goddess: R. Bouchard, U.S., 90 mins, Video Classics, S (f-h -g ) The Brig: Texas Joe, U.S., 86 mins, W .B. and J.E. Wathen, S (f-h -g ) The Brig: Texas Joe, U.S., 86 mins, City East Newsagency, S (f-h -g ) Brother Load: W. Higgins, U.S., 90 mins, W .B. and J.E. Wathen, S (f-h -g ) Charmants cousins: J. Cadinot, France, 60 mins, W .B. and J.E. Wathen, S (f-h -g ) China De Sade: A. Linn-K. M ontgomery, U.S., 77 mins, Auspania, S (f-h -g ) China De Sade: A. Linn-K. M ontgomery, U.S., 60 mins, W.B. and J.E. W athen, S (f-h -g ) China Lust: S. Lee, U.S., 60 mins, W.B. and J.E. Wathen, S (f-h -g ) China Lust: S. Lee, U.S., 60 mins, Auspania, S (f-h -g ) The Class of ’84 Part 2: W. Higgins, U.S., 90 mins, W.B. and J.E. Wathen, S (f-h -g ) Colour Climax 331: Not shown, W. Germany, 270 mins, Auspania, S (f-h -g ) Danish Climax 1 — Handfuckers/Teenage Orgy: Not shown, Denmark, 30 mins, Auspania, S (f-h -g ) Das grosse pissen (Pissgirls): C.D. Film, W. Germany, 26 mins, Auspania, S (f-h -g ) Der hauptmann von Mosenflick: Pleasure Tape, W. Germany, 60 mins, W.B. and J.E. W athen, S (f-h -g )

themselves or how they feel about people. They like the quick thrills you get in a car chase or when you try to shoot somebody. One’s life­ style as a filmmaker is reflected in the sorts of subjects one chooses to deal with . . .

It is also that they become so remote and removed from reality.

As the material gets weaker and weaker, it gets faster and more sense-stimulating, and there is nothing there in the end. They have nothing to say because they are too afraid to tackle anything; they have no real understanding of what is happening around them.

I have always been concerned with what you might call the underlying morality of modern life and the underlying contradictions, how the juggernaut is moving ridi­ culously towards self-destruction and no one seems to be able to see it.

Do you think “ I’ll Be Home For Christmas” is about that?

No, it is about the implications.

I hope it confronts people, if they bother to think about it, with the idea that we are going the wrong way to a massive degree and that we should be totally rethinking it.

The greatest effect it may have is to improve people’s attitudes towards people whom they perceive to be

Der hauptmann von Mosenflick: Pleasure Tape, W. Germany, 60 mins, Auspania, S (f-h -g ) Dial a Guy: J. Currey, Britain, 60 mins, W .B. and J.E. Wathen, S (f-h -g ) Die Boys von St Tropez: J. Cadinot, W. Germany, 30 mins, W .B. and J.E. W athen, S (f-h -g ) Dirty Western: M. Darrin, U.S., 69 mins, W.B. and J.E. Wathen, S (f-h -g ) 800 Fantasy Lane: Suet, U.S., 77 mins, W .B. and J.E. Wathen, S (f-h -g ) E Otic French Fantasies: J. Glick, W. Germany, 75 mins, W .B. and J.E. W athen, S (f-h -g ) Falcon Pac 30: Falcon, U.S., 75 mins, W .B. and J.E. Wathen, S (f-h -g ) Finishing School: Not shown, U.S., 60 mins, W.B. and J.E. Wathen, S (f-h -g ) A G irl’s Best Friend: R. Sumner, U.S., 84 mins, Video Classics, S (f-h -g ) His Little Brother: Not shown, U.S., 60 mins, Caulfield Sauna, S (f-h -g ) ^ Hollywood Confidential — Vol. 4, Groupies Galore: Not shown, U.S., 71 mins, VIP Video Cinema, S (f-h -g ) Honeymoon Haven: C. Stevens, U.S., 86 mins, Video Classics, S (f-h -g ) Jeff Noll’s Buddies: W. Stevens, U.S., 60 mins, W.B. and J.E. Wathen, S (f-h -g ) Just Blonds: J. Deveux, U.S., 60 mins, W .B. and J.E. Wathen, S (f-h -g ) A Lacey Affair: R.H.F. Film Prods, U.S., 84 mins, Auspania, S (f-h -g ) Le chantier: A. Dark-K. Forrest, France, 30 mins, W.B. and J.E. Wathen, S (f-h -g ) Les hommes preferent les hommes: A. Dark, France, 30 mins, W.B. and J.E. W athen, S (f-h -g ) Locker Jocks: W. Stevens, U.S., 60 mins, W .B. and J.E. W athen, S (f-h -g ) Lust Weekend: G ourmet Video, U.S., 60 mins, W.B. and J.E. Wathen, S (f-h -g ) Lust W eekend: Gourmet Video, U.S., 60 mins, Auspania, S (f-h -g ) _ M andy’s Executive Sweet: C. Mathews, U.S., 73 mins, Venus Video, S (f-h -g ) Nachtprogram: C.D. Video, W. Germany, 24 mins, Auspania, S (f-h -g ), 0 ( b o n d a g e ) Network Sex: Gourmet Video, U.S., 60 mins, W .B. and J.E. Wathen, S (f-h -g ) Network Sex: G ourmet Video, U.S., 44 mins, Auspania, S (f-h -g )

