Cinema Papers July 1984

Paul Cox

Alan J. Pakula

Robert Duvall

Razorback

Visual effects production involves a degree of creative problem solving.

But you can’t get started unless you have the hardware.

Like a studio with a motion control camera system, a double-head optical printer, computerised matte scan system for matte paintings and animation, a rotoscope stand, a location camera, rear projection facilities, and a fully equipped workshop for model making and set construction.

No problem. We’ve got all the gear.

Next, visual effects production requires an enormous range of skills and techniques.

A properly set up company should have a specialist in design and mechanical effects like our Tad Pride; a cameraman with extensive miniature and front projection experience, we’ve got Paul Nichola; a model maker and artist with matte painting credits, such as David Pride; a design engineer who’s also an effects cameraman who worked for Lucas Film, how about Mike Bolles; and someone with a knowledge of optical effects and production management, Andrew Mason would do.

Then the visual effects company should have a range of credits that lets you know they know how to do the job.

For instance, The Empire Strikes Back’, ‘Captain Invincible’, ‘Mad Max II’, ‘Razorback’,‘Silver City’, and ‘One Night Stand’.

No problem. That’s us.

Finally, you should be able to draw on all the skills of these people and whatever equipment and techniques are required to produce the visual effects you want to see in your next production.

Problem solved.

Call Mirage on (02) 477 2633

Ifyou want your next sound track to win an Oscar, it makes sense to use the desk that won an Oscar.

So Colorfilm went to Burbank and bought it During its time at The Burbank Studios, the Quad-Eight Dubbing 5 custom re-recording console created a world following.

For its unique development, Quad-Eight was awarded an Academy of Motion Pictures Arts and Sciences Technical Achievement Award.

That was to mark the beginning of this consoles very illustrious career.

During which the Post Production Sound department of The Burbank Studios won an Oscar for

“All The Presidents Men”.

And then went on to receive Academy Award nominations for “Electric Horseman’and also “Tootsie”.

Recently The Burbank Studios decided to put in a larger Quad-Eight machine, so Les McKenzie of Colorfilm quickly snapped up the original.

Given some minor modifications and a re-check

by Quad-Eight, it was then shipped to Australia.

It has now been installed for our Dolby stereo work in Colorfilms main

theatre, already equipped with 23 RCA high speed film transports and a Studer A800 24 track tape recorder.

This now gives Color film s sound department the best high technology re-recording facilities in the South Pacific.

But don’t take only our word for it.

If you have an Oscar contender coming up and you’d like to know more, contact Les McKenzie on: (02) 5161066.

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The Slim Dusty Movie Produced by Kent Chadwick Director Rob Stewart Associate Producer Brian Douglas Director of Photography David Eggby

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ISSN 0311-3639

Articles and Interviews Paul Cox: interview Debi Enker Three Mini-Series: Eureka Stockade, Waterfront and The Boy in the Bush Adrian Martin, John O’Hara, Arnold Zable Russell Mulcahy: interview Jim Schembri Pakula’s Choice: the films of Alan J. Pakula Neil Sinyard Australian Connections: interviews with Robert Duvall and Jeremy Irons Tom Ryan, Margaret Smith The Woman Suffers Merv Wasson Activism towards a National Film Archive Graham Shirley

Film Reviews 122 130 138 144 152 158 161

Features The Quarter Picture Preview: Street Hero XXXII Internationale Filmwoche, Mannheim, 1983 Noel Purdon Film Censorship Listings Production Survey Picture Preview: Bodyline Box-office Grosses

Mini-Series Reviewed: 130

Annie’s Coming Out Dave Sargent Razorback Jim Schembri One Night Stand Geoff Mayer Labour of Love Vikki Riley Stanley Mark Spratt Future Schlock Mark Spratt The Ploughman’s Lunch Dave Watson The Wild Duck Paulo Weinberger Undercover Sue Tate

177 178 178 179 180 181 183 184 185

Book Reviews 120 142 149 164 167 190 192

Razorback Reviewed: 178

Words and Images: Australian Novels into Film Gilbert Coats The Film Year Book: volume two and International Film Guide 1984 Paul Harris Recent Releases Mervyn Binns

Alan J. Pakula An overview: 144

187 187 188

Paul Cox Interviewed: 122

■ Managing editor: Scott Murray. Contributing editors: Tom Ryan, Ian Baillieu, Brian McFarlane, Fred Harden. Sub-editor: Helen Greenwood. Proof-reading: Arthur Salton. Design and layout: Ernie Althoff. Office administration: Patricia Amad. Secretary: Heather Powley.

Advertising: Peggy Nicholls (03) 830 1097 or (03) 329 5983. Printing: Waverley Offset Publishing Group, Geddes St, Mulgrave, 3170. Telephone. (03) 560 5111. Typesetting: B-P Typesetting, 7-17 Geddes St, Mulgrave, 3170. Telephone: (03) 561 2111. Distributors: NSW, Vic., Old, WA, SA: Network Distribution, 54 Park St, Sydney, 2000. Telephone: (02) 264 5011. ACT, Tas.: MTV Publishing Limited. U.S.: T. B. Clarke Overseas Pty Ltd.

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. 46, July 1984.

Founding publishers: Peter Beilby, Scott Murray.

•Recommended price only.

Front cover: Sigrid Thornton and Vince Colosimo in Michael Pattinson’s Street Hero (see p. 142). Photograph by David Simmonds.

CINEMA PAPERS July — 119

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Cannes 1984 At the time of this issue’s going to press, the 1984 Cannes Film Festival had just finished and the first reports were coming back to Australia. Of the 14 new films there under the Australian Film Commis­ sion’s banner, three seem to have made major impacts: Richard Lowenstein’s Strikebound, Gil Brealey’s Annie’s Coming Out and Paul Cox’s Man of Flowers. No Australian film was in the prestigious Competition or the rival Direc­ tors’ Fortnight, but the Cox film was chosen for Un Certain Regard, a side-bar event.

On Tonight with Bert Newton on May 28, Phillip Adams, chairman of the AFC, said, in part: For us it is very important. We have to keep our little old flag flying . . .

We did pretty well. We had three major films we were pushing. A film called Annie’s Coming Out, which is based on the story of Annie, the allegedly grossly retarded kiddie . . . I went to a screening of that and I was very worried afterwards because at the end of the screening [there was] total, terrible silence. I thought, “ They hate it.” Then we realized that everyone was crying . . . That was a big success.

Paul Cox was there with a film called Man of Flowers, which has to be the cheapest film at Cannes. He made it for $350,000. And Paul was very much the toast of the Croisette [the main street in Cannes].

By my favourite film at Cannes this year was [Strikebound] made by a 22-yearold Melbourne boy called Richard Lowenstein, a graduate of Swinburne.

And it is a film based on a mining incident, a strike that took place in Aus­ tralia in the 1930s, based on the memories of two people who are still alive. And here is a kid of 22, who really made a major impact in Cannes, and that’s what I’m really pleased about because we have lost all our older direc­ tors — Beresford, Schepisi, Weir, Gill Armstrong, the two George Millers — all of them are now making films in the States. Good on ’em; making lots of money. But to see a 22-year-old kid out of Melbourne making a major im­ pact . . .

Terence McMahon, director of Film Vic­ toria, also commented on the excellent response to Strikebound in an article he wrote for The Age, published on May 22, 1984. In part he wrote: Victorian films have been received ex­ tremely well at the Cannes Film Festi­ val. Director Paul Cox’s film Man of Flowers was given an overwhelming reception.

There were rowdy scenes as 250 people were turned away from the 1400-seat cinema. At a second screen­ ing the same day, the cinema was filled again and the audience gave the direc­ tor a 10-minute standing ovation . . .

The film opens this week in Paris at three top art house cinemas and in London on June 1. It will be released in the United States later this year.

Strikebound, set for a release in Mel­ bourne in September, has been critic­ ally acclaimed and the film’s 24-year-old director, Richard Lowenstein, has established a reputation among inter­

120 — July CINEMA PAPERS

national film critics with his first feature film. The major French daily Le Matin said in a full page story ‘a very successful film better even than many officially selected works’.

Strikebound has been invited to the critics week at the prestigious Venice Film Festival, one of the biggest festivals for international buyers, and to the Mannheim Film Festival in Germany and the New York Film Festival.

Later this year Lowenstein and Strike­ bound star Chris Haywood will spend two weeks in Japan as guests of the PIA Film Festival in Tokyo.

A full report from Cinema Papers’ repre­ sentative at Cannes, Geoff Gardner, will appear in the next issue.

lllfllilB H IlB B iB II

Short Shrift?

Scott Murray reports: On May 1, 1984, Village Theatres and Hoyts, two of Australia’s three major exhibitors, announced that they were no longer running short films before features in their cinemas. The exceptions to the rule would be Australian shorts of out­ standing merit, which would be advertised with the feature.

For many regular filmgoers the move was greeted with sighs of relief. No longer was there any need to ring the theatre to find out when the feature actually started, a risky business at best.

An added benefit was that filmgoers could, if they wished, now see a film and have dinner on the one evening without feeling they were going through a speed and endurance trial. Sanity seemed to have come to Australian exhibition at last.

Of course, in Europe and in the U.S. shorts before a feature just don’t exist.

A third benefit was a drop in ticket-price.

Not only did one not have to face (or work out how to avoid) a documentary on “ tin mining in the Yukon” (as a Village voice­ over has it), one didn’t have to pay for the privilege.

But while some rejoiced at the no-shorts policy, others were less pleased. As a result of a meeting of the Sydney Film­ makers’ Co-operative on May 8, the Independent Film Lobby Group (IFLG) was formed1. It claimed that it was the pro­ gramming policies of the major distri­ butors and exhibitors which had led to the audience resistance to short films by allowing “ boring shorts” to be screened.

The exhibitors have, claimed the IFLG, been well aware of the large number of independent short films produced in Aus­ tralia but have preferred to screen films for which no payment is required.

The IFLG says it will be approaching Hoyts and Village Roadshow to try to per­ suade them to reconsider their decision and to commit them to the exhibition of independent short films. It also arranged a screening of a short film at the Sydney Film Festival which has been produced to promote awareness of the range of independent short films made but, as yet, unseen in Australia.

While the IFLG’s fight for independent films is commendable, it did get off on the wrong foot by not acknowledging in its first press release that Village had said it would screen “ advertised outstanding 1. The IFLG changed its name in late May to Independent Film and Video Action.

Australian short films” . This oversight rather diminished the force of the group’s argument. The challenge for filmmakers, according to Village, is clear: make out­ standing shorts and we will show them; make boring ones and find someone else.

It is an argument that is hard to fault. This author sees no reason why exhibitors should be forced to show any particular shorts (or features). To do so would be as unacceptable as forcing a newspaper to print articles that favor some vested interest.

Not everyone agrees with this, however.

The Commission of Inquiry into the Dis­ tribution and Exhibition of Australian Films in New South Wales in its Report said: We further RECOMMEND that no other immediate specific action be taken with respect to short films but that if within a two-year period from the date of publication of this Report, sufficient Australian shorts are not shown on Aus­ tralian screens Commonwealth-wide, with an appropriate return to the pro­ ducer, a quota system should be intro­ duced. Having regard to the fact that in 1983 we cannot predict the state of the film industry market in two years time, we RECOMMEND that[,] on the infor­ mation available to date, a quota system should be based on the follow­ ing principle: With every non-Australian feature film, one or more Australian short films shall be exhibited.

This is a view seemingly endorsed by the IFLG. In its first press release, it argued that: The resistance by the Majors to pur­ chasing the theatrical rights of Inde­ pendently produced short films obvi­ ously has a relation to the fact that sponsored documentaries and travel­ ogues are supplied free by advertising companies and embassies, whereas Independent filmmakers have sought payment for the theatrical distribution and exhibition of their films.

In the allocation of the proceeds of exhibition up to five per cent of the net income is earmarked for the short pro­ gram.

However, if the [feature film’s] distri­ butor is paying nothing for the short film that five per cent can be retained by the distributor.

On a film such as E.T., Terms of Endearment or The Right Stuff five per cent of the net income would be quite a substantial amount.

Independent short film producers do not get paid for their work, work on very tight budgets and the only revenue they see from their films is through non­ theatrical distribution and exhibition.

Given the limited access of short film producers to major exhibition and dis­ tribution the income they can expect is minimal.

This is a clear mis-statement of some of the facts, implying as it does that the major distributors don’t want Australian shorts shown because they are too meanspirited to pay short filmmakers their five per cent. The fact is nearly all short films are on 16 mm. Cinemas rarely are equipped to show 16 mm. This means the film has to be blown-up optically to 35 mm. The cost is enormous, usually in the tens of thousands of dollars. It is hardly unlikely that such an amount can be recouped out of the five per cent. Who then pays?

By ignoring mention of this obvious cost

problem, and one which has effectively stopped the exhibition of Australian shorts for years, and suggesting other motives to the majors, the IFLG has again done itself and independent filmmakers a disservice.

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Corrigendum The photograph of producer Margaret Fink on p. 53 of the previous issue was wrongly captioned as Pat Fink. Cinema Papers apologizes for the error.

The real Margaret Fink. lllBIliBBIBlIliii

Children’'s Film Festival The Prime Minister, Mr Robert J. Hawke, opened the inaugural Australian Child­ ren’s International Film Festival at the Sydney Town Hall on May 5. In his speech, Mr Hawke referred to Australian children watching, on average, 15,000 hours of television and film during the school years, as compared to only 11,500 hours of formal education. This, said Mr Hawke, showed the impact of television and cinema on a child’s development. For that reason, the quality and educational value of film and television shown to children is of paramount importance.

After the speeches, the Festival opened with the 1927 Australian classic, The Kid Stakes. Screenings shifted to a Centrepoint cinema on May 7, and continued to May 14. Fourteen Australian films were screened at day-time sessions. Audiences were far greater than anticipated, and extra sessions had to be programmed.

The Festival was organized by animator Yoram Gross and Greg Flynn. Among those attending was Santa Herzog, executive director of the American Centre of Films for Children.

In a message to the Festival, Gross said: It has become usual these days to discuss films in terms of money and the export market. Although we shouldn’t ignore these aspects, we must remember that movies are a form of art — or at least some try to be . . .

When I look at the movies produced by fellow filmmakers and myself, I see hand-made works of art . . . and I hope audiences at the Festival will agree.

Our films have already reached children in overseas countries, but unfortunately

The Quarter

The Top Ten Films (continued) G. R. Lansell reports: In the 10th anniversary issue of Cinema Papers, sundry personalities, cinematic and otherwise, had their say on the Top Ten Australian films released since 1970.

Let’s now look at the realities of the market-place, the vox populi.

Reliable financial data about the financial performance in the Australian marketplace before the 1960s, as well as films from overseas, is apparently unavail­ able. Accordingly, the following list runs only from the mid-1960s up to the present.

These unadjusted figures are not really comparable since this is the period of ram pant, som etim es d o u b le -d ig it, inflation.

The All-Time Top Ten Australian Films * Not Adjusted for Inflation Australian Gross Film Rental in A$

1.

2.

3.

4.

5.

6.

7.

8.

9.

10.

7,615,000 4,068,000 3,644,000 3,130,000 1,889,000 1,783,000 1,700,000 1,639,000 1,339,000 1,065,000

The Man from Snowy River (19821, George Miller2) Gallipoli (1981, Peter Weir) Mad Max 2 (1982, George Miller) Phar Lap (1983, Simon Wincer) Mad Max (1979, George Miller) Picnic at Hanging Rock (1975, Peter Weir) Alvin Purple (1974, Tim Burstall) Breaker Morant (1980, Bruce Beresford) Puberty Blues (1982, Bruce Beresford) My Brilliant Career (1979, Gillian Armstrong)

1. Australian release date 2. Director

It is possible to adjust the set of figures for inflation, however. Now things start to get really interesting. That old-time, Disney-esque horse opera, The Man from Snowy River, romps far and away from its nearest rival. It is, manifestly, a popular phenomenon of our time; an extraordinary success that is unlikely to be repeated in the immediate future, one that its immediate successor, Phar Lap, while performing creditably, could not, for whatever reason (and it is interesting to speculate why), do.

Perhaps as extraordinary as The Man from Snowy River’s runaway success is Alvin Purple’s second place. It was admitted by the “ culmination” of a fairly brief-lived genre — the crude ocker sex farce — that included perhaps John B. Murray’s The Naked Bunyip (1970) and certainly Tim Burstall’s Stork (1970), as well as Bruce Beresford’s Barry McKenzie diptych, the genre that got the Australian feature film industry on the go again. The sequel to Alvin Purple, Alvin Rides Again (1974), comes in at No. 13. “ Alvin 3” , Melvin, Son of Alvin, is presently shooting in Melbourne.

The 1966 Anglo-Australian They’re a Weird Mob remains an enduring success, the signpost to the 1970s New Wave That Wasn’t Really.

Number 96’s placement is question­ able. It appeared on an early Variety list and has been adjusted accordingly, but appears on no subsequent list.

[In the next issue of Cinema Papers, Lansell will examine the position of Aus­ tralian films in charts listing all films released in Australia.]

not all movies made here are being screened in Australian cinemas.

This Festival — and those to come — will allow the public to see what we Aus­ tralian filmmakers are doing, and to judge our productions.

[An interview with Yoram Gross will appear in the next issue of Cinema Papers.]

Letter Dear Sir, Congratulations on Cinema Papers’ return to the news-stands with the Tenth Anniversary Issue. It is a welcome and, let’s hope, permanent reappearance. “ Two Views” was especially fas­ cinating. I was grateful to Antony I. Ginnane for setting the record straight on his 1981 production, Turkey Shoot. Many young children have seen this film (and no

D ata: Variety (N e w Y o rk), V o l. 315, No. 1 (M a y 2, 1984), p. 50.

The All-Time Top Twenty-Two Australian Films * Adjusted for Inflation in terms of the Australian Consumer Price Index Australian Gross Film Rental in A$

1.

2.

3.

4.

5.

6.

7.

8.

9.

10.

11.

12.

13.

14.

15.

16.

17.

18.

19.

20.

21.

22.

The Man from Snowy River (19821, George Miller2) Alvin Purple (1973, Tim Burstall) Gallipoli (1981, Peter Weir) Mad Max 2 (1981, George Miller) Picnic at Hanging Rock (1975, Peter Weir) They’re a Weird Mob (1966, Michael Powell) Phar Lap (1983, Simon Wincer) Mad Max (1979, George Miller) Number 96 (1974, Peter Bernardos) Breaker Morant (1980, Bruce Beresford) Caddie (1976, Don Crombie) Storm Boy (1976, Henri Safran) Alvin Rides Again (1974, David Bilcock Jnr and Robin Copping) Puberty Blues (1981, Bruce Beresford) My Brilliant Career (1979, Gillian Armstrong) Stone (1974, Sandy Harbutt) We of the Never Never (1982, Igor Auzins) Eliza Fraser (1976, Tim Burstall) Newsfront (1978, Phil Noyce) The Year of Living Dangerously (1983, Peter Weir) Far East (1982, John Duigan) Starstruck (1982, Gillian Armstrong)

8,190,856 4,796,764 4,757,841 4,352,015 3,801,154 3,528,825 3,130,000 2,483,240 2,476,471 2,130,227 1,857,858 1,725,789 1,624,413 1,603,222 1,533,377 1,362,060 1,125,096 1,091,869 868,665 772,000 727,998 581,010

1. Australian release date 2. Director D ata: Variety (1 9 7 9 -1 9 8 4 )

C o p y rig h t

G.

R. L a n s e ll 1984

doubt been affected in various ways by it) thanks to its unexpected and rather remarkable “ M” classification.

Mr Ginnane says Turkey Shoot is a “ warning of a future fascist society” ; that it is “ completely in tune” with its time as “ pop culture” ; and that it is an “ inter­ nationally-oriented” Australian film that has “ made significant statements about our society, its moral values and moral dilemmas” . These reassuring comments show just how wrong one can be. All along I thought Turkey Shoot was simply another grubby and callous exploitation of violence and cruelty. I had thought of it as fitting perfectly a description by the Williams Committee on Obscenity and Film Censorship (UK), which .. . found it extremely disturbing that highly explicit depictions of mutilation, savagery, menace and humiliation should be presented for the enter­ tainment of an audience in a way that appeared to emphasise the pleasures of sadism.

I see in “ Two Views” that even Phillip Adams thinks Turkey Shoot is “ the pornography of violence and probably the most violent film I have ever seen” . Ah, well, it just goes to show we’re all fallible!

Perhaps Mr Ginnane might like to apply his healthy profits to a film which makes a “ significant statement” about another of our society’s moral dilemmas; the social effects of screen violence on children and teenagers.

Yours sincerely, Peter Dight, Convenor, Television Sub-Committee, South Australian Council for Children’s Films & Television Inc.