Opposites Attract: W. Stevens, U.S., 60 mins, W.B. and J.E. Wathen, S (f-h -g ) Party Girl: Gourmet Video, U.S., 60 mins, W .B. and J.E. Wathen, S (f-h -g ) Party Girl: G ourmet Video, U.S., 42 mins, Auspania, S (f-h -g )

Pool Service: G ourmet Video, U.S., 60 mins, Auspania, S (f-h -g )

Pom o Vision: Film Lab, Denmark, 50 mins, Auspania, S (f-h -g )

Rodox Video 377: Not shown, Denmark, 60 mins, W .B. and J.E. Wathen, S (f-h -g ) Rolls Royce Volum e II: P.R. Prods, U.S., 60 mins, Auspania, S (f-h -g ) Rolls Royce Volume III: P.R. Prods, U.S., 60 mins, Auspania, S (f-h -g ) Rolls Royce Volume IV: P.R. Prods, U.S., 60 mins, Auspania, S (f-h -g )

Concluded on p. 476

maladjusted, on the fringe ot society or failures. Every time they see them, they will think about them a bit more. I just hope that it will have some sort of attitudinal effect on people.

Do you think films can effect change?

I think that they do. They filter through eventually. If a film is strong enough and perceptive enough then it always has a chance to change things. Sometimes, if it is a body of work it effects change.

But that is not what drives me. I have a sense of doing something well and filmmaking is probably the only thing that I have ever really done very well. So for me it is more the process — the ideas and the expression — than the doing of it that keeps me going.

Afterword Brian McKenzie is one of three filmmakers who, during 1984, were granted an Australian Film Commission Documentary Fellow­ ship. In October this year, Mc­ Kenzie began shooting and has completed The Last Day’s Work, a feature documentary about the way in which work has been created and constructed in our society. ★

Angela Punch McGregor

Angela Punch McGregor Continued from p. 421

he exists on. He very much prides himself on being the Frenchman of Hollywood. He is a perfect gentle­ man, but very isolated and very shy. Unfortunately, I didn’t get to talk with him that much about his life and career.

The funniest day was our bed scene. We were both embarrassed.

I said, “ Do you think of the money on these days?” and he said, “ Come on, Baby, I am a French lover.”

What do you think of your per­ formance in that film?

I don’t think of it much at all. I was miscast.

Jane Campion

of acting but also of our films in general.

Now, I have come to the reverse opinion. Because I have lived over­ seas I have realized that it is the Australian idiom and idiosyncracies which are fascinating Americans and the rest of the world. It is the film and its content which is attracting attention, not who is in it.

As film actors, we have reached an international standard whereby we stand on our own and are in demand overseas. The investors have to learn that, and it must be impressed upon them that Vanessa Redgrave in an Australian film will not sell it overseas: it will sell because of its content and Austra­ lian style.1 Would you like to see any overseas actors working in this country?

No. Considering that you have been in an Australian film with a foreign actor and in an overseas film, what is your opinion on the Actor’s Equity stand of limiting foreign actors into this country?

I have come full circle on this issue. Six years ago, I thought that the good international stars should be imported, because I thought that we could learn a lot from them and improve the standard not only

Jane Campion Continued from p. 435 anyone who was going to feel like that. She ended up with a consola­ tion part instead.

There is a very unexpected humor in it. All of a sudden it takes these lovely digressions. What one has been absorbing as social realism becomes very baroque . . .

But you are in f&vor of Australian actors and directors going over­ seas? How do you reconcile the two?

I come from a certain back­ ground, in as much as my father is a theatre director and m^ mother is an actress. It is loathsome to go and do exactly what your parents did, so I avoided it for a long time.

But I have always been interested in acting, always read a lot of scripts and plays at home to my­ self, and always gone to the theatre and thought about performance.

So I knew a bit about performance and film was probably my favorite medium anyway. I am also a girl and I thought that if very clever, ambitious boys do this stuff, then why shouldn’t girls? It sounds corny, but I really did think like that.

industries. If we import a lot of overseas actors into our country it is a threat because of numbers more than anything.

I don’t think the Australian con­ tingent overseas is really any threat to the American or British film

Finally, what has been your favor­ ite role?

1. R e d g r a v e w a s t h e f ilm m a k e r s ’ firs t c h o ic e f o r t h e r o le o f J e s s ic a in Annie’s Coming Out, b u t E q u ity r e f u s e d .

Jessica in Annie’s Coming Out. It is my best performance so far and the most interesting.

I had a very low opinion of what sort of career potential I had as a person, anyway. The idea that I had never admitted to myself con­ sciously was finding a husband whom I respected and whose work I thought was wonderful. Until I went to art school in Sydney, I was undirected, mostly because I was confused about a woman’s role. I am quite directed now but it has made me very sympathetic to women who are still looking for a career. I can understand being in that situation.

Yes, I am a great digressor!

Why did the obsession with rela­ tionships manifest itself in a visual way on film rather than by your writing it down?

Christina (Angela Punch McGregor) and Peter (Louis Jourdan) in Brian Kavanagh’s Double Deal.

When did you realize that that was a problem?

potential. I started to give it a chance and it became really exciting. And it has been hard to stop working ever since.

Do you want to continue writing?

Not particularly. I like it if I have an idea I am excited by, but I find it difficult. I have a lot of ideas but it is a real art to tease those ideas out well. I hate to see things done badly. I worked with Gerard on Passionless Moments.

The tone of that is much more sophisticated than anything I have written.

Did he write and you direct?

When all my boyfriends ran out.

There was nobody and I was by myself. I realized I could no longer attach myself to someone else and be just that: an attachment. So I said, “ Okay, I’ll have a go my­ self.” And I suddenly felt this incredible new interest in life and this great excitement. I was going to dare to make mistakes, I was going to dare to put myself on the line. I started doing these crude, pornographic paintings, kind of funny as well as being pretty awful, but nobody told me off. I was working like a demon 12 hours a day and slowly they became more sophisticated. But it really was the first raw gesture, the first clues that I was starting to say anything I felt like saying. And once I got the work done, I began to see my

We thought up most of the scenes together and he wrote the narration. We thought it was im­ portant that only one person write it, to maintain the tone. We actu­ ally directed it together. It was a simple, little collaborative film to make, with five or six people in the crew.

H ow im portant reaction to you?

is

audience

I find the audience terrifying, actually! It is the making of the film that is important; the feeling that I have pulled it through and I am satisfied with it. I figure I am harder than most people to satisfy.

If I think I have done as good a job as I can, that is my satisfaction. I

Filmography 1978 1978 1980 1981 1982 1982 1983 1984

The Chant of Jimmie Blacksmith Newsfront The Island The Survivor Best of Friends We of the Never Never Double Deal Annie’s Coming Out ^

hope an audience gets something out of it; everybody does, but I can’t control it. If people see the film and like it, I feel grateful, but in a way I wish it weren’t up there and I could just go on and make the next film.

Your films have already theatrical distribution . . .

had

Yes, through the Dendy Cinema in Sydney. Barbara Grummels has been very supportive. It is very encouraging to think that an independent exhibitor like her takes the trouble to support short films when there is really nothing in it for her economically.

What are the other films you want to do?

The idea I would like to do next has to do with everything I feel about being a New Zealander in New Zealand and being an expatri­ ate New Zealander going back. It has to do with concealment and why families are separated, and with the first bad or dishonest moves in terms of the settling of New Zealand which have never been acknowledged. I will prob­ ably be working with John May­ nard, who produced Vigil. I want to keep living adventures. I am really only ambitious as far as the next idea. I would like to think that that will one day be a feature, but who knows. ★ CINEMA PAPERS December — 471

We of the Never Never

We o f the N ever N ever

Continued from p. 424 Jeannie, who is tired out after many hours of riding in the wake of the muster from early morning till the piercing heat of midday. She dismounts and stops to rest beneath the shade of a tree. An enraged bull bursts out of the scrub. It pauses at the edge of the clearing, facing Jeannie, pawing the ground and throwing up dust in its anger. Aeneas notices the danger and calls out: “ Jeannie! Get on your horse!” She looks up, jumps to her feet, but her panicked movements frighten her horse away. The only thing she can do is to try to climb the tree. The bull charges. A rifle shot rings out and the beast collapses in its tracks.

Jack quickly reloads his lever-action Winchester and fires again. The bull rolls over and the camera remains on the slain animal as its tensed-up foreleg muscles slowly and jerkily release, in the final phase of death. Jeannie stares. Jack, glancing slightly over his left shoulder, looks in her direction with an air of triumphant mastery. Then he turns away to sheathe his rifle in the saddle holster.

There is a classical configuration to this seg­ ment which is elemental in its simplicity.

However, a question remains: what can be done to integrate the drama of these shots into the narrative style of the film, which is not generally tense and dramatic? The problem is solved very neatly, in fact, because the next sequence shows an Aboriginal stockman mock­ ingly re-enacting the whole incident to the great amusement of the camp lubras and the white station hands. Even Aeneas cannot keep a serious face. Jeannie, in her discomfiture at being made the butt of their derisive jokes, runs

3311680

to her tent, flings herself on to a camp stretcher and bursts into tears.