Contributors Mervyn Binns is proprietor of The Space Age Bookshop, Melbourne Gilbert Coats is a freelance writer on film

Debi Enker is a freelance journalist and film reviewer Paul Harris works at the Australian Film Institute and is co-compere of “ Film Buffs’ Forecast” on 3RRR, Melbourne Adrian Martin is a tutor in film studies at Melbourne State College Geoff Mayer is a lecturer in film at Phillip Institute of Technology John O’Hara is a lecturer in film studies at Swinburne Institute of Technology Noel Purdon is a lecturer in cinema studies at Flinders University, Adelaide Vikki Riley is a freelance writer Tom Ryan is a lecturer in film studies at Swinburne Institute of Technology. He also edited the Australian section of The Film Year Book: volume two Dave Sargent is the administrator at the Sydney Filmmaker’s Co-operative Jim Schembri is a journalist at The Age, Melbourne Graham Shirley is a historian and film­ maker, and co-author of Australian Cinema: The First 80 Years Neil Sinyard is a lecturer in film at Essex University, England Margaret Smith is a freelance writer on film Mark Spratt is a freelance film writer Sue Tate is a researcher on Willesee Merv Wasson is a film historian Dave Watson is a lecturer in Italian at the University of Melbourne and a film reviewer Paulo Weinberger is a freelance writer who works for Network 0-28 Arnold Zable is a freelance journalist and film reviewer

Screen writers ’ Conference The Australian Film Commission has com­ mitted $160,000 to support a screen­ writers’ conference.

Workshops were organized in Sydney and Melbourne in February and March this year by the co-ordinator, Margaret McClusky, to discuss the structure and aims of the conference. McClusky ex­ pressed disappointment at the absence of many directors, producers and repre­ sentatives of State funding bodies, saying, . . . this only highlights the need for a conference in which writers examine themselves and their relationships to the industry.

It emerged that the issues of contention were the proposed writing workshops, whether spending $160,000 was justifi­ able, whether there should be overseas guests, and for whom the conference was designed.

Some people felt the budget was too high and could be spent better in other ways; for example, as direct grants. There was also concern that the AFC’s contribu­ tion should not come out of Creative Development Branch funds alone. And there was a strong feeling that the confer­ ence should be designed for working writers while other industry professionals and new writers should be catered for and encouraged to attend.

In the final debates, those attending the second workshops endorsed the proposal for a conference as a meeting place for writers and as a political activity.

The structure of the conference is yet to be determined but conclusions were reached that any workshops (with the exception of the script editing workshop) should not be part of the inaugural confer­ ence; overseas guests should be invited but with caution; the value to the film industry of a self-examining forum is in­ estimable in financial terms; and it should serve the needs of the working writer with­ out excluding other industry professionals and newcomers.

Concluded on p. 196 CINEMA PAPERS July — 121

Although Paul Cox has directed four features — Inside Looking Out (1977), Kostas (1979), Lonely Hearts (1982) and Man o f Flowers (1983) — and a host o f short film s and documentaries dating back to 1965, his image remains that o f a filmmaker who deliberately distances himself from the mainstream o f Australian cinema.

A blunt and spirited critic o f the local feature film industry and, particularly, o f the trend towards increasingly high budgets, Cox asserts that cinema can only reflect national culture with accuracy and imagination when filmmakers are granted scope to explore their ideas and concerns.

In this, his second interview fo r Cinema Papers1, he discusses his attitudes to the Australian film industry, the themes that have become central to his work, the contributions o f his associates and his recent projects.

The interview, by Debi Enker, was held on the eve o f production fo r his latest film, My First Wife.

1. For discussion of Cox’s early films refer to Cinema Papers, No. 13, July 1977, pp 16-19, 94.

CINEMA PAPERS July — 123

Paul Cox

What were the circumstances that led to Adams Packer Film Produc­ tions’ involvement in “ Lonely Hearts’’?

I couldn’t get financial support anywhere. None of the funding bodies was interested because the film was dealing with anti-heroes.

There were no exciting car chases or heavy-breathing guys running around the block. The film and its humor were so low-key that no one believed that there was an audience for it. Phillip Adams was kind enough and mad enough to take it on. I am very thankful to him for that.

Why did you believe that there was an audience for the film?

I stubbornly believe that people are starving for a bit of humanity; they want to see something about themselves at times. We all have shallow spots and moments of em­ barrassment but, when we make films about that, they are not sup­ posed to sell. I have more faith in the audience than the experts who are supposed to know what is com­ mercial and what is not. I think Lonely Hearts is a universal film; there is a bit of those two people in all of us, so it must be commercial.

If I hadn’t been able to make Lonely Hearts when I did, I would still have done it at some stage.

Persistence is an essential quality of filmmakers, especially a fairly private sort of filmmaker such as myself.

When I go to screenings of films

by Swinburne students, I see the freshness and the imagination that goes into those little films. It is much more enlightening for me than going to the Australian Film Awards (AFA) screenings. Most people need to be encouraged, they need a chance, and they never get a chance unless they are persistent. I have some kind of dog in me that doesn’t allow me to stop. Because of that I have gone ahead.

What goes wrong in the process from Swinburne to the AFA screenings? Do the bigger budgets, larger crews and commercial con­ siderations inhibit one’s freedom as a filmmaker?

Oh, certainly. I can understand that investors want to have some control. They cannot allow a mad­ man like myself to take over. How­ ever, the future of the industry should be in the hands of the film­ makers instead of accountants and finance people. Why should they decide what we are going to make?

If we want an industry that some­ how reflects our spirit, we must have filmmakers in charge of what is going to be made. For small filmmakers such as myself to get a chance is very rare.

How can a filmmaker create that opportunity?

The point is that you must be in charge of your work. That doesn’t mean to say that I don’t listen to

Charles (Norman Kaye) and the absurdist antique dealer, played by satirist Patrick Cook.

Man o f Flowers.

people; some people have good things to add and it is stupid not to use that advice. But given that I am now regarded as a commercial filmmaker, why should I com­ promise over my films?

What would you change?

Is it a surprise to you that suddenly you are regarded as a mainstream commercial director?

On “Lonely Hearts” and “Man of Flowers” you worked with script­ writers who are renowned for their comic talents, and in “Man of Flowers” you cast Barry Dickins and Patrick Cook, two satirists. It suggests a move away from the darker themes that have character­ ized your work and toward a flirta­ tion with comedy. Is that a deliberate shift in emphasis?

Yes and no. Basically there is only one taste and that is your own. People may regard this as a highly eccentric statement, but I really believe there is an enormous audience for the personal film. It has proven to be absolutely accurate.

“Lonely Hearts’’ marks a new direction in terms of your screen­ plays. For the first time there is an element of comedy. Why did you decide to use John Clarke as a co­ scriptwriter?

Peter (Norman Kaye) and Patricia (Wendy Hughes): “there is a bit o f those two people in all o f us. ” Lonely Hearts.

124 — July CINEMA PAPERS

John was associated with Adams Packer, and we met and got on very well. The actual story and characters were already in the script and there was also a lot of comedy. John added his unique and remarkable touch to it.

Although there are a few funny scenes in Kostas, I was not mature enough to develop them fully. I wasn’t totally in control of the crazy vision; it was too loose. But with Lonely Hearts, the discipline forced upon the production helped in a way, although I still believe that it could have been a better film.

Details that would elaborate more on the characters and integrate the scenes better. It is a bit bitsy.

Yes. Again one could say, “ He is trying to be more commercial” , so to speak. But I think you have to get a lot of shit out of your system before you can properly, and in a balanced sort of way, look at the world. I had to go through that so-called “ dark” stage.

Do you think that the comic elements contribute to the fact that more people have seen your past two films than any of your earlier work?

It certainly does help. The mad mixture in Man of Flowers worked very well. But Man of Flowers and Lonely Hearts are very serious films, in spite of their comic elements.

They are more optimistic than your earlier work. You still have initially passive characters who are

Paul Cox

tional values. There is no point in doing a painting unless you know how to mix paints and how to use a brush. But it is also very important to branch out and use your imagination. It should not be restricted by the past. As Einstein said, i magi nat i on is more important than knowledge.

At the same time, I think we produce very little that is worth­ while. With all the new images we have created, all the freedom we have, with all the means with which to communicate so much more easily, we have alienated our­ selves almost out of existence.

Communication between people breaks down and our silences become very threatening.

I tackled that problem in Inside Looking Out, although I was too immature to do it properly. But that was 10 years ago.

Do you think that alienation and the failure of relationships are somehow endemic to a modern society?

Yes, very much so. It is the reality of our modern society.

victims of an insensitive, abrasive world, but in “ Lonely Hearts” there is a sense of hope, a tentative reaching out, a beginning of com­ munication and resolution that is more optimistic than in “Inside Looking Out” or “The Journey” .

In “Man of Flowers” , Charles (Norman Kaye) actually manages to control his environment, and to crush the elements that are disrupt­ ing his life . . .

But that is not a very optimistic statement in Man of Flowers.

No, but it is an element of power Maybe you’re right, but Man of Flowers pleads for a wider horizon in the way that we see the world.

Charles Bremer is, in the eyes of this world, a madman. Yet he out­ smarts the whole system. Then he stands very quietly and looks out at the sky. You are forced to con­ template his fate, because it in­ cludes your own.

Man of Flowers brings an open­ ing up at the end. It sounds a bit pretentious, but embrace the uni­ verse before you become all entangled up in your own crazy little life.

No, I see him as larger than that.

He stands for that basic, darker longing in all of us. We are condi­ tioned by advertising to long for a new car, a new boat, whatever.

But, deeper down, there is incred­ ible, intense longing in every human being for peace, for love, for affection, for understanding — all these very simple things. When Charles goes to the statue and tries to touch it, he almost weeps. He knows that he is totally alienated and will never have satisfaction.

To me, that sort of painful longing is a beautiful feeling. It is a very intense feeling and a very painful one, but what do we do? We change it and make it very super­ ficial. The whole consumer system works on that level. It uses that longing we have in us and makes us want certain things.

It seemed that Charles was a re­ working of Alan Money (Norman Kaye) in “The Journey” , except that the only possible resolution for Alan was death. It was some­ thing to be welcomed; it was a relief, much as for the old people in “We’re All Alone My Dear” .

But Charles doesn’t die . . .

What is worse: total alienation or death? Charles in Man of Charles is an ambiguous character. Flowers is a doomed character. He Outwardly, he is passive, quiet and looks at the world but never sees it. refined, yet he is also quite an evil Maybe his mind is slipping at the manipulator. It is as though he is a end. blank canvas on to which Lisa (Alyson Best) and the audience can Because he cannot establish a ascribe any qualities they wish. Is rapport with any other charac­ ter . . . that the way you see him?

If he could, he would have been much more disturbed. And that is the very point. Human communi­ cation is so badly balanced these days. We have no patience; we have very little time to investigate and to communicate, to give.

We’re all so dreadfully selfish.

In that respect I am very tradi­ tional. I do back Charles in his traditional way. I find David’s (Chris Haywood) action painting ridiculous. “ Have you got any real paintings here?” , asks Charles.

But David hasn’t got any real paintings; his work is rubbish. He has nothing to offer.

In relation to your films, it seems that dialogue is assuming a new importance. In earlier films, the silence was more eloquent: you emphasized music, imagery and juxtapositions with nature to delineate the characters and their situations, motivations and moods. Why is the dialogue becoming more central?

A film consists of various ingredients that all add up. I finally realized, “ Why shouldn’t I use them all?” It was important for me to work with people such as John Clarke and Bob Ellis. They taught me about dialogue.

In the first films I made, the actors were not very important, but they have become the most important thing. I have really learnt in the past three films that the trust and relationship with the Surely the energy and the commit­ actors is absolutely crucial. They ment of the creative process could are the naked ones. They are the be the same in traditional and ones who appear on the screen, not me. They need to be protected and modern art . . .

I need their trust. They usually do It has to add up to something. If trust me and we work well it doesn’t feed you something, together. what is the point of watching In my early work I was too energy? I watch pictures of war — absorbed and obsessed with marvellous energy goes into a war images. Now it is the other way — but I aim not interested in round. I think that is why my films watching that energy. It is point­ have become much stronger. less.

What sort of film did you envisage Often, through juxtapositions of “ Man of Flowers” would be? youth and age or the use of middleaged protagonists, your films con­ Norman Kaye and I have had a trast modern and traditional very close relationship and we both values, or modern and traditional grew into it. It was an accumula­ art, and your sympathies seem to tion of many years of sharing lie with the older and more tradi­ ideas. I wanted to make a film that tional ways. Is that an accurate I could basically finance myself observation? because I was held up by others making decisions for more than a One has to have a very clear year on another project. Wasting a understanding of age and tradi­ year of my life was enough. I CINEMA PAPERS July — 125

Paul Cox

decided to write Man of Flowers quickly. I wrote the screenplay in a few days, then Bob Ellis came in and did a great job with the dialogue.

That film was quite a remark­ able set-up. I mortgaged my house and was the completion guarantor.

I had very fine people helping me.

They were prepared to work with­ out wages, for percentages of the film, but then suddenly the money came in from an individual who had faith in me.

Man of Flowers is an unbeliev­ able success on many levels. Com­ mercially, it will go much further than Lonely Hearts.

ideas unless you have support. I have that sort of relationship with Tony Llewellyn-Jones, with Asher Bilu, Yuri Sokol, Jane Ballantyne . . . All these people are absolutely crucial now. It is really amazing how the enthusiasm builds.

I will be working with John Har­ greaves on My First Wife. I have never worked with him before, but this is a very good atmosphere to work in. Everybody gets involved and they love what they are doing.

I couldn’t work in any other way.

Somehow I must have manipulated this whole circus. I am often accused of being an extraordinary manipulator.

Does that surprise you?

There are many similarities be­ tween your career and the themes of your work and that of Werner Herzog, who appears in “Man of Flowers” . You both began with a compulsion to make films and with little consideration of a large audi­ ence. You both built up a small, regular crew, worked consistently and gradually earned international reputations. Your films deal with social outcasts, misfits who have trouble with verbal communica­ tion, and the films rely on evoca­ tive imagery and music. Do you see many similarities in your work?

Yes. It is a very crazy film, at times a bit indulgent. We just went for our lives. It started to form itself after a while and to find an audience for it is quite remarkable.

Norman Kaye has worked with you consistently on the music and also as an actor in a number of your films. What are his qualities as an actor that make him so integral to your work?

It is more his qualities as a human being. He is a very sensi­ tive, talented and gifted person.

He is not very ambitious. I don’t know whether it is ambition in me, but I have a stronger drive. This combination works very well. You cannot make a film on your own.

You can’t execute any of your

Yes. It’s funny, but Werner and I don’t even have to talk about many things. Although he is different in some areas, our approach to films is very similar. It is quite chilling sometimes. We have a very fine rapport.

John Hargreaves as John in My First Wife, Hargreaves’ first film fo r director Paul Cox.

Norman Kaye as Peter, the lonely, repressed piano tuner in Lonely Hearts, a film “dealing with anti-heroes”.

Norman Kaye as the alienated Charles: ‘‘When Charles goes to the statue and tries to touch it, he almost weeps. ” Man o f Flowers.

126 — July CINEMA PAPERS

Paul Cox

It was marvellous to have him wanting to elaborate on certain around at the time of the decision ideas yourself, and then seeing to go ahead with Man of Flowers, them treated in a different fashion. because one needs extraordinary It seems I have to be in charge. It courage. It was a difficult decision looks like ambition or arrogance and a great risk, and one cannot but I don’t think it is. It’s just really think about it too much. wanting an outlet for expression.

You just throw yourself into it.

Werner certainly has that quality In describing “The Journey” you and I am sure he had something to once said it “is about the potential do with my final decision to go of the mind, the sadness, the ahead with the film. When we wastage, the incredible pathetic needed somebody to play the nature of a man who has so much father, I sent him a telex saying, ability and so much to offer, but “ It is either you or me; it can’t be who is so screwed up about his anybody else.” past. That’s one thing one has to There is a fine anecdote of when learn in life — being able to put we travelled to the location and in aside the past.”2 Yet, in “Man of between us in the car was a little Flowers” , Charles and David are Super 8 camera that was used to seen to be living in the past: one is shoot the flashbacks. We both basking in past glories and the laughed about it, because a film­ other is repressed by incidents in maker such as Werner, who is so his past. Does that imply that it is well known, plays his part in a film impossible to put the past aside? that is being shot on Super 8. It is ridiculous. In the process of laugh­ Yes. ing about it, we discovered that neither of us had ever seen a Pana­ So the quest to find a place for the vision camera. I think we are both past is futile? instinctive people and just have to No, it is not futile, but one needs experience everything, teaching to be constantly conscious of it and ourselves in the process. not pretend it is not there.

Some people have no recollec­ What was your involvement in Herzog’s “Where the Green Ants tion of their past. I use the wealth of information from my past in my Dream” ? films. I was brought up as a I was Werner’s assistant. I took Catholic. There was a lot of pain, a some stills and I drove the Abori­ lot of alienation, a lot of love and a ginals from their camp. I was best lot of strange intensities that I boy. It was the first time I have worked for anyone. I found it very 2. Cinema Papers, No. 13, July 1977, p. 94. hard. It is very difficult constantly

didn’t understand. But they have slowly fallen into place, and now I use it. It is marvellous.

Would you describe that pain as being a positive thing?

As far as my work is concerned, yes. My work is not easy. It alienates me automatically from a lot of people. Maybe I am com­ pelled to do it, but I don’t like it.

My love for the medium has become a compulsion. It worries me. I feel alone.

It is interesting that you talk about the past as something one can learn from. In your films, possibly with the exception of “Lonely Hearts” , it is something that none of the characters can overcome. It is a very negative thing . . .

But I think that people must investigate their past. If you look at your own life, how many minutes does it really add up to?

Do you know what you did yester­ day, or the day before? You can only remember a few moments of intense glory or intense pain: the first time you were in love, the first time you encounter death, the first time somebody was extraordinarily sweet to you. If you string all those moments together, you might have 10 minutes of life. I feel that I must force myself to remember those moments.

If somebody were to come to me and say, “ I am in love” , I don’t understand what that means. In

the process of life we grow so cynical. I want to flash back to the moment I was in love because then I can really understand that person. Then I can give that feeling form and shape; I must use it. I can inspire people to act it and not pretend it, because my films must never pretend.

So, it is important to remember those moments of intensity clearly, without twisting or changing them.

I am very careful in selecting the people I work with, because I couldn’t work with anybody. I must have good soldiers. I need people of like mind. In this crew, I have Erwin Rado3 basically as my assistant. He was kind enough to do it. We have known each other for a long time and we trust one another. But we have had great differences in the past and I know that it is a risk because he is very much an individual, very strong and pig-headed, like myself. But we have so many things in common it was worth the risk.

One needs people who know that what you’re aiming for is some mystical thing that cannot be defined. The real surface of film has hardly been scratched. There are very few people who have done great things with film. Buñuel was one of them — an extraordinary filmmaker. He really dragged so much out of the medium. You never forget his films. Bergman is the same. The power of the medium becomes extraordinary in their hands.

In view of the emphasis that you place on the feedback and rapport with the cast and crew, how do you respond to offers of work over­ seas? Obviously conditions there are radically different . . .

Well, very badly. [Laughs.] I don’t think I could work in Holly­ wood. I’ve had many meetings and crazy offers from all over the world. But I would be dragged into a totally alien environment. One screenplay that was offered to me is very interesting. It might at some stage result in my doing one film in America.

What is the screenplay?

It is an early one by [Francis Ford] Coppola, and it is very good. He wrote it around the time of The Conversation. However, I would still insist on rewriting it myself.

But in many ways I love Aus­ tralia. So why should I go to America? I have so many other things to do and say, why should I shift ground? For all that stupid money that goes to lawyers and agencies and all sorts of nonsense, what is the point? I don’t need that type of exposure. At least I have 3. Erwin Rado was director of the Mel­ bourne Film Festival for more than 25 years and was associate producer on

The young Charles (James Stafford) with his parents (Hilary Kelly and German director Werner Herzog). Man o f Flowers.

Lonely Hearts.

CINEMA PAPERS July — 127

Paul Cox

established an environment and can make the sort of films I want to make. There is so much more to be explored. Why should I now go into a system that would take months to get used to, and most probably cripple me?

All your films have been contem­ porary in setting and seem to relate directly to your personal experi­ ences. Do you have any desire to make a historical film, a comedy or a thriller, to work in a different genre?

Sure. I will make a thriller at some stage. I think that it would be easy. It is a technicality that doesn’t require human emotions.

You don’t have to plunge into all these strange, vague emotions and try to balance them and bounce them off things. One has some sort of line in a thriller. I am quite sure that I could do that very well. I wouldn’t have to spend so many sleepless nights over it. As with a documentary, it requires physical energy, involvement and some research.

it goes to a particular site and dis­ covers all sorts of goodies from the past, so to speak. There were a few tombs, and in the graves one could discover, from the inscriptions on the stones, intrigues that went on thousands of years ago. The basic thing that became apparent to me was that, after 4000 years of living, we haven’t learnt a thing.

The Egyptians were totally com­ mitted to death. It was just another step and so they worked towards having a nice tomb. There was a moment during the shoot when a mask appeared in the sand. It was discovered on top of a skeleton that had been there for 3000 years; it was blue and yellow, and it looked like a face coming out of the sand. Centuries of human misery and wars have gone by and here was this amazing, peaceful face looking at the sun. That is my fatalism. I just don’t know what the point is of all this.

Is it why death in your films is viewed as liberation?

It certainly is, yes.