What could be the reason for her tearful out­ burst? All the evidence the audience has been given about Jeannie’s character suggests that she should have been able to keep control in these circumstances. There are many instances in the early part of the film which illustrate her ability to cope or, at least, to put a brave face on things. One has seen how calmly she faces rough old Mac (Tony Barry), the Bullocky, in their first meeting when he is determined to tell her she wasn’t wanted. One has noted how quickly she manages to adjust to the tiring circumstances of the headlong dash to the Ferguson River and then, after the ducking in the flooded river, without any tears or sullen looks, she is able to joke good humoredly about the experience. The disappointment of the homecoming to a derelict homestead does not produce any great emotional outburst, despite the sudden jolt to her nerves when a door un­ expectedly falls off its hinges at her merest touch. Such trying circumstances at the Elsey are further exacerbated by the Aboriginal maids who desert their jobs, leaving Jeannie to struggle by herself to clean the house and make it liveable.

The evidence continues to pile up to support Jeannie’s strength of character. And so, the question about her burst of tears following the incident with the bull becomes significant.

There can only be one answer, especially if one remembers the three people involved, and the Oedipal triangle that binds them together.

Jeannie’s outburst of weeping can only be a manifestation of hysteria. With this paroxysm of tears, one is confronted by the perplexity of a woman entrapped in the Oedipal web, caught between her husband Aeneas and Jack, the latter fulfilling the function of a symbolic son.

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The hysteric outburst is precipitated because she is forbidden to speak the language of her desire which is directed to the son; this is the force of the Oedipal interdiction on the woman.

And yet, her forbidden desire is there as a sub­ conscious discourse, within the veiled meaning of her conscious speech. “ I might have got you killed” , Jeannie wails as Aeneas tries to com­ fort her in the tent. “ God, I love you. I want to be a good wife.” What is so shocking about this utterance? The meaning behind the veil becomes obvious after a moment’s reflection.

Quite simply, Jeannie wants Aeneas to die.

Jeannie’s hysteria unquestionably opens up the text of the film to an interpretation at the level of repressed sexuality. The repression operates across both cultures represented in the film. The audience knows something about Aboriginal sexuality among the tribes of the Rose River district, very close to the Elsey Station, from the evidence of documented cere­ monial practices. A whole cycle of songs, per­ formed as a part of a fertility rite in a ceremony of ritual defloration and subincision, has been recorded by R. M. Berndt in his book, Love Songs o f Arnhem Land. The ceremony is said to have involved coitus between partners whose union normally is forbidden by incest taboos.

Therefore, the Oedipal interdiction, imposed as an absolute law on whites and blacks alike, becomes more than sexual repression. In its wider dimensions, it becomes political, and encompasses the oppression and exploitation of the station Aboriginals by the whites at Elsey.

This theme, in its raw virulence, obviously would be difficult for the commercial cinema.

It is a pity, however, that a film such as We of the Never Never, which uses an oblique narra­ tive style so masterfully in some of its best moments, was unable to approach the reality of the situation a little more closely. ★

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Kathy Mueller

Kathy Mueller Continued from p. 437 film while real people were living out dramas which were living deaths. I said to her, “ If ever I get the chance, I will make a film about your life, provided you trust me enough.” I thought it would take me years to get my craft together to make a film about her.

The following year, I went to Swinburne and I realized that if ever I were to get my ticket in the industry I would have to make something with impact. So, I thought, bugger it, I wonder if I should try and do it. I asked her if I could do a half-hour version, and she agreed. I spent a lot of time talking and going out in the middle of the night, till 6 in the morning, with guys who were on the verge of suicide. I would go home so depressed that I couldn’t go to school. I sat there, writing about it.

What was your reaction to the reception you had to “ Every Day, Every Night” ?

An international jury voted it the Best Short at the Montreal Film Festival. That was an honor because it meant that the film was not only relevant to Australia, but also recognized internationally.

The issue became important, rather than my film, because my film would be nothing if the issue hadn’t been there.

I have always believed that con­ tent dictates form. I would prob­ ably never make a film like Every Day, Every Night again because the content dictated the way it was made. If people expect me to make another Every Day, Every Night, they’ll be sadly mistaken, because I can’t.

Why did you decide to go to Swin­ burne rather than continue to write and get funding for a film?

Because I wanted to direct it, and before you can direct your own feature you have to have some

experience. One day I will finish writing it and direct it. But I have to get my craft together to do that.

Is that what Swinburne did for you?

Swinburne was a chance for me to find out what I had to offer and find out if I could express myself in film. I realized that film is my medium. I am not articulate verb­ ally, but there is something about the combination of image and sound which expresses how I feel.

So what did Swinburne teach you?

What does any institution teach you? I throw this back only because I left an institution not ever wanting to go to another institution again. I was teaching at the VCA and I had been a student there; I had seen the crisis that creative people go through in an institution. An institution for crea­ tivity is a paradox. If you stay long enough in an institution, any kind of institution, you can lose touch with your instincts because you are so busy trying to learn from ‘experts’. I don’t believe in gurus, though I believe there are people who can inspire you along the way.