You have just completed shooting a documentary in Egypt, “The False Door at Saqqara” . What is it about?

What were the differences between making “ The False Door at Saqqara” and making “My First Wife” ?

An Australian archaeological site near Cairo. I enjoyed doing it because I didn’t have to elaborate on the idea of film. I just had to think of how to embrace more than the actual subject matter. I was amazed by the intelligence of the old Egyptians and the incred­ ible understanding they had of life and death, and above all of art.

We know of the treasures from pictures but, when you see them, how unbelievable they are.

Oh, they don’t compare. Docu­ mentaries are fun and require a bit of intelligence and an adventurous nature. They require technique and maybe a little bit of vision. But making a feature is totally different.

What was the basis of the film?

To show the partly-Australian crew from Macquarie University as

So, it didn’t change the way you directed at all?

It did, in a way, because I gathered more footage than we needed. Normally in a feature I shoot five or six to one, which is very little. I don’t like wasting film. I rehearse carefully for the shot because film is an incredible

Director Paul Cox and narrator Phillip Adams in Egypt fo r The False Door at Saqqara.

128 — July CINEMA PAPERS

indulgence in spending. It always has to be big. It grows and becomes a dirty monster that follows you: “Let’s do another take” — another thousand dollars gone. I was always very conscious of that because in the past I have paid for it myself.

What is “My First Wife” about?

I will be very brief, because it is very tricky. We have pre-sold this film, so there is a lot of interest and a lot of pressure. I have terrible stage fright. That is why I keep it low key and pretend it is not happening.

Basically, it is about love and the lack of it, about our children and about time, relevant and irrelevant time. It is also about discipline of the mind. There is one key line by W. H. Auden: “ We must love one another or die.” So, it goes for the throat.

In exploring the disintegration of a marriage, it shares the subject with “ Inside Looking Out” . How will it differ?

Oh, this will be very different. It is much more intense, very dramatic, with very little comedy.

Everything will be played straight.

It is based on a lot of things that I have observed, things I have gone through myself.

The reactions to the screenplay have been very strong. I hope I can get that intensity on film.

to know how to suffer. You can’t escape it all the time. Even if your own life is fine.there are many other people who have dreadful lives.

Look at the U.S. where a Holly­ wood ham has basically pacified a population. There are hardly any protests anymore. It is very dangerous. Look at all of the freshness we had 15 to 20 years ago, when people at least marched and tried to change society. At least there was an initiative coming from the individual.

Don’t forget that poets are not in charge, they are politicians, who are very dangerous people. With all the means that we have to destroy everything, I can’t see that we are not going to use them. How dare we invent stupid things that can destroy it. in “Inside Looking Out” the child is a pawn in the power play be­ tween the adults, but also for Elizabeth (Briony Behets) the most intimate source of physical and emotional comfort. Will there be a similar situation in “My First Wife” ?

Yes. The child is always a pawn in the middle, but watch the man!

For many centuries men have

Will it rework the relationship in “Inside Looking Out” , where one had a feeling of a simmering anger and a total inability to communi­ cate beyond it, with two characters locked into disintegrating marriage, wanting to bridge the barriers, but being unable to?

There really is an optimistic end­ ing to this film, but you will have to pay for it, because I feel one has

Top: mother and child (Briony Behets and Dani Eddy). Above: with husband (Tony Llewellyn-Jones). Inside Looking Out.

Paul Cox

Helen (Wendy Hughes) on her wedding day. My First Wife.

Father, mother and child (Lucy Angwin): “I think the woman is stronger than the man, and the child the warmest and most lovable. ” My First Wife.

walked out of marriages and got away with it. Now it is the other way round. In 70 per cent of marriages the woman walks out.

Man has no history of coping with this. He is totally incapable.

I have spoken to a lot of people in the past few months in relation to this film and I have seen so many men who have gone to pieces. They couldn’t handle their marriage break-up, partly because of their egos and their chauvinism.

Men haven’t adjusted to these changes of pattern, so the man in the film is the weaker partner.

I think the woman is stronger than the man, and the child the warmest and most lovable.

“ I’d rather be miserable with somebody else than on my own.”

A.lot of people think that is totally crazy and that they would prefer to be alone. But if they are alone for a year or two, they desperately want to be with somebody else, whether they are miserable or not.

It sounds as though “My First Wife” will start further back in the relationship than “Inside Looking Out” , which begins after the marriage has fallen apart. The reasons for the disintegration are nebulous; one just has to accept that it has happened . . .

It is totally unimportant to make up a reason for a separation these days. Everybody I know has had several relationships that didn’t work. We live in a society where these things just happen. There is no particular reason why people get bored. I could state that in the film but it is not interesting.

What makes it interesting?

The interesting thing is the way that one can come to terms with that fact, taking it as a starting point. As Strindberg used to say,

So, in effect, making the film is a way of exploring your problems at a distance from them . . .

I really like to make films that touch people, that make them remember something and make them care, so they can go home with something to digest. I am sure in this film they are not going to have a very pleasant time, yet when they come out I hope they will be more positive human beings. I know that sounds very optimistic.

I am certainly no expert on this, but I do look at my friends and it saddens me. I can’t figure it out in my personal life, but I will come as close as possible to it in my films.

There is no solution, though. It is the time we live in, the pressures people live under and the artificiality of the world they face.

In an interview you did after “Man of Flowers” you mentioned that you were considering a film called ‘Edge of the Forest’ about blind people. What happened to that project?

It is still on the cards. But suddenly I wanted to change direc­ tion. I went to Coober Pedy with Werner and had a lot of time on my hands and just started to write

this other screenplay and became much more involved with it than I was with Edge o f the Forest. We had the wheels in motion to make Edge o f the Forest, but I put this film in its place. Fortunately, I got away with it; normally you can’t do that. I am not a power hungry maniac, but I do think it is very important to have freedom when you work.

A perfect illustration of that happened the other night at Kinselas in Sydney. Renee Geyer was performing and Chris Haywood introduced us. We had a drink together and talked about the film.

Maybe I said, “ Why don’t you work on the film?” , or maybe she suggested it . . . I don’t know. It meant that a scene had to be rewritten and an extra character added. But it was marvellous because the point made about modern art and traditional art in Man of Flowers I can now extend with modern music and traditional music. Renee now has quite a significant part. She is a marvel­ lous actress, even though she has never acted in a film. We’re using her music in the background, and her character will be defending her music. This idea fits in with my whole philosophy. It is a perfect example of the need for film­ makers in Australia to really fight for more freedom. If Jane and I hadn’t produced this film, it would not have been possible.

We had a contract from the Aus­ tralian Film Commission, in which they stipulated that I had to stick to the final draft of the script.

What are they saying? I have

proven so many times that my films are better than my scripts. I always come in under budget. At least the power I have now by having my films accepted allows me to overcome that system of contracts. I wish there were more people in Australia who had this power and used it.

I was in Adelaide last week and went to a seminar. They referred to me as a low-budget filmmaker and asked, “ How do you get away with it?” I said, “ I am not a low-budget filmmaker; I am a responsible filmmaker. Have you ever played with $700,000 in your life? This is an extraordinary amount of money. It is a terrifying responsi­ bility.” In that context, whether it is 700,000 or two million dollars doesn’t really matter, because it all becomes crazy and ludicrous. But the point is that people call that low-budget. This film has the largest budget I have ever had. But now people are talking of every­ thing under one million dollars as low-budget. I cannot see where this money goes. I’d really like to know.

When I look at our industry and the films we have made, there are quite a few that have wasted spec­ tacular amounts of money. That money should have gone to indivi­ dual filmmakers. They would have done something with it. Many of these big-budget films can’t even be shown; they can’t be sold. They set out to make commercial films but they never do. I am now the most commercial person in this country. I am not losing any money for anybody anymore. ★ CINEMA PAPERS July — 129

In the previous issue o f Cinema Papers, Ewan Burnett examined the evolution o f the television mini-series, and commented on several o f the form at's inherent strengths and weaknesses. Since

then, three major Australian mini-series have been released. A s a continuance o f the mini-series debate, these programs are reviewed by Adrian Martin, John O'Hara and Arnold Zable.

Adrian Martin In a museum-piece history of Australia, the story of the Eureka Stockade of 1854 would dutifully take up its tidy place in the order of exhibits, as a discrete and completed tale alongside Gallipoli and the rest. With Aus­ tralian historical films and television mini-series alike, one frequently has the sense of passing through such a museum, where the frozen tableaux are momentarily animated, returning, at the end of the session, to their stuffed condition as historical relics. The only value these mummified moments of Australian history have is as ‘milestones’; they are neat little narratives which when strung together reassure one of a solid national identity that has been formed in leaps and bounds. Recreations of the past then become national gushing exer­ cises, in comfortable nostalgia and rousing self­ celebration.

There is much in producer Henry Crawford’s two-part mini-series Eureka Stockade which corresponds to this description of historical drama. The conflicts in Ballarat, at that time “ a hotbed of discontent and republican ideals” as the opening narration has it, are rendered distant and somewhat exotic, since they are played out almost entirely in terms of a struggle between Irish rebellion and British imperialism.

Eureka Stockade looks back at the traumatic birth of the Australian national identity and the Australian State, with its institutions and “ due Opposite top: The Boy in the Bush. Middle: Waterfront.

Bottom: Eureka Stockade.

processes” . In the beginning, as the program suggests, none of these things were present. The Australian identity, the crystallization of which is eventually symbolized by the Eureka flag, had to be forcefully yoked together through the remembering, reliving and resolution of a struggle carried over from another country: Ireland’s fight against its British dominators.

After the tyrants are banished, the specificity of the struggle is gone, and a race of Aus­ tralians is born. Similarly, the institutions of the State — exemplified by the numerous court­ room scenes — are presented, initially, in their ‘savage’, undemocratic functioning.

They are entirely open to manipulation and corruption (rather in the same way as the “ law of the hired gun” reigns in Westerns).

However, this is presented as no more than a teething problem, the legacy of a quickly disposed British imperialism, and the ecstati­ cally celebratory finale of the program heralds the arrival of legal justice and democratic opportunities. Peter Lalor (Bryan Brown) dis­ seminates the ‘true’ story of the Stockade through the nation’s newspapers and goes on to become a respected parliamentarian.

Whatever the accuracy or validity of this version of the origins of Australia’s national history, what is of concern here is the too-neat, too -finished nature of the story that is constructed, and the social problems which, in the process, are encased and put safely on display as curios. Eureka Stockade is blatantly . nationalistic; its hopeful appeal is to a presentday generation of Australians which lives in

blissful non-contradiction, in anything but a “ hotbed of discontent” . The story of the Eureka Stockade, when constructed as a novel, exciting, birth-of-a-nation story, can only imply the most banal history-to-come after the final freeze frame: Australia as grown, adult,

Bryan Brown as Peter Lalor: “My name has been singled out as leader. ” Rod Hardy’s Eureka Stockade.

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Above: Anastasia Hayes (Carol Burns): “The women stand fo r the power and value o f rationality. ” Below: Raffaello Carboni (Roger Howell), one o f the leaders o f the uprising.

Bottom: Lalor’s friend Timothy (Bill Hunter), a “secondary hero”. Eureka Stockade.

mature and stable. And if that is taken as the true profile of the present-day, then no re­ presentation of the past — virtually no story of any sort — can possibly be construed or deployed as usefully relevant to current situations. ‘Struggle’, of whatever sort, is reduced to a theatrical, historical spectacle.

Yet, although Eureka Stockade strikes one for the most part as a remote period-piece, furnished with all the usual paraphernalia of Australian nostalgia (overkill on authentic historical detail, jangly banjo theme by Bruce Smeaton), there seem to be other intentions dimly or intermittently at work. The story of the Eureka Stockade could very easily be nudged into a symbolic parable that points to continuing struggles in Australian life; the most obvious would be an implied dramatic comparison between British and American imperialism. Eureka Stockade includes, early on, a theatre-hall scene in which the diggers enjoy and applaud an American singer’s hymn . to American Independence Day. Although this seems an ironic and pertinent reference at the outset, the American character involved, Sarah (Amy Madigan), eventually functions, like the Irish characters, as an emblematic ‘battler’ from another land whose mettle and resource go into the melting pot of experience that will form the Australian identity. Again, a specific political reference is lost in the overall value system compounded by the narrative.

The women in the program figure in a curiously modern way, that slightly anachron­ istic, token, feminist content which informs most Australian historical dramas. In a clear appeal to the present, the various women — Sarah, Anastasia (Carol Burns), Alicia (Pene­ lope Stewart) — demand to be included and involved as equals in the Eureka struggle, and diligently fend off the prejudices of the time (“ The diggin’s no place for a woman” ). The women stand for the power and value of rationality, or “ rubbing minds together” as Anastasia puts it. The program places much emphasis on Alicia as a school teacher (leading an angry history lesson on the British cad Sir Robert Peel), for whom knowledge of the oppressive situation at hand must lead to an active involvement in it. The symbolic function of her relationship with Lalor is clearly as a gesture towards a perennial problem in union and labor politics: the inability to recognize, within the ambit of the class struggle, the personal struggles of sexual equality. Lalor liberates the diggers on .the one hand but oppresses his lover on the other. Eventually, he is brought to the point of total radical awareness and the Eureka flag itself becomes a generalized symbol: the Southern Cross is “ a refuge for all the oppressed on earth” .

Yet, despite the potential interest of these allegorical themes, Eureka Stockade cannot handle them for very long, for they serve to weaken the painstaking period realism of the program. It seems suspiciously like retrospec­ tive wish-fulfilment to portray all women of the period as embryonic, militant feminists. There are surely tougher, truer and more complex ways of presenting the different levels of political awareness and non-awareness that might have existed at the time. This points to the bind a program such as Eureka Stockade is in. If it aspires to be slavishly realist and true to the past, any material which refers symbolically to the present seems entirely out of place. But, if it were a completely allegorical and fantastic recreation of history rendered as myth, it probably would never have been made in the first place. Such a playfully critical rendering of Australian history and the identity supposedly formed as a result would be an offence to nationalist pride and integrity.

The pub in Ballarat explodes into fire. Eureka Stockade.

“ My name has been singled out as leader” , begins Lalor’s account of the Eureka Stockade for the newspapers. By including this statement, Eureka Stockade hopes to erase the process with which it is entirely complicit: the creation of a political super hero, a magical leader who could only be portrayed by an actor of the stature of Bryan Brown.

Curiously, Eureka Stockade’s narrative is structured on two principles which, ideo­ logically, rub together uneasily. The first principle is a classical Marxist account of history, whereby collective struggle and the progressive march of history must always assert itself over the merely ‘personal’ whims of individuals. Lalor’s dilemma as a character is precisely this. He frequently attempts to escape the situation that is pressing in on him by refer­ ring to his desire for a settled personal life (love, home, family) or evoking Australia as an oasis, a refuge from the Irish struggle he left behind (“ I swore I was through with the fight” ). However, others eventually convince him that he must assist in “ casting off the yoke of British rule” so that an Imperialist history might not be allowed to maintain its power over human life. Once part of the struggle — and losing an arm for it — he considers himself unworthy of the love of Alicia to which he once aspired. It is Alicia, with her enlightened female attitude towards the union of personal and political struggle, who reconciles in Lalor the different threads of his life. Ultimately, their marriage is a symbol and a celebration of the birth of the Australian identity and the Aus­ tralian State which has been achieved via the Eureka Stockade.

However, what makes Lalor a hero in the most conventional and reactionary sense is precisely that his personal/political dilemma is his and nobody else’s. As a hero of the people, Lalor not only represents the diggers but feels for them, lives out their pain in a profound and privileged way. This is the second structuring principle of Eureka Stockade, the long-held dramatic convention that defines the place and function of a hero. The show constantly singles out Lalor in the foreground of shots crowded with miscellaneous activity and people — knowing, silent and figuring the next move.

Like his best friend Timothy (Bill Hunter), who functions as a secondary hero, Lalor is often cast as observer, one who can see and comprehend what the other diggers cannot.

Around Lalor is his constituency, the mob, and this mob acts like most mobs in film and tele­ vision drama do, according to mass impulses that are low on reflection or rationality. They are easily swayed by charisma and spectacle (hence their initial, rapt submission to Imperial rule with its pomp and splendor), and what

Three Mini-series

they need is a superstar they can 1c a as well as a spokesman who will represen their true needs: enter Peter Lalor/Bryan Br vn.

One final theme of Eureka Stock ie needs to be mentioned, particularly as it is orked out around the figure of Father Sr the (Tom Burlinson). All dramas of revc ition and rebellion hinge on a dilemma for th characters of how they choose to define foi hemselves notions of justice and morality, an more par­ ticularly, how they are able to ju fy acts of violence and destruction. Fail Smythe initially stands for the conservative position in this argument. For him, rebellic does not square with the code of Christ a charity; violence can never be justified. FP appeals to Lalor, “ as a good Catholic” , to rr derate the actions of the workers. Further, h relieves in

the essential goodness of the system, and puts his faith in the “ due processes” of the law courts, the police and the government. From the viewpoint of the program, this benevolent humanism clearly plays into the hands of an utterly evil and corrupt system of British power; the grossness of the British.characters and their strong-arm tactics amply convey this attitude. Opposed to Father Smythe, at the other extreme of Eureka Stockade’s paradigm of positions, is a heavily accented digger straight out of the Prussian army (another unsubtle stereotype) who agitates amongst the diggers for direct, brutal action (“ We must grab the initiative with both hands” ). When Lalor makes some attempt at moderation (warning at a meeting that “ From this moment on we are in direct conflict with Her Majesty’s

Government” ), the angry agitator takes control and leads the burning of the diggers’ licences, the act which catalyzes the bloody battle at the Stockade.

In a pattern that is familiar in politically conservative narratives, even and especially if they flirt with themes of revolution, these posited extreme positions collapse into a middle ground. Father Smythe sees the injustice of the system and moves to help the diggers by hiding them from the police. A government official is revealed, by Anastasia, to be a former digger, and brought to a crisis of conscience whereby he is moved to meet the diggers’ demands through official channels. Lalor agonizes over the futility of the death and destruction that he helped to catalyze, but is persuaded by Alicia to see it as “ not an end, but a beginning” . Where it all levels out, finally, is in the law courts, where Father Smythe’s initial dream of the essential goodness of the system becomes a reality, and everyone gets fair representation.

Revolution, in retrospect, is put into the past as a sorry but necessary pressure point, a spon­ taneous combustion of anger and demand which then serves to set the system on its feet with increased wisdom and benevolence.

Humane sympathy and justice indeed triumph quite naturally and easily over corruption and Imperialism. A chapter in Australia’s history is closed. But, by the end of the show, it is virtually a fairy-tale history, sealed, like all fairy-tales, with the celebration of a marriage and the establishment of a social equilibrium. I have no necessary complaint with fairy-tales, but when this is the only form that the telling of Australian history takes in official films and television mini-series, one begins to long for something a little different, less safe and more adventurous than Eureka Stockade.

John O ’Hara Waterfront represents, for more the six hours, distinguished by a rough charm, physical a period of bitter industrial and pc tical strife beauty or overbearing directness. In the end, in Melbourne on the eve of the epression. the character explanations collapse into what is This reconstruction of a major ind trial clash expected and familiar, even if the audience’s on the wharves, its representation b the media expectations are now more left-wing than once and its political consequences, lead he viewer they might have been.

The series begins with a succession of towards particular understanding of these demonstrations to the audience, introducing events and their implications.

The mini-series, of three two-ho episodes, characters, locations and events, at once is broadly sympathetic to the aims a t situation specific and typical. The introductory voice­ of the waterside workers. It tak a deter­ over establishes that what the audience is about minedly anti-Fascist stand with egard to to see will be an extended illustration — parallel events in Italy during the L 1920s. It careful, even meticulous — of appearances but also demonstrates the difficulties migrants relying finally for its dramatic conviction on a attempting to assimilate with basically conventional understanding of class conflict — larrikin and jingoistic culture. The ries goes its mechanisms of deceit, double dealing and beyond the usual treatment of rr rants on repression. The ship-owner becomes the Eton commercial television by examir ig events toff, the union boss the gravel-voiced from their point of view, and allow ig the use organizer; there is the chorus girl with the heart of their language, which is sub-title One has of gold, the great Australian larrikin, and the to be impressed by the seriousness c he whole beautiful and politically-dedicated Italian attempt and the ways in which aterfront socialist.

It would be a mistake to regard these challenges expectations about medi :reatment characters simply as stereotypes, but they of workers, migrants and industria isputes.

But beyond the serious intend« s of the become illustrations of conventional figures series, and its broad sympathies, th historical from theatre, film and Australian history. And reconstruction lapses into a curio ly literal They become part of a spectacle in which the way of telling stories. There is litt effective dramatic energy has gone into getting things to dramatic metaphor; characters are d eloped to look right, and illustrating the effects of a a point, then allowed to stand as s reotypes, certain literal understanding of the period.

Jack Thompson as Maxey Woodbury, narrator and irresistible larrikin.

Waterfront’s

CINEMA PAPERS July — 133

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Georgio (Joe Fpano) farewells Anna Chieri (Greta Scacchi). Chris Thomson’s Waterfront.

The series develops its expectations at the beginning. The opening shot is of Jack Thompson as Maxey Woodbury weaving from a doorway and ducking along the street. His voice-over tells the audience that “ 1928’s been a bugger of a year. But haven’t they all lately.”

He is seen reaching into his pocket for a coin to give a beggar, as the voice-over continues:

Sam (Ray Barrett), the gravel-voiced union boss. Water­ front.

struggle for power will be played out: the streets, docks and parliament. There is also an important and subsequent emphasis on the theatre, although this serves largely as a side­ show, a commentary upon the main action rather than a metaphor for it. The audience’s sympathies are engaged on behalf of the workers through the figure of Maxey and his The trouble is everyone wants something different. voice-over which allows him the privileged On the waterfront [cut to middle distance shot of discourse. Viewers respond to his easy-going, Station Pier and workers making their way along understated account of politics and the it], the union bosses reckon us wharfies want more cheerful, colloquial slang. And it is easy to be money and safer working conditions. Huh! [Cut sympathetic because the ship-owners and poli­ to shot of workers approaching camera.] Stone the ticians, Labor and Liberal, are represented so crows! Who doesn’t? ’Course the shipping companies don’t want a bar of that [cut to the one-dimensionally. Maxey is also established as wharfies crowded around a notice], but that’s the romantic hero in his gesture towards Anna probably because all the shipping companies are Chieri.

But the viewer also notices the flatness and owned by the Poms.

The image cuts to Maxey forcing a way through literalness of this overview: the cutting, the crowd. A splendidly dressed figure arrives, precisely cued with the dialogue to illustrate to be identified as a ship-owner. There is some what is being referred to; the rhetorical, proces­ interchange about workers and bosses, and the sional scenes of politicians, journalists and voice-over continues over a shot of politicians crowds of workers; those stereotypical ascending the steps at Parliament House:

oppositions of wealth and poverty, of individual, self-interested decision-making and mass reluctance and powerlessness. The voice­ over suggests a kind of rehearsed, well-worn and weary attitude towards the world of power on Maxey’s part, and he is only drawn slowly into it as the film develops. But his attitude is that of the narrator’s at the beginning, as though the film shares in and endorses this larrikin indifference to the processes by which power is maintained.

Having set up Maxey’s vernacular as a kind of touchstone, the series finds it difficult to go beyond it. Through this double identification of Maxey as main character and narrator, a perspective is set up for the viewer which translates too easily into the “ She’ll be right, mate” rhetoric, leaving too much unstated and taken for granted.

It might be argued that the series demonstrates the hopelessness of this kind of attitude and response by the workers, and that Maxey is finally done in by forces he can neither understand nor cope with. His thinking, after all, is limited (“ The trouble is everyone wants something different” ) and his gestures well-meaning (dropping the coin into the beggar’s tin mug). He is constructed as a figure who would be happy with a good job and a good woman, and something of his essential reluctance to becoming involved in politics also characterizes the film. But there is an energy and conviction about the scenes of his private life that is missing from the representation of political decision-making.

The introduction also suggests a certain lack of motivation within shots, a disconnected quality in the film narrative, and it is only later that the viewer recognizes that the beginning is stitched together from shots that occur at different points throughout the first episode.

This process underlines a sense that the series is demonstrating something else, an under­ standing of the history which is assumed or subsumed into the tone of voice and point of view of the narrator at the outset. The effect of this style is to suggest parable rather than history, to establish a set of events that demon­ strates the power of Greed and Ruthlessness

Anyway, then you’ve got the politicians. Who the hell ever knows what they want? They’re like the Melbourne weather. Something different every day. We’ve got a Labor State Government which can only govern with the support of two country independents — house of straw government I call it. [The image cuts to a distance shot of a group of suited men at the wharves.] One puff and they’re gone. And in Canberra [cut to the press inter­ viewing, presumably, the Prime Minister] we’ve got a conservative government under Mr Bruce and we all know what he’s for: Law and Order and Keeping the Unions in Place. He’s told us often enough.

Cut to the wharfies again as a ship-load of migrants arrives. Slogans are shouted, national­ istic and racist; scuffles and fights break out.

The narrator philosophizes that you get what you fight for — but who’ll throw the first punch? And Maxey steps forward to pick up Anna Chieri’s (Greta Scacchi) case and welcome her to Australia, with all the natural class of the irresistible larrikin. The picture fades to black and music comes up as the title appears.

This lengthy and somewhat disjointed intro­ duction establishes the time and social setting of the drama, introduces the main characters and prefigures the industrial and political conflict, as well as the romantic liaison between Maxey and Anna. It also introduces expecta­ tions about the ways in which the story will be A scuffle between police and waterside workers. Waterfront relies “finally fo r its dramatic conviction on a conventional told. The key locations are those in which the understanding o f class conflict”.

134 — July CINEMA PAPERS

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and Self-Interest. And the workers, too, look uncomfortably like extras brought in for a day to attend mass meetings. This is partly because the narrative is so direct and literal. Everything is established as part of the plot; there is no lingering over detail that may at first appear irrelevant; each incident and gesture is developed for its stated significance in furthering the story. There is little of the incidental observation, the sharp detail, that one finds in John Morrison’s Stories o f the Waterfront, written about the decade from the late 1930s to late ’40s. This is his introduction to ‘‘The Compound” , where the wharfies assemble to be given work: They all seem to know each other.

‘Where are you at it, Bill?’

‘Sixteen dock.’

‘That lousing thing! — gunnies?’

‘We been on kapok all the morning —’ ‘Going to Snowy’s funeral to-morrow?’

‘I might, now I know where he is. He was like all the officials of this Union, nobody could ever find him when he was wanted —’ ‘They tell me Wally Strickland got injured —’ ‘They say there’s a timber job in —’ ‘I hear Strang’s is picking up for wool —’ They tell me — they say — I hear; you’re learning already that the waterfront, no less than any other industry, has its navvies’ rumours. It’s a tough­ looking crowd, but you sense a quality not to be found anywhere except in communities of men who have much to put up with in common. Two

Waterfront does not allow this level of grief and terror, this recognition of the effects of the power struggles it depicts. Richard Lowenstein’s Evictions (1980) was much stronger in this regard.

This literalness of Waterfront, a refusal to These details about the idiom and behaviour of consider levels of uncertainty and suffering, is the wharfies, and the sense of a community of linked with its glossy surface, its predictable men bound by certain interests and needs do outcome and its dramatic structuring in bitenot come through in Waterfront. There the size chunks to allow for advertisements. Many wharfies are part of a larger social picture, with people have commented about the difficulty in the politicians and the owners, who are all following the series because of the breaks for similarly sketched in. advertisements; the problem for the narrative is The poverty and precariousness of their not just the break in attention, but the constant existence, and that of their families, is pausing within the drama for conclusions, the suggested but muted in its effect. The violence artful construction of suspense to allow for and they suffer is represented as systematic and bridge the ad breaks. impersonal, from staged riots to police The reasons for the series’ limited success are intimidation and gangland murder. Where the embedded in the nature of writing and mini-series is less strong is in its account of the producing for commercial television. The effects of this violence. There is none of the publicly-aired argument about the use of sub­ sense that one has with, for example, Boys titles is only the tip of the iceberg. Other from the Blackstuff, of people who are questions still remain about the degree to which inescapably trapped, whose lives are ruined. the drama can be unmotivated, sequence to One does not feel the ambiguity, incomprehen­ sequence; can allow metaphor rather than sion and madness of people who are shown to literal development; can move away from behave in reckless and despairing ways, whose stereotyped Australian cultural figures (the support systems and identities are broken author embodying the myth); can allow and down, and who become capable of personal take up implications in the narrative; and can violence towards friends, lovers, children. depict the inescapable personal consequences within the characters it sketches, largely from 1. John Morrison, Stories o f the Waterfront, Penguin, Melbourne, 1983, p. 2-3. the outside. seamen who have been uptown for a lunch-hour drink push through to get off at the gasworks’ berth. They’re covered with coal-dust just as they left the stokehold, and you can’t help noticing how carefully they avoid brushing against a man who is wearing a good grey suit.1

Arnold Zable The Australian television audience has been deluged recently by mini-series. Hour after hour, night after night, these series have had one glued to the box, hopelessly hooked. And no sooner is one series finished than along comes the next. And so one doesn’t forget, fullpage advertisements scream out not to miss the next enthralling slice of history or life, or just time-consuming entertainment, full of sex and blood and guts.

Compared with many mini-series, The Boy in the Bush is a modest effort. Originally filmed as four 50-minute segments, it was shown on two nights, one week apart. Its release was unheralded and the production barely reviewed. Yet, The Boy in the Bush is a significant piece of Australian television drama, its most impressive aspect being the way it expresses the essence and spirit of the original work upon which it is based.

The original novel of The Boy in the Bush was a collaboration between D. H. Lawrence and Mollie Skinner. There has been some con­ troversy since the work was first published in 1924 as to how much of it should be credited to Lawrence or Skinner. Certainly Mollie Skinner’s role has been denigrated, especially in the recent publicity for the series where she has been referred to as an “ amateur” writer and generally assigned a minor role in the writing of the book. But Lawrence always stressed the major role played by Skinner.

Lawrence met Skinner in 1922 when he stayed in the guest house she ran in Darlington, Western Australia. He was impressed by her writing and inspired her to produce a novel set in the pioneering days of the colony of Western Australia. Lawrence rewrote the resulting

manuscript, “ The House of Ellis” , and renamed it The Boy in the Bush.

It is generally agreed that Skinner supplied many of the basic details and an eye for the nuances of the Western Australian landscape.

But the final version certainly has the imprint of Lawrence’s typical concerns and obsessions.

Lawrence concentrated particularly on the psychic development of the main character, Jack Grant, who becomes the archetypal, Lawrencian male hero.

Expelled for his wayward ways from college in England, 18-year-old Jack Grant is sent off to Australia in 1882, to make a man of him and establish a new life in the Antipodes. The novel gives a vivid picture of Western Australia at the time: a raw, untamed and remote land that was open to development and exploitation by those with the drive, ambition and a certain courage to make a go of it in farming or mining.

A major theme of the novel is the clash between the values of an old, conservative England with its class-ridden privileges and claustrophobic traditions, and the coarser and potentially freer Australian frontier. It depicts some of the attempts of the settlers to re­ establish the class hierarchies and values of Old England, particularly in the scramble to gain a position in the new class of landed gentry complete with its concern for family dynasties and status.

But the bush also demands a different spirit: the attempt to recreate Old England is undercut by the battle between man and nature, and the harsh realities of survival on the land in the outback. Already there is a new type of Aus­ tralian: the harsher, more aggressive colonial.

Lawrence and Skinner make much of the uncul­

tivated accents, the coarseness and the resilience of the best of the colonials, and the alien bush acting as the leveller.

A great deal of this conflict is reflected in the novel in the inner dialogue of Jack Grant as he

Jack Grant (Kenneth Branagh), the archetypal Lawrencian hero o f Rob Stewart’s The Boy in the Bush.

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Monica Ellis (Sigrid Thornton), the personification o f passionate, feminine energy, and one o f her mesmerized lovers, Red Esau (Stephen Bisley). The Boy in the Bush.

responds to the demands of this strange, new environment. Jack, and some of the other leading characters, also become vehicles for Lawrence’s views on morality and his concern with the psychic intensity of the struggle between man and woman, man and man, with its sexual undertones and tragic potential for explosive rivalry. At times, the colonies become the backdrop for these themes.

In the television adaptation, the directing, acting and screenplay have combined to repro­ duce the Lawrencian spirit of the novel. In doing so, The Boy in the Bush attains great depth and bite. It is interesting to observe the process of successful adaptation at work. Hugh Whitemore’s screenplay relies cleverly on dialogue taken directly from the novel and is enhanced by the performance of the leading actors, in particular Kenneth Branagh as Jack Grant, Sigrid Thornton as Monica Ellis and Steve Bisley as Red Esau.

When the young Jack first lands in Fremantle and, in the early scenes, learns the ways of the bush workers, he fully fits the Lawrence and Skinner opening description. There are many similar passages that provide excellent guide­ lines to the attentive actor, director and script­ writer:

A great deal of the television adaptation focuses on the confrontation between Jack and Red Esau. Red is the macho ethic gone wild in the Australian bush. Bisley recreates Red’s nasty, snarling and perverse nature — the uncouth colonial with an intense hatred of sen­ sitivity (or, more likely, an underlying fear of sensitivity). Red sees in Jack the soft, flabby, aristocratic superiority of Old England and takes every opportunity to taunt him and outdo him.

Although Whitemore tends to draw the conflict between Jack and Red in more stark and, at times, more simplistic terms than in the novel, this can be partly attributed to the demands of screen adaptation. The confronta­ tion is simplified in order to heighten its visual impact. What is lost in the process is the richness of the interior dialogue found in the novel. But there are several outstanding scenes which fully convey the smouldering rivalry

between the two men: the horse-race at the country picnic; the fight in the rain in which the adversaries pummel each other into uncon­ sciousness; and the final struggle to the death.

Tom Ellis (Jon Blake) acts as a counterpoint to the intensity of Jack and Red; his directness and deep sense of personal loyalty can be seen as the more positive qualities of the ethic of mateship.

An outstanding aspect of The Boy in the Bush is Sigrid Thornton’s portrayal of Monica Ellis who personifies that passionate, feminine energy Lawrence’s heroes fear and by which they are mesmerized. Thornton conveys Monica’s waywardness and sensuality, and the provocative game she plays in transferring her affections between Jack and Red. Monica presents a formidable challenge to the dominance of the male ego; she exposes the deeper fears and potential weakness that lie behind the facade of bravado. Lawrence knew

He stepped ashore, looking like a lamb. Far be it for me to say that he was the lamb he looked. Else why should he have been sent out of England? But a good-looking boy he was, with dark blue eyes and the complexion of a girl, and a bearing a little lamb-like to be convincing.

He stepped ashore in the newest of colonies, glancing quickly around but preserving his lamb­ like quietness. Down came his elegant kit, and it was dumped on the wharf; a kit that included a brand-new pigskin saddle and bridle, nailed up in a box straight from a smart shop in London. He kept his eye on that also, the tail of his well-bred eye.

By the final scenes, Branagh has fully become the matured Jack: tamer of the bush, successful miner, flouter of convention, emigre to the tough North West and far away from any hint of Old England as may be found in settlements such as Perth. Jack has that air of superiority, edge of arrogance and touch of mockery so typical of Lawrence’s projections on to his heroes.

136 — July CINEMA PAPERS

Tom Ellis (Jon Blake), Monica’s older half-brother who “acts as a counterpoint to the intensity o f Jack and R ed”. The Boy in the Bush.

Three Mini-series

Above: Dr Rackett (Alfred Bell), Lennie (Paul Smith) and Mary (Celia de Burgh). The Boy in the Bush.

Below: Jack and Dr Rackett study a phial o f gold. It is the doctor who instills in Jack a lust fo r the precious metal. The Boy in the Bush.

how to pull apart the male psyche and touch on the raw nerve of inadequacy that often lay at the core. This quality is strikingly conveyed in the television adaptation, except in the scenes on the gold diggings where Tom, Monica and Jack act out an idyllic romance and friendship that does not match the growing hardening of character depicted in the novel.

These conflicts are adequately embellished by vibrant scenes such as the New Year’s Eve barn dance; the opulent ball at Government House where Old England lives again; the country picnic; and Jack’s feverish delirium as he wanders about in a trance, lost in the bush, after he has killed Red. The earlier episodes are gently paced, capturing the rhythm of the “ tribal” quality of life in the farming household of the Ellis family. Later, the audience catches glimpses of other aspects of colonial, outback life in the kangaroo hunt, the clearing of land and felling of trees, and life on the gold diggings. A range of eccentric charac­ ters, true in spirit to the original text, adds to the richness of the production, with suitable performances by John Frawly as the Dicken­ sian country lawyer; Alfred Bell as the enigmatic, opium-addicted Dr Rackett; and Bunney Brooke as the crusty, ancient matriarch, Gran Ellis.

It is perhaps unfair to criticize the production for some of its omissions. The task of the scriptwriter was probably defined and limited, as it so often is, by the format. Nevertheless, in reading the novel one is aware of rich potential not utilized, particularly in relation to Jack and Tom’s two years on the road in north-west Aus­ tralia. This was their journey to manhood, the white man’s walkabout as they ventured into the heart of the outback which, in the novel, takes on the spirit of an odyssey. Tom and Jack are transformed and hardened by the elements —- the harsh landscape, the burning sun, the sand and dust — and the isolated, one-horse towns and chance encounters. They meet a fascinating array of outback wanderers and frontier characters: desperados, itinerant farm­ hands, ruffians, miners, tramps and fortuneseekers, many of whom have lost their bearings and have been cut adrift from any semblance of European society.

In the television adaptation this journey is considerably shortened; despite the limitations of the format, more of the journey could have been reproduced in visual shorthand. The Aboriginals of Western A ustralia are conspicuous by their absence and this depletes the account as a full picture of the times.

However, it should be pointed out that in the novel they only appear fleetingly, as intima­ tions of a dark and unfathomable spirit, the extreme counterpoint to the ways of old Europe and civilization. In this respect Lawrence and Skinner were echoing some of the more progressive but still romantic notions of Abor­ iginals as representing the primal and elementary force in nature. Certainly attitudes

in Australian society at that time were far too close to the harsher truth of extermination to be able to deal with it directly.

Although this review began with some mild complaints about the time-consuming nature of the mini-series format, an extra two hours, taking The Boy in the Bush to a more typical length, would have given it scope to attain an epic quality and bring out the fullest potential of the novel. In some ways, The Boy in the Bush hangs uneasily between a feature film and a mini-series. But this television production is a considerable achievement: with its portraits and intensity it makes compelling viewing, and takes the audience into the inner life of its major characters. ★ CINEMA PAPERS July — 137

Until Razorback, Russell M ulcahy’s forte as a director has been the video rock clip. His work fo r groups and artists such as Supertramp, Elton John, Paul McCartney, The Rolling Stones, The Motels, Icehouse, Spandau Ballet and Ultravox contains a spectrum o f ideas and images with one common denominator: visual excellence.

In fo u r years, Mulcahy has earned, deservedly, a world­ wide reputation fo r technical bravura and imagination in a field which previously was marked by only the occasional flash o f creative image-conjuring.

M ulcahy’s work has been widely recognized by the American and British music industries. He has received awards fro m the British music publication M usic W eek (including one fo r “outstanding contribution” to the music video industry in 1982) and two “special comment” awards in 1983 fo r the video clips fo r Billy Joel’s “Pressure” and “Allentow n”. He recently received two Grammy Awards fo r his work with Duran Duran.

For his feature debut, Mulcahy deliberately chose a non­ musical, feeling that Razorback, the story o f a gargantuan, man-eating boar roaming the Australian outback, would present him with various new challenges.

In the following interview, Mulcahy talks to Jim Schembri.

I also think one should only work on things that one is happy with. My criterion for that is In August 1982 the film’s pro­ whether I would actually like to see ducer, Hal McElroy, rang me up in the film myself. So, I shot it as London and offered me the job. It though I were the audience; I was a good reason to come back to created scenes that I would like to see on the screen.

Australia and do a film.

I am a great fan of the adven­ Hal had seen a number of my clips and felt that there was some­ ture-thriller genre. I like most thing in them that he wanted to see films, but musicals and action in • the film. He never exactly thrillers are the ones I particularly like. defined what, though.

How did you first come across the “Razorback” project?

What was it about the screenplay of “Razorback” that appealed to you?

Its energy and its agoraphobia [sic]; the idea of terror in wide, open spaces. I mean, where do you hide?

been doing music clips for the past five years and to do a musical wouldn’t have been very taxing.

The script for Razorback was different and a little more chal­ lenging.

We wanted to inject a little more humor into it as a relief from the tension, so Everett and I worked out the farmhouse scene. We also decided that the end of the film should be at the Pet Pak cannery.

We felt it should end in a kind of What was the budget for “ Razor- ultimate haunted house on the hill. back” ?

Everett is one of the best thriller writers in the country and he was a It was about $5.5 million, which pleasure to work with. I had seen was quite heavy for an Australian Patrick, Roadgames and Race to film, and for a debut film. I did a the Yankee Zephyr, which I lot of pre-production work on the thought was a bit flawed but the film because it is quite a responsi­ script was so good. bility having that much money Everett is a very visual writer, hanging around your neck. which I like. He writes with shots in mind and you can talk to him Did you contribute to the screen­ and describe other things you’d play? like to see. Even before I came in, the first draft I read of Razorback There were two drafts before I was a very visual script. came in and about three after. Hal McElroy, Everett De Roche and I Was there any improvisation in the formed a threesome and we locked film? ourselves away, hammering it out and moulding it.

Oh, there has to be. That is one I put in qualities and scenes that of the delights of the filmmaking I could visualize, such as the con­ process. You organize a shot and cept of a guy living underground then on the day something magic and a variation of the haunted happens. On Razorback, it house on the hill. happened in the shots, the acting,

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Had you been offered any other films?

Before Razorback, I was only offered musicals: Flashdance 2 and one called Space Riders, which was a science-fiction musical. But I didn’t want to do them because I’d

Carl Winters (Gregory Harrison) in the outback: terror in wide, open spaces. Razorback.