So, in terms of what an institu­ tion or what Swinburne as an institution can teach you, it teaches you to rely on yourself. It teaches you to plan ahead, because nobody else is going to plan it for you. For instance, I know Swinburne has massive problems. It is not their fault; they are not getting any money and their equipment is faulty. So, I had to plan to get out­ side equipment. The year gave me the chance to get a bit of money to do the film and encouragement along the way by the staff. They let me do what I wanted, which is what a creative person has to do, but often the teacher-student rela­ tionship doesn’t allow you to do that. And a lot of people who go to Swinburne just don’t make it because they expect to sit there and have someone do it for them.

Did you see that a lot?

Not a lot, because I was too busy doing my own thing. But people have come to me since and said, “ Oh, you were last year at Swin­ burne. How did you manage?” or “ Look, I think it was a bad course” , and I’ll ask “ Why?” They would say, “ The staff don’t have time to listen” and I ask “ Well, have you written your script? Do you know what you want?” And often those people don’t know. For the people who do, the biggest heartache is the equipment falling apart. I found that outrageous.

It would be great if there were better equipment, although it is said it may make people slack. I don’t think it would. If Swinburne had equipment, it would be a fantastic place.

A lot of people have said that a lack of resources forces Swinburne students to be more experimental, more innovative. And that an over-abundance is part of the problem of the films coming out of the Australian Film and Television School . . .

Yes, there is too much gloss.

Well, they are all very technically adept because they don’t have to scratch around and improvise. But they are lacking in terms of crea­ tivity . . .

That is possible. But for some people a three-year course in Sydney is the best thing for them.

It would probably be the worst thing for me in terms of my age, my desires and my sense of inde­ pendence and freedom. I know I could never fit into that structure, and it would kill me; I would cer­ tainly cause havoc there if I tried to get my way.

The battle and the rivalry be­ tween the two film schools is crazy because both are needed. The fact that they are so different is im­ portant. And comparing any two institutions, in terms of what they teach you, is dangerous. The people coming out from a threeyear course in Sydney are probably better equipped in terms of the areas they know about. But it takes a lifetime to learn it fully.

The only thing I think that should be righted is the difference in the standard of equipment. It doesn’t mean that everything at Swinburne has to be brand spank­ ing new, but even its being able to buy more, second-hand equipment would help.

Can you say something about “ Emerging” , the tele-feature you are doing for the ABC?

Spike begs to be p ut out o f the misery o f rage and despair and asks Vera to shoot him.

Every Day, Every Night.

It is about a rebel fighting back; about a victim who says, “ I’m not going to be a victim. I ’m going to win.” When the victims defy and overwhelm the oppressors and become winners, then you cele­

brate life. After having made Every Day, Every Night and that

being accepted, despite its bleak­ ness, I felt I could celebrate life.

There is also a bit of black comedy, which is great. It is gutsy and basically it allows me to direct actors. I think it can be shot very simply.

Do you think directing actors is your forte?

At the moment that is my strength because that is what I know. I could be totally wrong by the time I finish, but I sense that by encouraging people to be mischie­ vous or play up the part, they then realize they can explore it further.

You get a real excitement going and it leaps out on the screen.

How have you coped with working in the structure of the ABC?

I took it slowly because I was very afraid of stepping on toes, of coming in green and seeming to take over. A director is meant to be in control but you have to know what you are dealing with. And the main thing is just taking each crew member on a one-to-one basis, talking through things. Everyone has been very receptive.

Did the ABC come to you and ask you to look at the script or did you go to the ABC?

Years ago I gave them a copy of the outline of a feature I wanted to direct and Chris Muir [head of ABC Television Drama] may have remembered me from then. Then when I was up in Sydney for the GUO awards I ran into Chris. He came down to see my film, and we chatted. I said, “ It’ll probably be a couple of years before I get my craft together but it would be nice to direct something at the ABC.” Then, a couple of months later, there was a phone call from the ABC and they wanted me to go in and read a script, which was Emerging. I had a chat with the producer, and he seemed happy with the way I was talking about what the script meant and how I would like to handle it. Two weeks later he rang and said, “ We would like you to direct the script.” It was great because I feel very strongly about it, and I don’t think you can do good work unless you feel strongly about something.

My biggest nervousness I sup­ pose was that I got work immedi­ ately after coming out of Swin­ burne and other people didn’t. But I wouldn’t have accepted a job at the ABC if I didn’t think I could do it, if I didn’t think I could make something of the script. It is the extension of simply looking at a victim, to watching a victim say, “ I am not going to be a victim” ; seeing the step between the victim and the winner. That is exciting for me. ★ CINEMA PAPERS December — 473

Alain Resnais

Alain Resnais

Yes, there are a lot of rocks . . .

at a rate of 15 per cent a year, in two years 30 per cent, in three years 45 per cent. But the price of a I will answer a little indirectly by ticket cannot follow. If ticket saying that all four were obviously prices followed the inflation curve, extrem ely interested by the seeing a film in France today scenario and by their roles since would cost from 80 to 100 francs9, they made the film as co­ and nobody would go to the producers. They put their fees into cinema anymore. the film. So we are all bound to its Every year the “ bottleneck” is success or failure. What is more, to getting narrower and we have to do this film they refused other make cheaper and cheaper films in roles which were certainly more order to have a chance of recover­ advantageous from a financial ing the initial investment. point of view. It was a sacrifice for them but one they seemed to make You received a ministerial subsidy with joy.