CINEMA PAPERS July — 139

Russell Mulcahy

international film with an inter­ national look and it just happens to take place in Australia.” They decided to go for a particular look in the film and they held it throughout.

Dean and I decided to do basic­ ally the same thing: to have an idea of what we wanted the film to look like and then make sure that we maintained a consistent style.

You seem to imply that there is a particular way some Australian films are shot that might hinder them from being sold overseas . . .

No, I think it is the story content which does that. I don’t think Aus­ tralians can make an international film without paying attention to that.

Some of the tracking shots in the film are particularly impressive.

Did you use any particular camera system, such as the Panaglide or Steadicam?

Jake Cullen (Bill Kerr), right, is terrorized by the Baker brothers, Dicko (David Argue), left, and Benny (Chris Haywood). Razorback.

even in the way some of the scenes were written. Everett also came up to Broken Hill and sometimes would rewrite scenes because of the way something was developing.

It is a continual growth process.

not showing the razorback one creates more suspense. What you don’t see is usually more frighten­ ing than what you do, as long as in the end you get your money’s worth.

What are the major differences be­ tween making a feature film and making video clips?

I had trouble deciding who was worse, the razorback or Dicko and Benny. Was that an intentional parallel: the evil in man and beast?

Razorback was something that I needed to do because I had Yeah, a lot of people are going only done short clips. You can to say that. I mean, something become a little disillusioned with it inside asks, “ Who is the worst: all, because they are four minutes beast, animal or man?” I am not long, you shoot it in a week and trying to make any heavy state­ then they’re gone. I really needed ment with the film, but if people something that I could work want to read that in, fine. It wasn’t harder on and grow with. an intentional message to man­ The main difference was the kind. concentration involved in making a one-and-a-half-hour narrative Did any of the crew on your video work. Because of the schedule, you clips work on the film? are all over the place. You shoot a bit of the end, then a bit of the Yes, Bryce Walmsley who has beginning. I had to concentrate on done the art direction and produc­ the story the whole time and know tion design on most of my overseas my in and out points of each scene. clips. He came over from London When I shoot I am always editing to do the film. He’d never done a the film in my head, so I had to be film before. totally aware of what was going on Although a lot of the film is de­ in each scene. A lot of that was signed, you don’t really notice it obviously screwed up when we cut when you’re watching the film.

Anything, from a bed to a lamp­ the film down. post, is placed carefully in shot.

The razorback in the film seems to Even the waterhole, for example, be an enigma. One doesn’t get a was specially constructed, and the good look at it until the end of the cave in which Dicko and Benny live was a set. And the house that is film . . . burnt down at the start of the film That was intentional. If you was actually built because it isn’t show all your cards up front then it easy finding a house like that in a is going to be a pretty boring game. flat, barren landscape.

It was all designed as a teaser, so you say, “ Did I see it or didn’t How did Dean Semler get involved I?” , and, “ Is it really that big?” in the project?

We wanted to create that feel. It is I saw Mad Max 2 and thought it not a new method; they used it in was a most incredible film. It was the 1950s.

I wanted to create more a film of one of the first Australian films suspense rather than horror, so by that had the guts to say, “ We’re an 140 — July CINEMA PAPERS

We tried using a Steadicam. I am not convinced Steadicam is definitely a good machine. I always find that to get a lighter camera and hold it in your hand can be just as effective. We did use a Steadicam up to a point but then we gave up. We ended up hanging the camera basically from two bits of cloth. Dean and I found that much more effective.

Steadicam has worked success­ fully in Wolfen and a few other films, but I don’t think Australian cameramen have the hips to use it.

I mean, it is all in the hips, isn’t it?

Many compositions in the film have remarkable definition. What stock did you use on the film?

The latest fast stock from Kodak. We got one of the first batches of it. It is an incredible stock: you can shoot in such low light.

The lighting in “Razorback” is very striking. What was the style you went for?

I have never been concerned about where the light is coming from. I don’t think you have to tell people what the light source is.

Dean and I were lighting for emotional effect only, so there was light coming from behind people and trees. Some might say, “ What the hell is a light doing out there?” , but I don’t think the audi­ ence is wondering why. They are actually looking at the image.

It is the same with the smoke, too. There is smoke where there shouldn’t be, but it is there because it works emotionally.

Did you have much to do with the engineering of the Dolby Stereo sound in the film?

We really fought for the Dolby Stereo. It pinched the budget but the sound mixers, the editor, Bill Anderson, and I were convinced that it should be in Dolby Stereo: we just needed that level of sound.

What Dolby Stereo can give you, apart from being able to spook somebody by having sound come from one side or from

American environmentalist reporter Beth Winters (Judy Morris) filming in the Australian outback. Razorback.

Russell Mulcahy

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Jake and Sarah (Arkie Whiteley) use radar to track the savage razorback. Razorback.

behind, is an incredible sound level. You have extra decibels, so when the razorback screams you can make it howl on the bass level.

On a mono track, with all the music and the sound effects, the boar screams would have become very muddy.

The creation of the boar by Bob McCarron cost a lot of money because it was a complex creature, and six of them were built. It ate up a lot of money, not only people!

Who designed the razorback?

Bob. I worked on a few sketches A lot of Australian films are with him but he basically did the coming out in Dolby Stereo . . . design. I think he had actually A lot of them don’t actually designed one for himself years ago.

He is fascinated with them. need it.

The design is based on fact and You have obviously paid consider­ enlarged from that. When you talk able attention to the locations in to a razorback hunter in the out­ back they have horrific stories of the film . . . confrontations with these things. I Hal McElroy, myself and a few think our final product is quite other people probably made about malevolent.

One of the newspapers is giving five trips up to Broken Hill. First we went to Bourke and various away a free trip to razorback other places, but when we saw country. Heaven forbid!

Broken Hill we fell in love with it.

There is such a variety of locations Did you make any major casting and landscapes there. Unfortun­ decisions in the film? ately, you can’t shoot everything.

I worked very closely on the “Razorback” is edited in a power­ whole casting with Jim and Hal. ful fashion: there is a strong style Warner Bros also had a few sug­ in the way it cuts from scene to gestions.

The major casting decision was scene. Was that your idea or some­ to make Dicko and Benny younger thing Bill Anderson devised? characters than those in the book.

It was a combination. Many Casting Chris Haywood and David scene changes were shot that way Argue together as brothers was an and Bill really enjoyed cutting it. incredible coup.

He worked very hard. The first cut came off very quickly: he had cut When did Iva Davies start working nearly half the film before I had on the soundtrack of the film? even finished shooting. The fine Iva came in pretty early, actu­ work then took some time.

Many of those scene changes ally. He was the only choice I were pre-planned. I wanted to have could think of in this country. He a pace to it. If you dwell too long was perfect because his style of in a film like this, the audience music is just right for the film: a starts thinking too much. You mixture of the primitive and the modern. He saw some story­ should just go with the flow. boards, read the script and worked How much of the budget went into out a theme from that. I then showed him a rough cut of the film the special effects?

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Carl, searching fo r the missing Beth, comes to Australia to find her. Razorback.

and he used a Fairlight computer to do the rest of the score.

Do you have any future film pro­ jects planned?

I want to do another film now, but during the shoot I thought, “ Bugger this for a life!” It is fuck­ ing hard work.

I want to do another film next year maybe, but we are going to do more video projects this year.

There is a project with David Puttnam called “ The Silver City” , which is sort of a fantasy musical, but we haven’t been committed to do anything. We’re waiting to see what the reaction is to Razorback overseas. I think it might be big in Japan.

Videos Your work in video clips has had a large impact. Do you feel you have changed the music scene?

If I hadn’t done it, Joe Bloggs would have. It was a natural pro­ gression for music to become visual, just as it was natural for music to go from mono to stereo.

In the video age, when everyone is watching bloody screens, and huge screens at concerts help push the band on stage, music had to become visual. What is going to happen now, I don’t know. There is a bit of backlash in America at the moment against flashy clips.

Have videos changed the music itself, the way groups perform and compose their music?

Many more groups have come out now because they felt they were more a visual act and could probably never get records played.

But now they can be seen. I think seeing things first and then listen­ ing is a danger, as well.

Do you think clips have affected the way the public approaches music, that they listen to the lyrics and think of the clip, then buy it for that reason?

Oh yeah. I am sure a lot of people talk about Marilyn, say, because of the clip. Then they hear the song and see the guy. It has expanded the music frontiers a lot more.

You introduced the idea of black­ ing off the top and the bottom of the frame in your clips. What was the reason for that?

There were several reasons. One is it makes them look much more expensive. The second is that I hate the shape of television screens. I wish someone would invent a tele­ vision screen with a 2:1 ratio.

Another reason is that people watch television with all their lights on. You lose a lot of definition. By blacking off the top and the bottom, the colors and the whole image speak out more.

Are there any bands that are par­ ticularly good for film clips?

You could run up a list of about a thousand. There are some bands that aren’t good for film clips, but I am not going to name them.

The big challenge of musicians these days is to be able to look brilliant on video and also to be able to perform brilliantly live.

Some bands are terrified that they have to recreate on stage what they have done on video. A stage act and a video act are completely different things, but the best thing is to be able to do both. ★ CINEMA PAPERS July — 141

Above: Bonnie Rogers (Sandy Gore) attempts to bring music into the lives o f the students o f Western City High. Below: Vinnie discovers he can do something other than fight when he joins the school band as a drummer.

Above: down on the street, Karl (Darren Boyd), Freddo (Tibor Gyapjas) and Billy (Jim Fotopoulos), three o f Vinnie’s mates, are hanging around, waiting fo r some action. Below: Old George (Ray Marshall) tries to keep Vinnie o ff the streets and in his gymnasium where, at least, the fights are clean.

Below: the irrepressible Bonnie takes Billy and Karl through their paces as members o f the newly-formed rock band.

Street Hero For Vinnie Romano (Vince Colosimo), the asphalt and the crime on Easy Street is a world away from the impoverished government schools and cramped government housing. The local espresso bar — the heart o f Easy Street and seat o f the local mafia — is the only real education Vinnie knows.

But Bonnie Rogers (Sandy Gore), the music teacher at Western City High, has a deep commitment to her students and persuades Vinnie to join the school band. After much coaching, Vinnie develops into a competent drummer.

Vinnie and his mates, including Gloria (Sigrid Thornton), form a rock band, and their spirits and loyalties soar. Then the other world o f authority and family entanglements intrudes on Vinnie again and he flees back to Easy Street. There, confronted with the seedy reality, Vinnie, for the first time in his life, has to take stock and make a decision.

Street Hero is directed by Michael Pattinson, from a screenplay by Jan Sardi, for producer Julie Monton. The director o f photo­ graphy is Vince Monton, the editor David Pulbrook. The film stars Vince Colosimo, Sigrid Thornton, Sandy Gore, Bill Hunter, Ray Marshall, Amanda Muggleton, Peta Toppano and Peter Sardi.

Right: Vinnie Romano (Vince Colosimo), on his way to a life o f petty crime on Easy Street, reacts unfavorably to counselling from a teacher. Below: Vinnie and Gloria (Sigrid T h o r n to n ): despite their problems, they are young, beautiful and fu ll o f energy.

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S o m e th o u g h ts o n th e films o f A la n J . Pakula

Neil Sinyard

“ By the end, only one question looms” , according to the “ On Now” section of Sight and Sound, summarizing Alan J. Pakula’s Sophie’s Choice (1983), “ Why on earth did Pakula want to make this movie?” 1 Given the success of the film, the question might seem academic, even impertinent. A film which has won an Oscar for its leading actress and earned a sizeable sum at the box-office hardly needs to justify its existence. Yet, for students of the career of Pakula, the question posed is an interesting one. This article is an attempt to suggest a few answers and, in so doing, assess Pakula’s status in the contem­ porary American cinema. It also is an attempt to raise some questions about authorship in the cinema, which Pakula’s career particularly invites.

Let me preface the argument with three, ostensibly contradictory propositions: Alan J. Pakula is one of the most talented and intel­ ligent American directors working in the cinema today; Sophie’s Choice is, thematically, an entirely characteristic Pakula film; and Sophie’s Choice is his most lifeless and dis­ appointing work. It seems to perform the same function in his career as Mickey One (1963) did in Arthur Penn’s: a warning not to deny an innate, American energy in favor of a languid, Europeanized pretentiousness. It is also a cautionary lesson for auteurists: self-expression sometimes leads to self-indulgence.

What makes Sophie’s Choice a typical Pakula film? First, it provides a feast for a major screen actress. One of the notable features of his work so far has been the oppor­ tunity provided in it for strong performances by women. Jane Fonda’s Oscar-winning display in 1. “ On Now” , Sight and Sound, Voi. 52, issue no. 2, Spring 1983, p. 148.

Klute (1971) immediately comes to mind, but there are also Oscar-nominated contributions from Liza Minnelli in The Sterile Cuckoo (1969), and from Jill Clayburgh and Candice Bergen in Starting Over (1979). Nor should one forget Maggie Smith’s tubercular tour-de-force in Love and Pain and the Whole Damn Thing (1972). This dimension of Pakula’s work might imply an interest in modern sexual politics, though the issue of feminism in Klute still provokes debate and Meryl Streep’s brave attempt to deglamorize her role in Sophie’s Choice by appearing in a scene without any teeth was omitted from the final film. (If one does not know that Sophie’s teeth are false, Streep’s constant sucking in of her cheeks during the film might look like a strange acting mannerism.)

My feeling is that the female performances are so strong in Pakula’s films almost by default; they look so positive and dynamic because the heroes are comparatively weak.

Pakula’s observation is engaged not so much by the vibrant, modern woman as by the recessive and emasculated modern American hero. The private-eye in Klute, the investigative journalist in The Parallax View (1974), the cowboy in Comes A Horseman (1978) and the financier in Rollover (1982) are all classic stereotypes of the macho American male, but in each case their actions are to be undermined by events. They all ride in, like Shane (alluded to explicitly in The Parallax View and implicitly in Comes A Horseman), to clear up the mess and fight for justice, truth and the American way. At the end, they seem merely to have enlarged the sense of enigma and uncertainty. In this way, Pakula’s heroes can be compared with those of Brian De Palma, and with those of key 1970s films such as Roman Polanski’s Chinatown (1974) and Arthur Penn’s Night Moves (1975),

where self-confident interference and investiga­ tion leads only to chaos and confusion. In Pakula’s films, Vietnam and Watergate have made substantial inroads into the American psyche.

The male protagonist, Stingo (Peter MacNicol), in Sophie’s Choice is another American stereotype. He is in pursuit of one of the most elusive yet pervasive of American dreams: to write the Great American Novel. In the process, he has his understanding of life deepened by his encounter with his upstairs neighbors, the erratically brilliant Nathan (Kevin Kline) and a Polish survivor of Auschwitz, Sophie (Meryl Streep), with whom Stingo falls in love. Stingo and Sophie’s

The erratically brilliant Nathan (Kevin Kline), Sophie (Meryl Streep), a Polish survivor o f Auschwitz, and hopeful writer, Stingo (Peter MacNicol). Alan J. Pakula’s Sophie's Choice.

CINEMA PAPERS July — 145

Pakula's Choice

Sophie and Nathan in Sophie's Choice. “Ample make this Bed — / Make this Bed with Awe — / In it wait till Judgment break / Excellent and Fair. ” (Emily Dickinson)

relationship is rather similar to the one which forms the basis of Love and Pain and the Whole Damn Thing, in which a young American abroad, Walter (Timothy Bottoms), falls for a middle-aged, English spinster, Lila (Maggie Smith). In both cases, American innocence confronts European experience.

Although Emily Dickinson is often quoted in Sophie’s Choice, the literary figure most strongly evoked is Henry James, who was fascinated by the impact of Europe on Americans and America on Europeans.

In fact, the literary allusiveness of Sophie’s Choice highlights one of the most consistent characteristics of Pakula’s work: the sense it gives of a complex cultural tradition behind it and the way it draws on and evokes the American artistic heritage. If Love and Pain and Sophie’s Choice are Jamesian, the American puritanism of nearly all of Pakula’s heroes recalls the Nathaniel Hawthorne of The Scarlet Letter, just as the Gothicism of Comes A Horseman evokes the spectre of Edgar Allan Poe (as the critic Richard Combs has nicely put it, the film describes “ the fall of the House of Usher in the West” ). The leading characters in Rollover are both defined by the American painters they admire and display on their walls: Jackson Pollock for the heroine (all fiery, aggressive modernism), Frederic Remington for the hero (the Westerner, incongruously, in Wall Street). So the self-conscious, American artisthero of Sophie’s Choice provides no problem for a man of Pakula’s cultural sophistication.

If Stingo is a typical Pakula protagonist, so the relationships in Sophie’s Choice develop in a familiar way. A virginal, ingenuous hero is drawn to the heroine who knows the ways of the world. The relationship expands the horizons of both but is also fraught with danger: naivete pitted against cynicism, idealism against despair. This is the shape of 146 — July CINEMA PAPERS

Sophie’s Choice, and the central relationships of The Sterile Cuckoo, Klute, Love and Pain and, to some extent, Comes a Horseman and Starting Over are all of this kind. In each case, a character falls for someone who is gradually revealed as profoundly neurotic.

This element of neurosis is an important part of Pakula’s work and has many different dimensions. For a start, it particularly relates to Pakula’s portrait of women, all of whom are striving for independence in a man’s world and finding it difficult to reconcile a sense of belonging with their own quest for fulfilment.

This kind of “ new woman” was neatly defined

by Thomas Hardy in his 1912 preface for Jude the Obscure as an intellectualized, emancipated bundle of nerves that modern conditions were producing, mainly in cities as yet; who does not recognize the necessity for most of her sex to follow marriage as a profession, and boast themselves as superior people because they are licensed to be loved on the premises.

The Sterile Cuckoo, Pakula’s first film as director: tentative lovers, Jerry Payne (Wendell Burton) and “ P o o k ie ” Adams (Liza Minnelli).

An embodiment of this definition would be Bree Daniel (Jane Fonda) in Klute, who is disorientated by her relationship with Klute (the obscure?) and particularly by an emotional attraction which she fears threatens her inde­ pendence and makes her vulnerable.

All of Pakula’s films are very sceptical and wary about the bourgeois concept of the “ romantic couple” . In his films, the central relationship (even in AH the President’s Men, 1977) tends to be that of an “ odd couple” , and his films rarely build to anything that approx­ imates a happy ending. The resolution of Starting Over is the most abruptly uncon­ vincing, romantic conclusion since the 1964 film, Love with the Proper Stranger (which Pakula produced), whilst the wedding during the end credits of Love and Pain could be real or imagined, the heroine’s wedding veil swirling weightlessly in slow motion like tissue.

Neurosis in Pakula’s work is also sometimes extended from a personal to a national scale.

The paranoid plots of films such as Klute, The Parallax View, All the President’s Men and Rollover suggest the U.S. as a country on the verge of a nervous breakdown. A similar point is made wittily and swiftly in that telling small' detail in Starting Over, when Phil Potter (Burt Reynolds) suddenly collapses in a shop. When his brother asks desperately if anyone in the shop has any valium, half of the customers can instantly oblige.

Perhaps the thing that most identifies Sophie’s Choice as a Pakula project is the dramatic situation that gives the film its title: that is, the revelation of the dark secret.

Sophie’s choice has been between her son and daughter when a Nazi has allowed her to save just one of her children from the gas chambers.

It is her guilt about this event in the past which haunts her present and finally denies her a future. Dark secrets are a feature of Pakula’s

Pakula's Choice

Top: J. W. Ewing (Jason Robards), the venal cattle baron, and oilman Neal Atkinson (George Grizzard). Above: modes o f transport, Ella (Jane Fonda) in the Model T and Frank (James Caan) on the horse. Pakula’s Comes A Horseman.

work. Characters chase shadows only to find the shadows chasing them, as in The Parallax View or All the President’s Men, or discover a darkness in their own hearts that they can neither tolerate nor control, such as the anguished murderer in Klute or the venal cattle baron in Conies A Horseman. People lead double lives in Pakula’s films, and Sophie, like many of his characters, is a compulsive liar.

Part of the fascination of All the President’s Men is its elevation of the lie from the personal to the political arena, and the stark, visual organization whereby the truth is shrouded in darkness and has to be dragged towards the light.

Given the inclusion of so many elements which seem so vital to Pakula’s world, why then does Sophie’s Choice not work? Why was Sight and Sound so puzzled by it as a Pakula film? There are several answers to that, some of which have implications for the strengths of Pakula’s previous work and for his possible future direction.

The simple point should be made immediately that consistency of elements does not necessarily mean that they will be equally convincing in every context. I have not read William Styron’s novel so J cannot make comparisons, but, although the character­ ization in the film of Sophie’s Choice seems typical, it never seems plausible. Stingo never gives any evidence of the great talent glibly attributed to him (nor does Nathan, for that matter), and his failure to recognize Nathan as a drug addict hardly increases his stature as a supposedly sensitive and perceptive writer and observer.

It could also be said that the visual handling of Sophie’s choice itself is miscalculated. Such tragedies were, alas, a commonplace of World War 2. The film’s inflated revelation of it as the astounding, dramatic denouement is distinctly

anti-climactic. It might have had that impact in the world of 1947, when the story is set, but it does not have the same shock in a 1982 film, and Pakula has not found the means to revive that sense of horror.

Pakula’s screenplay (his first) is wordy and monotonously paced. It fails to distinguish between the relevant and the irrelevant (do we really need Stingo’s silly interlude with his ostensibly oversexed girlfriend?) and the film sprawls at an inordinate length by extending the revelation of details that most spectators will have suspected for some time (the truth about Nathan and about Sophie’s Nazi father). He cannot seem to fix an appropriate tone or style to the material, which seems too melodramatic for his usual sobriety yet not sufficiently imaginative to unleash Pakula’s dazzling visual gifts.

The flashbacks, in particular, detailing Sophie’s life in the concentration camp, seem to fall between the two stools of documentary realism and hallucinatory horror. How phoney these scenes look in comparison with, say, Gillo Pontecorvo’s Kapo (1965). How glib the film seems in comparison with Fred Zinnemann’s Julia (1978), which brings an emotional authen­ ticity to its observation of unsophisticated America discovering the unnerving truth about Nazi Europe. In Julia, that tense but comic pantomime of Lillian (Jane Fonda) and her smuggled hat says more than the whole of Pakula’s film about the willingness of Ameri­ cans to help and bear any burden yet the clumsiness of their attempts to do so. Sophie’s Choice is similarly about American limitations in their comprehension of European sensibility and experience. Unfortunately, the film’s inadequacies are such that it does not elucidate this theme as much as embody it.

There are two problem areas about Pakula’s films which Sophie’s Choice inadvertently exposes: his early partnership with director Robert Mulligan; and his relationship with “ realism” . The former is related to certain aspects of the content of Pakula’s work as a director, the latter to some aspects of his style.

Pakula’s career in the cinema began as producer of seven films directed by Robert Mulligan: Fear Strikes Out (1957), To Kill A Mockingbird (1962), Love With the Proper Stranger (1964), Baby, the Rain Must Fall (1965), Inside Daisy Clover (1966), Up the Down Staircase (1967) and The Stalking Moon (1968). Since their divorce, as it were, Pakula has become one of the few people to have made a successful transition from producer to director. On the other hand, Robert Mulligan’s career has slumped rather badly (there is something to be said for Summer of ’42, 1971, and particularly Bloodbrothers, 1978, but precious little for Same Time, Next Year, 1969).

Looking at that list of Pakula-Mulligan films now, one is struck by how many of their themes return in Pakula’s own films: the recurrence of neurosis and breakdown (Inside Daisy Clover, Up the Down Staircase), the sense of fear and tension (To Kill a Mockingbird, Baby, the Rain Must Fall). It suggests that Pakula’s influence on these films might have been more pronounced than was acknowledged at the time. The title of their first film, Fear Strikes Out, is the essential theme of all of Pakula’s best work. Think only of those tense conversa­ tions at chained doors in Klute, The Parallax View and All the President’s Men; the motifs of voyeurism and surveillance in Klute, All the President’s Men and Rollover which undermine the individual’s security and privacy; and those extraordinary cameos of galloping paranoia in The Parallax View and Rollover by Paula Prentiss and Macon McCalman respectively, playing characters falling apart under the strain of a nebulous but overwhelming sense of dread.

Even in Starting Over, the hero and heroine first meet when she suspects he is following her as a prelude to rape and lets fly a torrent of abuse; it turns out that they are heading for the same house in order to be introduced on a blind date. This atmosphere of pressure and paranoia, so characteristic of Pakula’s direction, is probably most powerfully anticipated in the extraordinary suspense Western he produced for Mulligan, The Stalking Moon, in which the nightmarish presence of the avenging Indian is for a long time only felt but not seen.

John Klute (Donald Sutherland), a young policeman, with Bree Daniel (Jane Fonda), a prostitute and unwilling accomplice. Pakula’s Klute.

CINEMA PAPERS July — 147

Pakula's Choice

However, if Pakula influenced the films Mulligan directed, Mulligan has, subliminally, had an influence on Pakula. Mulligan is a “ personal relationships” type of director with a lyrical style that seems consciously to continue the humanist tradition of a director such as George Stevens. By contrast, Pakula leans more to political fatalism than liberal humanism. In retrospect, the 1960s films of John Frankenheimer (notably The Manchurian Candidate, 1962, Seven Days in May, 1964, and Seconds, 1966) seem closer to Pakula’s subsequent directorial personality than those of Robert Mulligan. Yet Pakula has occasionally hankered after Mulligan’s romanticism (in Love and Pain and in Starting Over) and he has always failed. To put it another way, Sophie’s Choice is the kind of involving personal drama that Mulligan does well and that Pakula, from time to time, has tried unsuccessfully to emulate. When Pakula appeals to the intellect, he is one of the best directors alive; when he appeals to the emotions, he seems self­ conscious and awkward.

One aspect of this self-consciousness reveals itself in his casting of technicians. Whereas composer Michael ' Small and cameraman Gordon Willis are often (not always) pressed into splendid service for his thrillers, Marvin Hamlisch provides the glutinous music for the romances (disastrously in Starting Over, tolerably in Sophie’s Choice) and a variety of European cameramen provide a classy visual sheen (Geoffry Unsworth for Love and Pain, Sven Nykvist for Starting Over, Nestor Almendros for Sophie’s Choice). The impression is that Small and Willis are reinforcing Pakula’s native vision, while the others are attempting to supply an emotional lacquer that does not come instinctively from within Pakula.

Pakula is uneasy with romance. He is also uneasy with realism, which exercises him considerably in Sophie’s Choice. Somehow the material is not bizarre enough to offer a stylistic challenge. He has little option but to settle for a kind of neutral efficiency, and be pulled along by the material’s laborious psychologizing and its tedious duplication of the so-called coherence and character complexity of the “ classic, realist text” .

Pakula’s best films have had some basis in reality and recent history: political assassina­ tion and cover-up in The Parallax View; Watergate in All the President’s Men; the near collapse in the 1970s of the Western economy in Rollover. But all of them also reveal a deep suspicion of ‘realism’, particularly an authori­ tarian view of the ‘truth’ as relayed by the media which, in both The Parallax View and All the President’s Men, is seen with withering, scepticism. The style weaves fascinating and unexpected patterns across a story-line one thought one recognized.

The Parallax View and Rollover are stunning examples of what Pakula has called “ American baroque” . The whitewash of recent, American political history is rendered as an Expressionist nightmare in the former film; Rollover impishly evokes Wall Street as a physical entity, so alienated and alienating as to resemble a planet out of science fiction. In both films, the director’s eye for composition — his suggestion of the tension between individual and environ­ ment — is the equal of Michelangelo Antonioni. In All the President’s Men, the dazzling yet disturbing camera rhetoric quite subverts what could have been a reassuring narrative, and overlays the film with a sense of menace that makes Watergate not a triumph of the free press but a symptom of the increasingly secret and sinister machinations of the sophisticated superpower. The film is no homage to Ben Bradlee, more an apprehensive anticipation of Big Brother.

In Pakula’s best films, one can pick out virtuoso pieces of direction that suggest his strengths are in stylization more than psychology and in an abstract sense of social mechanisms rather than a compassionate sense of human relationships. There is the revelation of the murderer’s identity in Klute as he stands isolated in his glass tower, the camera then swooping vertiginously to the ground in a movement that seems both to penetrate the character’s depths and anticipate his fate; or the shot of his ascent in the lift as he comes to silence Bree, emerging out of a pool of darkness as the impulse to murder has itself surfaced from his subconscious. The magisterial manipulation of the brainwashing section of The Parallax View is a much more ingenious and

During the filming o f Rollover: Kris Kristofferson, Jane Fonda and Alan J. Pakula.

148 — July CINEMA PAPERS

Kris Kristofferson as Hubbell Smith, a banking wizard who discovers alarming practices at a U.S. bank. Pakula’s Rollover.

powerful visual concept than the similar visual conditioning of the anti-hero of Stanley Kubrick’s A Clockwork Orange (1971). The amazing crane shot in the library in All the President’s Men conveys the routine of the journalists’ research by the most exciting of visual means, but also suggests the wheels within wheels that “ W oodstein” will encounter, and the fragility and insignificance of individual endeavor (what actually did the revelations about Watergate achieve?). As a psychologist and historian of the modern American experience, Pakula can mould its key events into a visually vivid and stimulatingly speculative personal interpretation. But the European angst of Sophie’s Choice forces Pakula into the role of onlooker, tentatively trailing rather than actively shaping a style to suit the narrative.

Francois Truffqut once described Pakula as one of the three best directors of the current American cinema (the other two being Steven Spielberg and James Toback). He is a director who seems right at the heart of some of the most fascinating tendencies of the modern scene. He has an eclecticism that absorbs elements from Sam Peckinpah and Brian De Palma (Gothicism and burlesque), from Bob Rafelson and Arthur Penn (a very American, unAmerican intellectualism), from Francis Ford Coppola and Bob Fosse (a love of style for its own sake, a fascination with innocence and experience). At the same time, his films, through bizarre composition and oppressive architecture, give a palpable form to his conspiratorial view of society, in which the individual has only the illusion of freedom. One hopes that of his two recent films, Rollover, not Sophie’s Choice, is the pointer to his future direction. Pakula is a visual prophet not a familial psychologist; Fritz Lang not R.D. Laing. Why concern himself with effete, echtEuropean art films like Sophie’s Choice when he has a unique capacity for visualizing the American Dream as it dematerializes into nightmare? As one of Kennedy’s children in Reagan’s America, Pakula should be turning a critical, prophetic eye to . . . 1984.

u XXXIi Internationale Filmwoche, M annheim ,1983 ...

Noel Purdon

Mannheim, in contrast to the glitter of direction of the gaze in M edea (1970); Venice and the stock exchange of actor Ninetto Davoli peers mop­ Cannes, is a small festival with a headed and half-concealed from a commitment to originality and social­ thousand frames of sketches and films. political practice, both in the first And, in the documentaries, Pasolini is feature and the documentary sections. overwhelmingly sifting out faces and As well as its Competition and places. These Jordanian peasants Information screenings, it runs an could be the crowd listening to Christ annual Retrospective, this year of the in Jerusalem. This could be the site of work of Pier Paolo Pasolini, which the miracles. No, Puglia would be was why I had made my way there. better for that. This boy could be However, by dint of attending the ad- Orestes. This University could stand hoc screenings, trotting between Kinos for the temple of Apollo. This ritual 1 to 4, and retiring to bed with rec­ ceremony in Tanganyika could be the tangular eyes, it was also possible to do one Electra performs for her dead some good viewing of the rest. father. And how to represent the Furies? Maybe they could be this lioness. Or maybe — no, they could be Pasolini trees, these strange, imposing trees threshing in the wind!

First the Pasolini. This important It is fascinating to see Pasolini’s Retrospective was complete except for mind at work, his eye sharp, his brain the “Trilogia della vita” 1 (always on clear, his sense of play and analogy the commercial circuit) and the infinite. It clarifies the process of work 16-minute Le mura di so n a ’a (neither that made the intricately invented of the only two prints in the world society of Edipo re (O edipus, 1967) arrived). But otherwise here they all possible. were, the features, the comic fables, A solitary Narcissus and a cluster of the documentaries — six days, three gaunt, staring self-portraits show the films a day. self-regarding fixation that made him Accompanying the Retrospective set himself into Oedipus as a priest, was an exhibition of more than a into The D ecam eron as a painter, and hundred of Pasolini’s paintings and into The Canterbury Tales as a poet. It drawings, including the comic-strip story-boards for La terra vista della luna (The Earth as Seen from the M oon)2.

The result was a rare opportunity to see the astonishing variety of Paso­ lini’s expressive power and the deter­ mination, indeed obsession, with which he returns to his themes: the primacy of archaic and infantile experience; the necessity of conscious­ ness; and dream and death as the twin keys which unlock narrative. Paso­ lini’s figurative brilliance has always been evident, but setting the paintings and the filmed location notes against the fiction features reveals the care and compulsion with which he composed.

A series of paintings of Callas’ profile is an immediate clue to the studied 1. II decamerone (The Decameron, 1970), Il racconti di Canterbury (The Canter­ bury Tales, 1971) and Le Mille e una notti e un’altra ancora (1001 Nights, 1973) form the “ Trilogy of Life” .

2. Episode of Le streghe (1965).

Although this article reports on a film festival held in October 1983, it has been printed in this issue because it covers many films as yet unreleased in Australia but of interest to filmgoers. Some of the films are programmed for the 1984 Melbourne and Sydney festivals. — Ed.

Images o f life and death, sex and religion. Pier Paolo Pasolini’s The Decameron (top) and 1001 Nights (above).

CINEMA PAPERS July — 149

Mannheim Festival

also implicitly reveals the use of Salo, Pasolini’s latest film, about De mirrors which Teorem a (Theorem , Sade transposed to a Fascist republic, 1968), Porcile (Pig-sty, 1969) and Salo still drives authoritarians, Christians o le centoventi giornate di Sodom a and homophobes berserk (now why (P asolini’s 120 D ays o f S od om , 1975) should that be?). It is his last, make explicit. desperate argument for consciousness, The Earth as Seen from the M oon , and against normalcy. But unless the W hat are Clouds? and The Paper Australian censors lift their ridiculous Flower show a surrealist Pasolini that ban on the film, it won’t be mine. many would find disconcerting. The hysterical colors, frenetic acting and silly, goonish dialogue are, however, Third World Cinema still in the service of fatalistic death narratives. La ricotta (episode of and Features R oG oP ag, 1962) is perhaps the gem, with Pasolini mocking himself, as well There were two fine films from India. as all segments of Italian society, P h an iyam m a by Prema Karanth culture and art, and with a mag­ boldly sets out to challenge contem­ nificent, growling performance from porary Indian assumptions about sexuality and the position of women.

Orson Welles.

In the documentaries, Pasolini’s Surinder Nath Dhir’s Pratishodh is a background as a teacher and a journal­ transcription of one of those sad Hindi ist comes to the fore. Around Italy he short stories that so remind one of goes with his microphone, on beaches, Chekhov. By the subtle, smiling trains, football-fields, asking peasants, violence of bureaucracy, a mild young celebrities and solid citizens what they man and his helplessly angry wife are think about homosexuality, pros­ inexorably driven to the point of titution, the position of women, despair. At the beginning of the film, machismo, repression. In the light of he sets out to claim payment of a bill his remorselessly direct interrogation, from a firm for whom his wife has and the stupid and reactionary replies done some work. You can guess what he gets in Com izi d ’amore (1964), it is happens. The pace is slow and easy to see why, short of being the numbing, the acting quiet. The whole leader of the Red Brigades, being a film shows impressive control and sexual heretic in Italy was about the restraint.

Kavita Nagpal, who plays the wife, worst he could be.

The “ Notes” for the projected but also produced Pratishodh. Both she unrealized films on India and Africa and Karanth have come to film from make equally comprehensible his theatre. One looks forward to more of turning to the Third World, since the their work.

The delightful Turumba from The replies he receives from villagers, Philippines was a later version of the s a d h u s , students and workers are infinitely more honest and intelligent. Miklatian impudence that so tickled His engagement with the extreme left Australian Film Institute audiences in 12 Dicembre also shows a side of who saw his earlier Perfum ed N ight­ him little known outside festivals such mare.

From Upper Volta came the con­ as Mannheim. This attempt at a counter-information film, which takes ventional but engaging P aw eogo, an as its starting point the “ accidental innocents-in-the-big-city comedy with death” of the anarchist Pinelli, is of some sly satire on the black, urban vital importance to anyone concerned bourgeoisie the French have left with the rise of neo-fascism in Italy behind in north-western Africa. But today. It is also a useful corrective for my, and the Jury’s, prize went to those who imagine they are being Le courage des autres, also from Marxist by piously condemning Paso­ Upper Volta, an account of slavery lini’s “ decadence” and “ individual­ and liberation. With no dialogue, but with acting of exceptional power and ism” .

K. K. Raina and Ramgopal Bajai in Surinder Nath Dhir’s Pratishodh (Retaliation): “impressive control and restraint”.

150 — July CINEMA PAPERS

dignity, and careful camera attention to the details of human transactions, this little epic was able to let sounds, colors and bodies speak for them­ selves.

Because of the Pasolini Retrospec­ tive, I had to miss all the Polish and Hungarian films, which were said to be good, notably Livia Gyarmathy’s C oexistence, which explored racial tension and bigotry. The Russian feature M u z h s k o j e w o s p it a n ie , directed by Saporow and Seidow, went all out to win the hearts of the world.

With its fascinatingly desolate locations, adorable puppies, grumpy grandfathers, groaning camels, and an endearingly honest and volatile little boy, it succeeded.

The stinker of the Festival was the Yugoslavian Jos ovaj put, directed by Dragan Kresoja. Not since the early 1950s has a joint been smoked on film with such a sense of vice. The hero is n e a r l y raped in gaol, though the would-be rapist redeems himself by wearing drag in the school play and being whistled at by the good-hearted convicts. A great many women, whose national costume appears to consist of G-strings and high heels, scamper through the im probably urban locations, in order to be slapped on the bum. The single exception to this is the hero’s estranged wife who takes up folk-dancing, and at least gets to wear a pair of riding boots before she is told who is boss. There is a shot through a Venetian blind, and a montage of tinted stills.

Jos ovaj put is a thoroughly shoddy, inept and morally-nauseating film whose premise is essentially that of Western television’s crime narratives: a tour through Badworld with a few good fights, tits, junkies, corrupt haute bourgeois, and return to a petit bourgeois base — f i l m n o i x . Have it with coffee or beer.

Shorts and Others The fact that a film d oesn ’t need to be long to be ponderous was amply demonstrated by several A m erican

psychodramas, notably Frank De Palm a’s H ib ak u sh a G allery and Teresa Spark’s The C om position. In pleasing contrast was Martin Ebbing’s T h e F o u r t e e n t h C h a n t (W est Germany), which luminously presents a weird world of water, decay and rubbish. Ebbing shows a style, and the promise of a power, not unlike Andrei Tarkovsky’s.

The best short was Agnes Varda’s U llysse, a series of variations on a single image: a pebbly beach, a naked man, a child, a dead goat. From the original photo, which she took in 1954, Varda multiplied montages, paintings, interviews, memories and fantasies into a sharply-cut discourse on the real, the symbolic and the imaginary.

There was a high standard of anima­ tion from West Germany, particularly Habarta’s Traum oiden, about the sinister dream world of computers.

And, from the Soviet Union, there was Raamat’s A d. Then there was a wonderful little film of drawings from Parisian children, images of how they saw Picasso, as manifold as Picasso himself: Je sais que j ’ai tort mais demandez à mes copains, ils disent la même chose (I know that I ’m w rong, but ask my m ates, they say the same thing!).

In an area that crossed genres, there was an interesting programming of Richard Dindo’s M ax Häufler: der stum m e, as well as a film made by Haufler himself. Haufler was a Swiss director and character actor of the 1930s who challenged the norms of the industry, went unfunded and killed himself. Haufler was hung up about his father, and wanted to make a film of a novel, D e r s t u m m e , which deals with exactly this situation. The twist comes from Haufler’s daughter, also hung up about Haufler, talking about her father at the same time as playing the boy looking for h is father in an imaginary construction of the film her father never made. The only thing that goes awry with Dindo’s interesting scheme is that Haufler’s daughter, unlike her father, cannot act. It is painful watching her try, especially in view of the pathos of her real-life situation.

The sinister dream world o f computers in Jan Walter Harbata’s Traumoiden.

Mannheim Festival

Documentaries

prepared all of us every day to enforce the law of the Father. Unfortunately The Josef von Sternberg Prize for the for the cause of enlightenment, a most original film went to Dianne Orr repressed disputant shouted everyone and Larry Roberts’ SL-1. There was a else down by proclaiming that torture feeling that, however serious the events was merel y “ po l i t i c a l ” , and revealed in SL-1 (the hushed-up deaths demanding to know whether or not the of workers at an Idaho nuclear director had been sexually abused at reactor), the film was not as innovative school. technically as some of the other docu­ Other documentaries included pre­ mentaries which were given secondary dictable Swedish accounts of suicide, prizes. Frank Diamond, Derk Sauer and American celebrations of peopleand Jan Blom’s Eduardo Uruguayo, power, as well as a continued West for example, was a sophisticated but German concern with Central America highly-lucid montage of film and video and north-western Africa. In the field techniques. Perhaps the Jury felt that of art-deco, Pietje de dood from it had already acknowledged this Belgium was a cleverly constructed and category by awarding the Documen­ brilliantly colored examination of the tary Prize to Joergen Petersen and visionary paintings of James Ensor.

Erik Stephensen for Your Neighbour’s Johann Feindt’s The Attempt to Son, another film about torture. A Live (West Germany) was a frighten­ discussion with Stephensen after­ ing account of a West Berlin casualty wards, sponsored by Amnesty Inter­ wa r d whi ch o u t - Wi s e m a n n e d national, promised well, with his Wiseman in being present at crises, suggestion that torturers were not and allowing people to reveal them­ psychopaths, but “ your neighbour’s selves by talking till they dried, or son” , and institutions such as schools died. The Miracle of Intervale Avenue (Britain), by Ken Howard, bore some comparison by being a carefullyresearched and -mounted picture of a Jewish synagogue which is hanging on in the middle of Fort Apache the Bronx. A totally-unscripted shootout on the steps dramatized an alreadyrich situation.