Stone is the dominant matter in the film . . .

So you had difficulty in financing the film?

Continued from p. 399

wouldn’t leave the light in which the characters might have lived.

The presbytery is the real presby­ tery, the church the real church.

Simon’s house is in reality about six km from Uzes.

The landscape is very beautiful, very austere . . .

How did the actors feel about their roles in “ L’amour a mort” ?

It was very difficult. But Gerard Lebovici, who was head of Sopra At what moment during the pre­ Films, was interested in the project paration of the film did you decide and at the outset showed a lot of energy. He managed to get on the location? together the necessary 11 million I always try to find the actors francs, thanks also to producer and the locations as early as poss­ Philippe Dussart, who really liked ible. As soon as there is the embryo the scenario and associated himself of a scenario I try, with the with the venture.

But it is very difficult to make a scenarist, to choose the actors so that the dialogues will be written film in France these days for the knowing who is going to speak simple reason — undoubtedly the them. Then I set off with Florence same in most countries — that the Malraux8 to look for locations. I production costs of a film follow bring back as many photos as poss­ inflation. So, in France, they go up ible to the scenarist so that he can write with the places in mind. I find it more amusing to do it this way.

Yes.

Yes, I got the avance sur recedes (advance on takings) and, this time, the fonds de soutien (special assistance fund). This money, however, is not an outright grant: you have to pay it back.

The advantage of the avance is that it is fresh money from the outset. And, in the case of finan­ cial disaster, you are not pursued by bailiffs to make you pay it back.

Since it is money taken out of box-office sales, a percentage off each ticket, it is considered that it 9. T o see a film in th e best cin em as o n th e C h a m p s E lysées costs a m ax im u m o f 35 fran c s.

How did you work with the actors?

I always enjoy asking the scenarist to write or describe what has happened to the characters during their lives until the moment they appear on the screen, from their birth onwards. That gives us a basis for discussion with the actors for a large part of the dialogues.

I only do this with actors who like to work this way. There are actors who say, “ I don’t want to know anything. I just want to work within myself, privately.”

With these actors I work differ­ ently. But there are actors who want to talk about the motivations of their characters. We try to bring them out sentence by sentence, movement by movement, always seeking agreement, so that every point becomes clear. I think that is what all directors do; there is nothing special about it.

I like to talk with my actors a month or two before shooting, especially to see what lines might give them trouble, to clarify all that as quickly as possible, often taking into account their observa­ tions and re-writing with the scenarist when I feel the need to do so. It is a little like tailoring the roles to fit the actors.

8.

F lo re n ce M a lra u x has been a ssista n t d ire c to r o n m o st o f R e sn a is’ film s since 1961.

474 — December CINEMA PAPERS

should go back into the cinema, to shake it up, to encourage produc­ tion of films that might be thought of as “ difficult” . Producers, in fact the entire cinematographic profession, think that it is a good thing, that it makes it possible for the French cinema to move. There is also the perspective, from the State point of view, that films which can be exported, even if they are commercial failures in them­ selves, undoubtedly encourage the sale of other French products abroad. It is a kind of advertising campaign for the nation.

How did you conceive of the use of the empty screen, sometimes invaded by floating white particles, the only ‘image’ to accompany the music?

I tried to find the image which would distract the spectator least from the music.

The problem was how to leave the spectator as receptive as poss­ ible to the music, to follow it as he would the dramatic action. A black screen would have sufficed but the problem with black is that it is immediately associated with a technical breakdown. So my first preoccupation was to find a way of saying to the spectator, “ No, no.

The film is continuing, stay in your seats and try to listen to the music.”

We thought of the floating part­ icles as a way of making a non­ figurative image. In no way has it a symbolic sense. It is there just so there is something on the screen.

It is not an image of infinity?

Not at all . . . though you could perhaps think of that.

Just last week I was amused to read a critical analysis of Schoen­ berg’s “ Trio” , which I mentioned earlier. It had been written well before the film though I hadn’t read it. It talks about this music evoking the idea of particles in movement; I think it even said “ silvery particles” . That goes to show that certain music, certain experiences, sometimes lead to the same mental images.

In any case, there was no ex­ pressly intended symbolism. And as the film goes along, the spec­ tator gets used to the rhythm, the musical interventions, and I tried to put in fewer and fewer floating particles. There are moments of total blackness, or should I say dark bluish-greyness.

Do you know how audiences have reacted to the structure of the film?

Judith in L 'amour a mort. “ I thought that perhaps we could make a sort o f ‘chamber’film , with just faces, very little dialogue and in which the music would continue the action and dialogues . . . ”

In three ways that I can dis­ tinguish.

There is a category of spectators who are disconcerted by the first musical interventions but, from about the third one, start to feel the progression of the music from

Alain Resnais

this “ joint” , this “ welded joint” with — the music. We had decided on this at the writing stage and while we were filming we were always aware of where the ‘cuts’ would be made. Of course, this modified the actors’ behaviour, their acting.

I saw the film without the music and that produced a kind of un­ easiness. The actors were playing as in an opera comique. We often thought about the scenario as a kind of libretto even though it would not be sung. But we were completely involved in the idea of making a musical film without songs. This obviously influenced the acting, the movements and, of course, the image.

And the way in which the dia­ logues were written . . .

“Elisabeth and Simon are not exceptionable beings . . . They ars not exactly ‘typical’ but neither are they great romantic heroes. That was what interested me: to show that anyone at all can despair. ’’ L ’amour a mort.

Of course. With Gruault we tried to write dialogues in which we eliminated a lot of adjectives, a lot of lyricism, so that they would not have a pleonastic relation with the music. If we had had very literary, ornate dialogues the music would have become a pleonasm. So we tried to be rather sparing with words.

I don’t mean to say that we have succeeded in all this. That would be pretentious. I am just trying to answer your questions by explain­ ing what we tried to do, what direction we wanted to take.

I work for 400,000 to two mil­ lion earthlings. I specify that they are not necessarily French. In fact, I am a filmmaker who depends on the release of my films overseas. A world-wide public is essential to my being able to continue. I can’t say that I am unhappy, ignored or misunderstood, because the audi­ ence is enormous. But I also recog­ nize that for a filmmaker two million spectators is nothing, nothing at all.

You never know how things are going to turn out until the film is released. It is always a big question mark. You know in choosing this profession that it won’t be easy.

Sometimes you receive flowers but there are also a lot of tomatoes.

You have to be prepared for both and persist otherwise you might as well have gone into selling hats! I don’t know why we say that — selling hats can’t be very easy — but that is the expression we use in the entertainment business.

Filmography

a dramatic point of view, the way simply to inhabit the void. In fact, in which the music amplifies and I had used the void to allow the 1959 Hiroshima mon amour (screen­ continues Elisabeth’s anguish and music to be heard. Perhaps I didn’t play by Marguerite Duras) 1961 L’année dernière a Marienbad Simon’s ‘vertigo’ because the manage to introduce successfully (screenplay by Alain Robbe­ music is very constructed. These the first musical elements.

Grillet) spectators participate much more But there is also a problem of 1963 Muriel ou le temps d’un retour violently because of the music. For different musical sensibilities. (screenplay by Jean Cayrol) them, the musical interventions are There are people who completely 1966 La guerre est finie (screenplay by not felt as interruptions, rather as reject music written after 1910, the Jorge Semprun) interludes, preludes or postludes. historical moment when Schoen­ 1967 Loin du Vietnam (in collabora­ The continuity between the action berg in his “ Second Quartet” tion with William Klein, Joris and the music is felt and explored suspended tonality. Since One would think that you have Ivens, Agnès Varda, Claude Lelouch, Jean-Luc Godard. understood. I have received letters then music has separated into succeeded . . .

Screenplay by Jacques Stern­ and telephone calls from these many different streams but a lot of berg) people who declare themselves to people will only listen to 19th Cen­ We will see. I know I have suc­ 1968 Je t’aime, je t’aime (screenplay be quite overwhelmed by the tury music. A 1980s’ sonority can ceeded for the people who have

by Jacques Sternberg) music. upset them. written to me.

1973 L’an 01 (one episode made by A second category fear, at first, The choice of the composer That is the problem with the Resnais, the others by Jaques that the musical interventions are Hans Werner Henze10 was quite cinema. When does success begin?

Doillon and Jean Rouch. Screen­ going to be systematic and then deliberate. The actors were If you are a writer you have suc­ play by Gebe) they start to find these segments familiar with his entire oeuvre and ceeded with five to 10 thousand 1974 Stavisky (screenplay by Jorge Semprun) very restful. They can recall the worked with it, knowing at exactly copies sold. If you are — and this scene they have just seen and what moments the music would is a more pertinent comparison — 1976 Providence (screenplay by David Mercer) ponder over it — a very pleasur­ intervene. a man of the theatre, a playwright, oncle d’Amérique (screen­ Their intonation was certainly then 200,000 spectators is an extra­ 1980 Mon able experience. The interventions play by Jean Gruault) become essential to their viewing modified by the music, knowing ordinary triumph. But for us, even 1983 La vie est un roman (screenplay of the film, moving and, at the that as they pronounced their last with one million or two million

by Jean Gruault) syllable there would be this cut to spectators, we haven’t yet suc­ 1984 L’amour à mort (screenplay by same time, restful.

Then there is a third category — or rather, I would like to say, ceeded. Where does it start?