Alec Morgan’s Lousy Little Six­ pence (Australia), about the shameful exploitation of Aboriginal people, was well-directed, hit its target and was applauded. It was a pity there was no one there but me to talk about it (Aus­ tralian Film Commission please take note), especially in view of the fact that it generated a lot of political interest and curiosity. Australian cinema is warmly thought of at Mannheim.

What about funding a filmmaker or representative next year to be there in person?

As in most festivals, various things came unstuck towards the end. Several German journalists helped some dis­ gruntled young directors turn round and bite the hands that weren’t feeding Top: Frank Diamond, Derk Sauer and Jan Blom’s Eduardo Uruguayo. Above: Johann Feindt’s “frightening account o f a West Berlin them properly. The projector in Kino 3 casualty ward”, Der versuch zu leben (The Attempt to Live). Below left: a 12-year-old Aboriginal, working as cheap labor fo r a wealthy also seemed not to have been fed recently, and chewed up film vora­ family. Alec Morgan’s Lousy Little Sixpence. Below right: an Aboriginal governess. Lousy Little Sixpence. ciously, with a particular taste for early Pasolini. The German audience, from bejewelled Burgomasters’ wives to the Ronald McDonald fun-punk set, had a detestable habit of talking in IS?® the cinema, particularly when the film was in some unearthly language, such as English or Italian. I am sad to report that among the worst offenders were German journalists and critics, who appeared to think that they were in a private Aryan viewing lounge.

The worst came when the Festival directors found that the budget for next year might be slashed. There were rumors that they would threaten to resign, and counter-rumors that if they did so the resignations would be gratefully accepted. (Surely that sort of thing couldn’t happen in Australia!)

People also grumbled at the transla­ tions. I thought that the situation of an Italian film with sub-titles in Swedish and French being simultaneously translated into earphone German was remarkable.

Tucked away in mid-Rhine, Mannheim tends to be overshadowed economically by Cologne and intellec­ tually by Heidelberg. But Mannheim is a small and intelligent festival which does attempt to intervene in its cultural s i t uat i on. Neo-capi t al i st , neo­ industrial, neo-classical Mannheim may be; provincial it is not. ^

EDUARDO DEAR BERMUDEZ

CINEMA PAPERS July — 151

Robert Duvall and Jeremy Irons are both overseas actors o f world standing. They have also both played in film s directed by Australians: Duvall in Bruce Beresford’s American film, Tender Mercies, and Irons in Henri Safran’s Australian production, The Wild Duck.

Between 1963, when Boo Radley emerged from behind the door at the end o f To Kill a Mockingbird, and 1984, when the man who has been described as “America’s hard-boiled Olivier” fo u g ht his way through his speech to the Academy, Robert Duvall has earned a place amongst the great icons o f American cinema. Along with actors such as Robert De Niro and Gene Hackman, Duvall has carved out a figure whose features and bearing testify to a sense o f displacement: an alienated hero who abides by no rules but his own, who is often cruel and more often criminal, and whose manic energy often fin d s him rushing headlong towards a disaster from which only good fortune and the unexpected discovery o f an element o f softness can rescue him.

A relatively unfamiliar name to a public reared on the idea o f The Star, Duvall has nevertheless won critical acclaim fo r a wide range o f roles and, what is more important to him, he is much admired by his peers. In recent years he has expanded his repertoire to include the other side o f the camera with a rarely seen film about a Nebraska rodeo family, We’re Not the Jet Set (1977), and a fascinating account o f the Gipsy culture in New York, Angelo, M y Love (1983).

While in Australia to prom ote Angelo, My Love in December 1983, Duvall was interviewed by Tom Ryan. /52 _ July CINEMA PAPERS

Whilst you are often described as a “character actor” , there is an unmistakable Duvall style in your performances . . .

There is always some element of yourself in each part. If you are going after a certain character, you take what is in you and turn it; you don’t really become someone else.

If you play a preacher, then you look for what is in you that is appropriately spiritual for that part.

Two dominant kinds of male performance seem to recur in American films. One is like the volcano that has erupted: the style embodied by actors such as John Wayne, James Cagney or Richard Gere in “Breathless” . The other kind of actor is more like the dormant volcano, and that seems to be your style on screen. There is a kind of repressed energy, constantly threatening to explode.

Do you see yourself in those terms?

I don’t think of it that often. But you can’t deny what you are. No

matter how versatile you try to be, it is always you. You can’t deny your personality. Each character I do, I try to make different from myself. But I try not to think about it too much. It would become too conscious, like a crutch, and I would start to rely on it, maybe involuntarily or unconsciously.

An auteur theory has been proposed about the film director, based on the recurrent themes and concerns one can find in his work.

Is it possible to identify the same kind of thematic trend in an actor, through his choice of roles?

I think I make my choices instinctively. And I think what a director would look for in an actor such as me is the unpredictability this guy is going to bring. Is there a danger there, something that he can’t necessarily say is going to happen until it ha ppens ?

Hopefully, I can work with a director in collaboration to bring out that unpredictable thing as the camera rolls, rather than trying to predetermine it. I think certain directors look for that.

Robert Duvall

Have you felt constrained working Not a lot. It was my dad and my in American films? Only recently mother who pushed me into do your roles seem to have given acting. It was an expedient thing to you room to move . . . get me through college: my dad wanted me to get gracefully Well, you try to do what the part through school without going off calls for. It would have been nice to the Korean war. He was a quiet to go in and finish a film such as man. Sometimes I wish there had Tender Mercies (1983) or True been more communication. Even Confessions (1981), and even The though it would have been volatile, Great Santini (1979), and see them it would have been better than a as big box-office hits. They passive relationship. But the weren’t, yet they are some of the uprooting and moving around nicest and best films I have been from coast to coast every few in. I just hope that in the future I years, which was in evidence in can get parts in films that will be Santini, was part of my childhood successful and will be seen by experience and was traumatic for many people. me, as it would be for any kid.

You seem to be in a position now to be able to choose the kind of role that you want . . .

A little more than before, but not as much as I thought. I had two terrific parts whisked away from me recently. It made me a little bitter; I thought I had arrived but I hadn’t. Over the years I’ve had a lot of wonderful parts given to me, but now I want to generate more. And there is more on the line when you have to play the lead in a movie. So I am going to try to pick and choose, but I have to work at it. I have a big agency, something I have never had before, to give me a little more leverage, so I can’t be burned by some of those clowns in Hollywood. It is a little power game that you have to play to help yourself. But I want to be able to choose more. I am more interested in my career as a career than I have ever been in the past.

To what extent did you see your­ self playing ‘Bull’ Meechum in “The Great Santini” in the image of your own father?

The character, as written, seems very heavily drawn: as he is about to make love to his wife, the alarm rings, and he jumps out of bed and does push-ups. Yet there is another side of the Santini character which doesn’t seem to have been written in, but which seems to be there in the way in which you play the role . . .

There were some things that were cut and others that we didn’t shoot. I kept asking why don’t we show him giving roses to his daughter, or doing things for his kid that would offset the other sides of his character and create contradictions? But they didn’t make it into the film, so I hope that other side came through my performance as well as you say it did.

Do you like ‘Bull’ Meechum?

I like him pretty much. I like other characters better and I like other movies better. A lot of people were hard on this guy, but a lot of other people say, “ My father

was exactly like that.” My answer is that at least he cared enough to make a noise and that he wasn’t totally passive.

You tend to look at the last thing you do, if you feel you did a good job, as your favorite. I think that, overall, True Confessions was a better movie than either Santini or, perhaps, Tender Mercies. Yet the part in Tender Mercies was the one I liked almost better than anything. I loved that part.

Do you see a similarity between Meechum and Mac Sledge?

Oh yeah, but Mac is a different guy, much softer. He would have an argument now and again, but he was different. He would prove his worth through his music, whereas Meechum did it through his piloting.

Reports have filtered through about a lot of tension on the set of

“Tender Mercies” between you and the director. In an interview in ‘C ineaste’1, Bruce Beresford describes you as “ a fantastic actor” , but says you are hard to work with, that you don’t like close-ups and that you are also someone who seems constrained by the script as written. Are those things that correspond with the way you see yourself?

They may be true. But on the other hand, it was not just me: he was difficult to work with. I resent any concept where the structure for the actor is orchestrated the night before and brought on to the set. Bruce has said the most impor­ tant part of the film is that kind of orchestration. Maybe that works in its own way, but I prefer a director who lets it stage itself.

There are many types of film­ making processes. I don’t resent the way Francis Coppola makes films. I don’t respect a filmmaking process that tries to put the actor in the box. I try to be faithful to a script, but I can change it, too. I do respect the written word of Horton Foote, but I also believe that at times you can depart and improvise, which I like to do. It depends on the project. In Tender Mercies, there were some nice scenes with Allan Hubbard, the little kid, and me. The second half of that scene with me playing the guitar in the kitchen is totally improvised. So there is a time where you can change the lines within the form.

In that sequence the camera stays back . . .

Yeah. A nice wide shot. We just set that up and we went. It started out scripted, but then was impro­ vised, which is what I like to do.

The reason I don’t like close-ups is because they are like television — you can’t breathe — and, when I first went to the rushes, I asked, “ Why the tight close-ups?” You never see what’s going on all

Mac Sledge (Robert Duvall) and his stepson, Sonny (Allan Hubbard). Bruce Beresford’s Tender Mercies.

1. Gary Crowdus and Udayan Gupta, “ An Aussie in Hollywood” , Cineaste, Voi. XII, No. 4, 1983, pp.20-25.

CINEMA PAPERS July — 153

Robert Duvall

films create problems. Horton Foote once said to me that people don’t know what goes on beyond the South Jersey shore, which is true.

Apart from your friendship with him, is that what has attracted you to Horton Foote’s work?

Horton is an unsung writer.

When I work with his material, it is like going home for me. I am not a Southern guy, but I am from the periphery. My father’s people are from Virginia, but my mother’s people are from Georgia and they live in New Boston, which is east Texas. So I feel that I have a legitimate kinship.

A lot of New York actors cannot get that accent: it is hard to get those sounds and rhythms just as it is to get a foreign accent. It is as tough for them as it would be for them or me to do an Australian accent.

Prior to “To Kill a Mockingbird” , you had been in a Horton Foote play on the stage . . .

around.

50 mm.

All your eyes see is

“Tender Mercies’’, in fact, doesn’t have a lot of close-ups . . .

I liked Breaker Morant, but the only thing about it I had a little objection to, and I said this to Bruce, was that they were wearing a few too many close-ups. Closeups are okay, but you can see just as much in a medium shot on film, or even on a television screen.

I had director approval, contrac­ tually, and I okayed Beresford because I liked Breaker Morant. I thought that was a striking film.

There was some really nice stuff in it, especially given its low budget.

I did a play off Broadway, Midnight Caller, while I was in an acting school, and his wife came.

Then, about three years later, Recently, I walked out of The when my name came up to do To Grapes of Wrath (1940). If I were Kill a Mockingbird, Lillian Foote there just to enjoy a story, maybe I said, “How about Bob Duvall? could get caught up in it, but if I am there for other reasons I am going to rein myself in and become more critical. I did not like The Grapes of Wrath. I thought it patronized those people. Someone said that to say this about the great John Ford is like attacking motherhood. But I thought Tender Mercies was a much better movie than The Grapes of Wrath, because it honored those people.

Concluded on p. 198

You wrote some songs for “ Tender Mercies” . Did you record them live to camera, or were they post-synched?

Is it important for an actor to get They were post-synched. But director approval? you don’t honor the film process by doing that. A movie like The Well, it is nice if you can have it. Buddy Holly Story (1978) was all I was busy editing Angelo, My live music, and it is better. In Love and so I didn’t have much Angelo, the country and western time. I thought that Tender scene was done live, with three Mercies was an important part for cameras and two takes, and the me and, although I didn’t have a little girl singing. You can always lot of time to prepare for it, I cut the music on a rift and go back wanted to do it right. to another take which is close We had tossed names around for enough in tempo.

Tender Mercies and found it hard As far as the lip-synch for the to come up with somebody who singing in Tender Mercies, I had was worthwhile. I thought Michael no say. I would rather not have Apted from England did a good had it. But I worked my butt off to job on Coal Miner’s Daughter try and get it right.

(1980). It may be better ultimately that a talented guy from Texas “Tender Mercies” aside, there does something about Texas, but seems to be a preoccupation with you can’t always find the right the South in American films . . . one. And better a talent from Sydney than a hack from Dallas.

There is, but most of them fail There are a lot of Americans to understand it. I think we hit it. who patronize those people. Holly­ We always see good, urban films wood has done it since day one. from Hollywood, but the rural 154 — July CINEMA PAPERS

Remember, you saw him in that play?” The director of the movie, Robert Mulligan, happened to be there the same night with Kim Stanley. Then my first lead for television on The Naked City turned up, where I played a guy, accused falsely of child-molesting.

That combined with the other things got me the part. The next day they called and said, “ You get the part of Boo Radley.” I was thrilled.

It was Horton who didn’t like my draft of Angelo and who encouraged me to work at it, even though I am not a writer. Now I am working on a new script, “ Pentecostal Preacher” , because Horton liked the treatment and said I should try writing it, at least the first draft. It has become so exciting. I am more obsessed with this than anything else I have done.

I have done more research for this than for anything else. I want to honor those people in Tennessee.

The word is out down there that I am going to do a film on the Pente­ costal com m unity and the feedback is that they are happy because after Tender Mercies and Tomorrow (1972) they figure that I will do a fair job. I won’t be directing it, although a while ago I did shoot a documentary on some people in Nebraska: We’re Not the Jet Set.

Publicity still o f Duvall and Tess Harper, his co-star in Tender Mercies.

While in Australia fo r The Wild Duck, Jeremy Irons answered questions from a group offilm and theatre people at a session held at Kinselas in Sydney.

Margaret Smith compiled the results.

,

What does acting mean for you?

tallest member of the cast and always felt awkward. I worked for them for two years and in that time learnt all I could about the theatre.

I knew I was in the right business, and that it was my career.

I then started working in the classics at the Old Vic and at the Royal Shakespeare Company. At the RSC I did Simon Grey’s Wild Oats, which was directed by Harold Pinter, and I got my first lead, which meant my name was above the title of the play. But I knew I wasn’t putting bums on seats. So, I decided that if this were to last, I had to get a name in film.

Then George Howard gave me Brides head Revisited to read, and my spine shivered for Charles Ryder. I wrote to Granada and offered myself, and they said, “ Good heavens, we haven’t even got a script yet.” They came back to me 18 months later, when Michael White said, “ You can do anything but Julia.”

Sometimes I think acting is an escape from that unscripted thing called life. But, ideally, I’d rather be a good lover in life than on the screen.

How did your acting career start?

I had a very middle-class education. When I came to leave school I had no idea of what I wanted to do. I enjoyed playing rugby, but it was too difficult as a career, and I was too tall for a jockey! So I told my father I wanted to become an actor because of the fond memories I had of a play I had done at school. He said okay.

I had various romantic notions about the way an actor could stand outside society and try to comment on it. I was accepted at Bristol Drama School, and finished up at Bristol Theatre playing junior lead roles. I wasn’t thinking of the future, until a lady at morning coffee at the theatre said, “ I expect you’ll be leaving us soon.” I realized I hadn’t given it any thought.

After our South American tour, I thought, “ Well, this is it. I now have to move on. I now have to do a West End show.” So, I moved to London. I spent months doing a u d i t i o n s and wo r k e d for Domestics Unlimited. I scrubbed floors and did gardens before eventually getting an audition for the musical Godspell. I was the

How did you approach doing the voice-over in “ Brideshead” ?

J e r e m y I r o n s a s N o w a k , th e P o lis h b u ild in g w o r k e r m o r a lly a d r if t in L o n d o n . J e r z y S k o lim o w s k i ’s M o o n lig h tin g . S a m S p ie g e l “ t o l d m e I w a s c r a z y , b u t I k n e w it w a s o k a y ” .

When I came to record it, I tried to find out why Ryder didn’t say very much as a character, and why Sebastian and Blanche loved him so much. I couldn’t see anything in him that was particularly attrac­ tive. I decided it was probably because he was a good listener, and that they were wonderful char­ acters who needed a listener. But built into that was his downfall; he didn’t get involved.

CINEMA PAPERS July — 155

Jeremy Irons

Jerry (Jeremy Irons) and Emma (Patricia Hodges): the end o f an affair but the beginning o f a film. David Jones’ Betrayal.

Charles Smithson (Jeremy Irons) awaits his beloved Sarah in Karel Reisz’ Lieutenant’s Woman. Irons called Reisz “a little passionless”.

Do you see that as a personal failing?

The next Monday, he called me and said we were shooting on Thursday. We shot through 27 days, and it won an award for the best screenplay at Cannes. It was the happiest and most pleasant period of my recent career.

Yes. You must stay open and remain unknowing so you can react to the people around you. It involves vulnerability. It stops you relying on things which you know, which are things that you have done.

Does your English background limit you?

We look backwards all the time; it is the English disease. We have a great past, but we don’t know where we are going.

Has there been an emotional recession in England in theatre and film?

Yes, definitely. In the 1960s, we were all about guys and girls who couldn’t talk to each other much, and in the ’70s things were very quiet. But in the ’80s we began to see and hear actors such as William Hurt, and it seemed fashionable for men to have passions, to have emotions, but not in a redneck way; they could have emotions in the same way a woman has. We began to feel that it was possible.

In Brideshead Revisited, for instance, I tried to show a passion that could catch people unawares, but a lot of people didn’t under­ stand it because they couldn’t cate­ gorize it. In The French Lieuten­ ant’s Woman, Meryl [Streep] and I said, “ Let’s try and make it our Wuthering Heights” , but we had a di r e c t or who was a little passionless.

Did you identify with the character of Charles Smithson in “ The French Lieutenant’s Woman” ?

Charles Smithson lived 100 years before I did. These days we can get what we want, whereas the Vic­ torians repressed their passions.

156 — July CINEMA PAPERS

They were so aware of sexuality that they used to have to cover the legs of their pianos! I envy them. I love the clothes that obscure. I don’t like things handed to me on plates.

In some ways, Charles Smithson had a much better time than modern man.

Did you enjoy working with Meryl Streep?

How do you pick up dialects and accents?

I have an Irish wife, and she collapses on the floor when I tell She is very sensitive, very profes­ Irish jokes, because I can’t get an sional and cares about her work. Irish accent.

She likes having fun, too, and that On Moonlighting, I had a man is part of her work. Her single­ help me with my Polish accent. mindedness is stunning.

T h e F ren ch

What do you think of Australian films?

You had a period when it was very easy to find investment for Australian films. Any script, even one on the back of a lavatory door, could get made. It meant you made nine or 10 really good films, and a great deal more that shouldn’t have been made.

It was a wonderful birth for your industry here, and that is why I did The Wild Duck with Liv Ullman for Henri Safran. But I am depressed about [Australian] Equity’s stand.

How did you come to do “Moon­ lighting” ?

It wasn’t for political reasons. It was because I had wanted to work for [Jerzy] Skolimowski for a long time, because I admired his films.

When he asked to see me, I had been suffering from pneumonia, which I thought was only bron­ chitis. Anyway, I went to his house and he read me two of the fourpage treatment for Moonlighting.

It was a wonderful idea: a gentle, slow build-up with overtones of the political situation. “ Christ,” I thought. “ He wants money from me. He thinks I’m rich.” I said, “ There’s nothing for me in it” , and he said, “ I want you to play the foreman.” I asked why, and he said, “ You don’t act.” I told him I had a Pinter script for Betrayal to do in six weeks’ time, and he said, “ I have to have the film shot by then, because it must go to Cannes. If you can give me your agreement now, I think we can do it. I can make it because I can raise the money on you.” I told him I would do anything to help.

It was a wonderful moment. We made a deal at 12 o’clock that night with a lawyer. He then spent Henrietta (Lucinda Jones), and her parents Gina (Liv Ullman) and Harold (Jeremy the next 10 days writing the script. Irons). Henri Safran’s T h e Wild D u c k .

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The Australian Motion Picture Yearbook 1983 Words and Images...............................................

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

Australian TV: The First 25 Years...................

The Documentary Film in Australia..................

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AUSTRALIAN

MOTION PICTURE YEARBOOK

M O T IO N

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

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

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

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

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

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“ T h e m o s t u s e f u l r e f e r e n c e b o o k f o r m e in th e p a st yea r . . . ” R a y S ta n le y

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“ T h e A u s t r a l i a n M o t i o n P ic tu r e Y e a r b o o k is a g r e a t a s s e t to th e f i l m i n d u s tr y in th is c o u n tr y .