Jean Gruault) i f who say, “ Oh, what a good film it would be if it weren’t for this 10. Hans Werner Henze also wrote the deafening, cacophonic, primitive music for Resnais’ Muriel ou le temps ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ * * * d’un retour. Here he comments on how and” — the abuse which gave me he structured, with Resnais, the music the greatest pleasure in one news­ for L’amour a mort: paper — “contemporary music.”

Resnais brought me the idea of three movements, related to the film’s ^ This category refuses completely For quality 35 mm sci-fi/adventure/war/car action/feature films — to be ^ structure, intercut, by a series of the construction of the film. shot in Australia and other countries (replies from USA, Europe, Asia, interludes. We linked these move­ etc. welcome, include your phone number). ^ Obviously, I tend to meet people ments to the character of Elisabeth. who liked the film. I have received We are perfectionists and award winners, prepared to go to great lengths The first expresses the happiness of to search out (hence this ad) and where necessary develop products and -k the love shared by Elisabeth and 7 ^ 80 per cent favorable reactions, Simon with, here and there, Simon’s people that are “just right”. We value character (we like quiet, 20 per cent very hostile.

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And the critics’ reactions?

The critics haven’t spoken much about the music.

A lot of critics thought — an in­ evitable misunderstanding as one rarely sees films constructed in this way — that it was the image of the empty screen that I was interested in and that I had used the music

desire to die. Slowly, this desire over­ shadows the music of happiness.

The second movement is an adagio around Elisabeth’s beginning to follow Simon. It is a chant of sorrow and despair.

The third is a slow-structured passa­ caglia, co n tin u ally rep e ate d .

Through its sound, Elisabeth will achieve her desire to reach Simon.

There are no other elements but the music revolves around the couple.

Resnais asked for a small chamber orchestra of six musicians.

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Wanted & Positions Vacant

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knowledgeable, patient, etc., people) more than experience. Write to us if 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

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CINEMA PAPERS December — 475

Film Censorship Listings

Film Censorship Listings Continued from p. 470

A Summer Fantasy: W. Stevens, U.S., 90 mins, W.B. and J.E. Wathen, S(f-h-g) Summer Heat: C. McCabe-J. McCabe, U.S., 60 mins, W.B. and J.E. Wathen, S(f-h-g) Surfer Blue: L. Bronco, U.S., 90 mins, W.B. and J.E. Wathen, S(f-h-g)

Rolls Royce Volume VI: P.R. Prods, U.S., 60 mins, Auspania, S(f-h-g) Roommates: R. East, U.S., 90 mins, W.B. and J.E. Wathen, S(f-h-g) Scouts: Not shown, France, 37 mins, W.B. and J.E. Wathen, S(f-h-g) Sex Show: Pleasure Films, W. Germany, 30 mins, W.B. and J.E. Wathen, S(f-h-g) Sex Show: Pleasure Films, W. Germany, 22 mins, Auspania, S(f-h-g) She Male Encounters Collection 1: Not shown, U.S., 60 mins, W .B. and J.E. Wathen, S(f-h-g) Skin Flicks: G. Damiano, U.S., 81 mins, W.B. and J.E. Wathen, S(f-h-g), 0(moderate sexual violence) Slaves of Mistress Monique: H. Marks-V. Bruno, Britain, 60 mins, Auspania, O(sado-masochism) Sling Parts I & II: Not shown, U.S., 60 mins, W.B. and J.E. Wathen, S(f-h-g) Stop: J. Cadinot, France, 30 mins, W.B. and J.E. Wathen, S(f-h-g) Summer Beach House: G ourmet Video, U.S., 60 mins, Auspania, S(f-h-g) Summer Beach House: Gourmet Video, U.S., 60 mins, W.B. and J.E. Wathen, S(f-h-g)

Wathen, S(f-h-g) eart: R. Holt, U.S., 68 mins, Video Classics, Sweetheart: S(f-h-g) Tad’s Lads: Not shown, U.S., 30 mins, W.B. and J.E. Wathen, S(f-h-g) Teenage Cruisers: M. Margulies-T. Denucci, U.S.,

Sw eatbox: W. Stevens, U.S., 60 mins, W.B. and J.E.

64 mins, W.B. and J.E. Wathen Tendres Adolescents: J. Cadinot, France, 29 mins, W.B. and J.E. Wathen The Therapist: Gourmet Video, U.S., 58 mins, Auspania Tony’s initiation: J. Leo, U.S., 70 mins, W .B. and J.E. Wathen Tower of Love: Gourmet Video, U.S., 60 mins, W.B. and J.E. Wathen Tower of Love: Gourmet Video, U.S., 60 mins, Auspania What a Gay Day: J. Currey, U.S., 60 mins, W .B. and J.E. Wathen Woman’s Fantasies: Not shown, U.S., 60 mins

Refused Classification Nil

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476 — December CINEMA PAPERS

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Rebel.

Producer: Director: D.O.P.:

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