W e a t K o d a k f i n d it i n v a l u a b l e a s a r e f e r e n c e a i d f o r th e in d u s tr y . ” D a v i d W e lls

“M a y I c o n g r a t u l a t e y o u o n y o u r A u s t r a l i a n M o tio n P ic tu r e Y e a r b o o k . I t is a s p l e n d i d l y u s e f u l p u b l i c a t i o n to u s, a n d I ’m s u r e to m o s t p e o p l e in , a n d o u ts id e , th e b u s in e s s . ” M i k e W a ls h

“I h a v e b e e n r e c e iv in g th e C i n e m a P a p e r s M o tio n P ic tu r e Y e a r b o o k f o r th e p a s t tw o y e a r s , a n d a l w a y s f i n d it to b e f u l l o f i n te r e s tin g a n d u s e f u l in f o r m a tio n a n d f a c t s . I t is e a s y to r e a d a n d th e f o r m a t is s e t o u t in s u c h a w a y t h a t i n f o r m a tio n is e a s y to f i n d . I c o n s i d e r th e Y e a r b o o k to b e a n a s s e t to th e o f f ic e . ” B ill G o o l e y

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The Sydney Morning Herald

“. . . a n o t h e r g o o d e f f o r t f r o m th e C i n e m a P a p e r s te a m , a n d e s s e n t i a l a s a d e s k - t o p r e f e r e n c e f o r a n y b o d y i n t e r e s t e d in o u r f e a t u r e f i l m in d u s tr y . ”

The Adelaide Advertiser

Words and Images is th e first A u stra lia n b o o k to ex am in e th e re la tio n sh ip b etw een lite ra tu re a n d film . T ak in g nine m a jo r exam ples o f recen t film s a d a p te d fro m A u stra lia n novels — in clu d in g The Getting of Wisdom, My Brilliant Career a n d The Year of Living Dangerously — it lo o k s a t som e o f th e issues in tra n sp o sin g a n a rra tiv e fro m one m edium to th e o th er. T his lively b o o k provides v alu ab le a n d e n tertain in g insig h t fo r all th o se in terested in A u stra lia n film s a n d novels.

T he a u th o r, B rian M cF arlan e , is P rin cip al L ectu rer in L ite ra tu re a t th e C h ish o lm In stitu te o f T ech n o lo g y a n d is a C o n trib u tin g E d ito r to Cinema Papers, A u s tra lia ’s leading film jo u rn a l. H e has p u b lish ed m an y articles on A u stra lia n a n d o th e r lite ra tu re a n d film .

H e is also th e a u th o r o f a b o o k o n M artin B o y d ’s “ L a n g to n ” novels, is th e ed ito r o f the a n n u a l co llectio n o f lite ra ry essays, Viewpoints, a n d is th e co -ed ito r o f a fo rth co m in g a n th o lo g y o f A u stra lia n verse.

Contents 1.

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F ro m P ag e to Screen W ake in F rig h t P icnic a t H a n g in g R o ck T he G ettin g o f W isd o m T he M an g o Tree T he C h a n t o f Jim m ie B lack sm ith M y B rillian t C areer M o n k ey G rip T he Year o f L iving D an g ero u sly T he N ig h t th e P ro w ler M a rtin B oyd o n T elevision: L u c in d a B ra y fo rd a n d O u tb re a k o f L ove 12. A p p en d ices: A u stra lia n novels o n film ; sh o rt stories; poem s

210 pp

$ 12.95 Published by Heinemann Publishers Australia in association with Cinema Papers.

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The f ir s t comprehensive book on the A ustralian film revival

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In this major work on the Australian film industry’s dramatic rebirth, 12 leading film writers combine to provide a lively and entertaining critique.

Illustrated with 265 stills, including 55 in fu ll color, this book is an invaluable record for all those interested in the New Australian Cinema.

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

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AUSTRALIAN TV

The First 25 Years

A U S T R A L IA N T V The first 25 years records, year by year, all the important television events. Over 600 photographs, some in fu ll color, recall forgotten images and preserve memories of programmes long since wiped from the tapes. ; " The book covers every facet of television programming light entertainment, quizzes, news and documentaries, kids’ programmes, sport, drama, movies, commercials . . . Contributors include Jim Murphy, Brian Courtis, Game Hutchinson, Andrew McKay, Christopher Day, Ivan Hutchinson.

A U S T R A L IA N T V takes you back to the time when television for most Australians was a curiosity a shadowy, often soundless, picture in the window of the local electricity store.

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At first imported series were the order of the day. Only Graham Kennedy and Bob Dyer could challenge the ratings of the westerns and situation comedies from America and Britain. ' Then came The Mavis Bramston Show. With the popularity of that rude and irreverent show, Australian television came into its own. Programmes like Number 96, The Box, Against the Wind, Sale o f the Century have achieved ratings that are by world standards remarkable.

A U S T R A L IA N T V is an entertainment, a delight, and a commemoration of a lively, ^ \ 'x ' J fö£>|.. ; '.V' '•'' fast-growing industry. . ' ------------------- — :--------------------------------------------------------------------------------- © -------------------------,

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THE DOCUMENTARY FILM IN AUSTRALIA Documentary film s occupy a special place in the history and development o f Australian filmmaking. From the pioneering efforts o f Baldwin Spencer to Damien Parer’s Academy Award-winning K o k o d a F ront Line, to Chris Noonan’s S teppin g O ut and David Bradbury’s Frontline, Australia’s documentary filmmakers have been acclaimed world-wide.

The documentary film is also the mainstay o f the Australian film industry. More time, more money and more effort go into making documentaries in this country than any other film form — features, shorts or animation.

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

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CINEMA PAPERS

Number 1 January 1974

Number 2 April 1974

Number 3 July 1974

D a v id W illia m s o n . Ray H a rry h a u s e n . P e te r W e ir G illia n A rm s tro n g . Ken G. Hall T a riff B o a rd R e p o rt.

A n to n y I. G m n a n e The C a rs Th a t Ate Paris

Number 10 September-October 1976

V io le n c e in th e C in e m a .

Alvin P u rp le F ra n k M o o rh o u s e . S a n d y H a rb u tt.

F ilm U n d e r A l le n d e .

N ic h o la s R oeg. B etw een W ars

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

W illis O ’B rie n . T he M c D o n a g h S is te rs . R ich a rd B re n n a n L u is B u ñ u e l.

The T ru e Story of Eskim o Nell

N a gisa O sh im a . P h illip p e M o ra . G ay C in e m a . J o h n H e yer. K rz y s z to f Z a n u ssi.

M a r c o F e r r e r i. M a rc o B e llo c c h io .

Number 14 October 1977

Number 15 January 1978

Number 16 April-June 1978

P h il N o yce. E ric R o h m e r.

J o h n H u sto n . Blue Fire Lady S u m m e r fie ld C h in e se C in e m a .

T o m C o w a n , F r a n c o is T ru ffa u t. D e lp h in e S e yrig .

The Irishm an The Chant of J im m ie B lack sm ith S ri L a n ka n C in e m a The Last W ave

Pa trick. S w e d ish C in e m a .

John D u ig a n . S t e v e n S p ie lb e rg Daw n' M outh to M outh. Film P e rio d ­ ica ls

Number 22 July-August 1979 B ru c e P e tty. A lb ie T h o m s.

N e w s fr o n t F ilm S tu d y R e s o u r c e s . K o s ta s .

M oney M overs. T h e A u s ­ t r a lia n F ilm a n d T e le ­ v is io n S c h o o l.

In d e x : V o lu m e 5

Number 24 December 1979 January 1980 B ria n T re n c h a rd S m ith .

P a lm B e a c h B r a z ilia n C in e m a . J e rz y T o e p litz .

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

A r th u r H ille r.

Number 11 January 1977

Number 12 April 1977

Number 13 July 1977

E m ile de A n to n io . A u s ­ tra lia n F ilm C e n s o rs h ip Sam A rk o ff.

Rom an P o la n s k i. T h e P ic tu r e Show M an Don'» Party Storm Boy

K e n n e th Lo a ch . T o m H aydo n . B e rt D e lin g . P ie ro T o s i. J o h n S c o tt. J o h n D a n k w o rth . The G etting o f W is d o m J o u rn e y Am ong W om en.

L o u ise M a lle . P a ul C o x J o h n P o w e r. P e te r S yke s.

B e rn a rd o B e rto lu c c i. F.J. H o ld e n In S e a r c h of Anna In d ex: V o lu m e 3

Number 20 March-April 1979

Number 17 August-September 1978

Number 18 October-November 1978

Number 19 January-February 1979

B ill B a in . Is a b e lle H u p ­ p e rt P o lish C in e m a . The Night the Prow ler. P ie rre R issie n t N ew sfront. Film S tu d y R e so u rce s.

Index: V o lu m e 4

J o h n L a m o n d . Dim boola.

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

C a th y ’s C h ild The Last T a s m a nian

A n to n y I. G i n n a n e J e re m y T h o m a s Blue Fin. A n d r e w S a r r is . A s ia n C in e m a .

S p o n s o re d D o c u m e n ta rie s .

Number 25 February-March 1980

Number 26 April-May 1980

Number 27 June-July 1980

C h a in R e a c tio n . D a v id P u t t n a m . C e n s o r s h ip .

Stir E ve re tt de Roche.

Touch and Go. F ilm and P o litic s

T he F ilm s o f P e te r W e ir.

C h a rle s Jo ffe . H arlequinN a tio n a lis m in A u s tra lia n C in e m a The Little C o n ­ vict Index: V o lu m e 6

T h e N e w Z e a la n d Film In d u s try The Z M en.

P e te r Y e ld h a m . M a y b e This Tim e. D o n a ld R ichie.

G re n d e l, G r e n d e l, G rendel

Number 28 August-September 1980

Number 29 October-November 1980

T h e F ilm s of B ru c e B e re s fo rd . Stir. M e lb o u rn e and S y d n e y F ilm F e s tiv a ls .

B re a k e r M o ra n t. S ta c y K each Roadgam es

B o b E llis. A c to rs E q u ity D e b a te . U r i W in d t C r u is in g The Last O utlaw . P h ilip p in e C in ­ em a T h e C lub

Number 38 June 1982

Number 39 August 1982

Number 40 October 1982

Number 41 December 1982

G e o ff B u rr o w e s and G e o rg e M ille r on T h e Man F ro m Snowy R iv e r , J a m e s Ivory, P h il N o yce, Jo a n Fon taine.

H e len M o rse on Far East, N o rw e g ia n C in e m a , T w o Law s.

M e lb o u rn e a n d S y d n e y F ilm F e s t iv a l reports, M o n key Grip.

H e nri S a fran, M oving O ut, M ich a e l R itch ie , P a uline Kael, W e n d y H u ghes, Ray B a rr e tt, R u n n in g on Em pty

ig o r A u z in s , L o n e ly H e a rts , P a ul S c h ra d e r, P.eter T a m m e r, L ilia n a C’ avan i, W e o f th e N e v e r N e ver, F ilm A w a rd s, E .T ..

K en C a m e ro n . F re n c h C in e m a . J im S h a rm a n .

My B rillia nt C a re e r F ilm S tu d y R e s o u rc e s The Night the P row ler

pSlof

Number 33 July-August 1981 J o h n D u ig a n on W in ter o f O ur D ream s G o ve rn m e n t a n d th e Film In d u s try Tax a n d Film C h ris N o o n a n R o b e rt A ltm a n G allip o li R o a d g a m e s G rendel

Number 36 January-February 1982 K e vin D o b so n . Blow Out, Women in Drama, M ic h a e l R u b b o , M ad M ax 2 Puberty Blues

Number 37 March-April 1982 S te p h e n M a c L e a n on Starstruck. J a c k i W eaver.

P e te r U stin o v, W o m e n in D ra m a , Reds, H eatw ave.

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Number 42 March 1983

Number 43 May-June 1983

M el G ib so n . M o v in g O ut.

J o h n W a te rs, F in a n c in g Film s, L iv in g D a n g e ro u s ­ ly. T h e P lains of H e aven

S yd n e y P o lla ck, T h e D is ­ m is s a l, M o v in g O u t, G rae m e C liffo rd , D usty, G andhi, 3-D S u p p le m e n t.

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8

Jeremy Irons

But the policies for letting foreign actors into England aren’t so open, either . . .

I know, but in England we have 65 million people in a country the size of New South Wales. I have worked with Judy Davis in London doing Shakespeare. She is a wonderful actress.

Have you found differences between Australian and English crews?

The crews here are younger — that is all. But you have a grown­ up film industry. That is why you should embrace anyone from all over the world; it can only make you grow. What would have happened to Hollywood if they hadn’t let foreigners in?

What other films do you have coming out?

I have played in Swann in Love for Volker Schlondorff in Paris.

The film is based on the second volume of Proust’s Remembrance o f Things Past. It is in French, and I was terrified of having to speak French with a French cast.

How do you manage your career?

You play it like a game — a game of chess. You can gamble but you must be careful to make the right move. When I accepted Moonlighting, [Sam] Spiegel, the producer of Betrayal, told me I was crazy, but I knew it was okay.

You have to take chances.

Film stars are about being built up into something and it is perverse to fight against it unless you want to change your career.

But I try to be as broad as possible and to surprise the audience, which I am finding increasingly difficulty I think l have been through the gamut of my emotions.

I have learnt to take as many opportunities as I can. We all get chances but sometimes we don’t recognize them as important, and I have certainly done that, too. A colleague of mine didn’t take up an opportunity because he was too tired. Sometimes they never happen again.

You like to do both theatre and film . . .

I turned down $750,000 for a television series to do [Tom] Stop­ pard’s The Real Thing on Broad­ way. I thought it was more important for me to do a good play.

How do you prepare for a role?

I don’t prepare, and very often I don’t present much. I try to wing it. I try to know a lot about the character, the play and the period, and hope the person emerges, but it often doesn’t.

When I worked with John Gielgud and Laurence Olivier on Brideshead, I was amazed to see that both Gielgud and Olivier were terrified of not doing it right. I saw it in them; they were both like children. I have always thought that is how an actor should be.

Sebastian Flyte (Anthony Andrews) and Charles Ryder (Jeremy Irons), in Venice.

Brideshead Revisited. ". . . that was [Charles’] downfall; he didn’t get involved. ”

So you don’t use Stanislavski’s Method . . .

No. Stanislavski devised his Method to try to teach the operatic Moscow actors to get their acting down to reality. But the Method has now been taken up by the New York School, who are so low keyed they hardly breathe.

You usually play men of about your own age . . .

Just an accident really. I was considering doing The Wall, but my agent said I would be bored.

I still feel 18 or 20-years old. On set, I tend to say, “ You’ll have to do a lot of make-up on me because this character is approaching 40.’’

But the make-up artist says, “ No, no, you are fine.’’

How do you separate your acting work from the rest of your life?

If I were poor, I would always do other work, rather than bad parts. My career for me is like a diamond: I carry it above the shit.

I do the shit myself. I add to my career when the good work comes.

I don’t put bad work into it.

Jerry and Emma: "We look backwards all the time; it is the English disease. ” Betrayal.

Does your personal life suffer because you move around so much to work?

O t h e r p e o p l e get m o r e satisfaction out of different areas of life, God bless them! I tend to put a lot of myself into my career, because I find it more controllable than the other areas of my life.

What else does acting give you?

The thing that means the most is to work closely with others and to share our experiences in that close way, which is denied to most professions.

What goals towards?

are you

working

I used to build mountains for myself to climb, but that is silly because you climb one and there are always more; it is like a Chinese box. Now I don’t set any limits. I don’t know what they are.

I just concentrate on each par­ ticular job.

Are you satisfied with your work?

I am no happier now than when I was poor and unknown, and used to busk for the cinema queues in London’s Leicester Square. But I get a Jot from talking to people who care about their craft, and now I find I want more than anything to be respected by my peers. ★ CINEMA PAPERS July — 157

Debates on film censorship have raged during the 1970s and early 1980s, particularly in Australia where censor­ ship has entered an unusually liberal period. It is, therefore, worth recalling that Australia’s pioneer filmmakers once faced problems in confronting the attempts o f an elected few to dictate the morals o f the many. Historian Merv Wasson details one case: the banning o f Raym ond Longford’s The Woman Suffers.

Mery Wasson

The Last Film Search, undertaken through the National Film Archive (NFA), turned up some odd and fascinating items, including a blue movie of the mid-1920s and one of the last Aus­ tralian silent features, The Adorable Outcast, directed by the American, Norman Dawn, in 1928. But surely one of the least likely results of the Search has been the recovery, announced last year, of Raymond Longford’s only South Australian feature, The Woman Suffers, made in 1918.

About two-thirds of a nitrate print of The Woman Suffers was unearthed, appropriately, in Adelaide1 where it had delighted its first audiences. The film had begun to decompose and was positively identified only after close examination at the Archive in Canberra.

The NFA’s field officer, Michael Cordell, expressed the feeling shared by Film Library director, Ray Edmondson, and all of the Search team: “ I was tremendously elated when the film was identified. It seemed a thousand to one chance that the Search would turn up another Longford. And here it is.” 2 It was even unlikely that Longford, who largely confined his filmmaking to New South Wales, his New Zealand excursion in 1915-16 excepted, should have made the film in any case.

The Woman Suffers was the first brave venture by the new South Australian producer, 1. The print was part of the collection of Adelaide film enthusiast, Murray Mathews.

2. National Film Archive media release, Last Film Search Discovers Lost Raymond Longford Film, February 23, 1983.

158 — July CINEMA PAPERS

the Southern Cross Feature Film Company.

According to Longford, Southern Cross had secured the services of an alleged American director, a Mr Walter May Plank, a species of which this country was then subjected to periodic visitation by . . . Mr Plank absconded, and I was called in by them to retrieve if possible their losses.

There is no doubt that it was convenient for Longford to leave New South Wales at this time, in view of the unfortunate outcome of litigation over his previous feature for Humbert Pugliese, The Church and the Woman (1917).

There was a damaging court verdict of plagiarism against Longford and Pugliese, and Longford desperately needed work.

The Woman Suffers, billed as South Australia’s “ first star photo-play” , was tradepreviewed at Adelaide’s Theatre RQyal on March 18, 1918. Its gala premiere five nights later, also at the Royal, was attended by the Governor, Lieutenant-Colonel Sir Henry Galway, and his Lady. The local press hailed the film with headlines such as, “ Fine South Australian Picture” , “ First Production a Huge Success” and “ Photo-Plav Industry Now Launched” .

The film, “ picturised and directed” by Long­ ford, is a social-problem melodrama. Its story of seduction and counter-seduction is spread over two generations to point an ancient moral: “ The woman suffers, while the man goes free!”

At the centre of the plot is Ralph Manton’s discovery of his sister Marjory’s betrayal. He tracks down and confronts the villain, Phillip Masters, but is devastated when Masters tells

him: “ It is men of your type who consider, with the exception of their own sisters, women are mere playthings, to be used and cast aside!”

Manton realizes with horror that Masters had exacted a terrible vengeance: for the betrayal and suicide of his own sister, in a very rough kind of justice, he had in turn ruined Manton’s sister.

No doubt revenge was sweet. In any case, audiences, as well as reviewers, took the theme of immorality in their stride. Far more exciting to contemporary viewers was the film’s essentially Australian character. The Advertiser critic wrote: The Woman Suffers is absolutely Australian in its general creation. All the incidents happen within the Commonwealth, and the redolent atmosphere of the healthy bush permeates the film from beginning to end . . . The film version of the Adelaide Hills, for instance, intensifies the grandeur of some of nature’s great masterpieces there. The impression gained is awe-inspiring.

Longford’s favorite cameraman, Arthur Higgins, had joined the production team after finishing a stint with the Co-operative Gazette in Melbourne. His photography, particularly of the bushland and pastoral settings, won special approval.

The Adelaide Register reviewer praised the film for its spectacular, as well as its dramatic, qualities: “ Photographically, The Woman Suffers is almost a flawless gem. The story itself is well-told and acted, with good appreciation of episode and climax.”

This reviewer was particularly taken with the South Australian backgrounds: The strong colours of sunset darkening into

The Woman Suffers

Lottie Lyell suffers, assisted by Connie Martyn and Boyd Irwin, in Raymond Longford’s The Woman Suffers (1918). The film was widely acclaimed by audiences and critics, then suddenly banned in New South Wales.

sombre night, the pell-mell of wild cattle trailing In the following months, in every State in the their dust amid the big spaces, the massive gums Commonwealth, the public voted its approval patterned on the brown carpets of the saltbush at the box-office. Yet, The Woman Suffers country, the wonderland of the bush with its grey came to be the centre of the most curious case and penetrating distances . . . of censorship in Australia’s curious censorship Patrons evidently relished the shock of the history. Even at this remove, the bones of that familiar. They recognized the Murray River in story warrant exhumation. flood at Mannum, E. A. Brooke’s property at In accord with legal requirements, Raymond Buckland Park, and one of Sidney Kidman’s Longford had applied on behalf of Express cattle stations farther north. Scenes of the Films, a minor Sydney exchange, to exhibit the Melbourne Cup (“ Specially photographed for film in New South Wales. The following advice the company from start to finish by six was forwarded to him on July 25, 1918, from cameras” ) intruded near the climax. Then the Chief Secretary’s Office: followed “ the unravelling of the plot amid the Dear Sir, familiar scenes of the Adelaide Railway In reply to your letter of 18th July, I have to say Station, in the verdant valleys of the Adelaide that no objection will be raised, so far as this hills, beneath frowning Morialta, and at the Department is concerned, to the public exhibition feet of waterfall gully.” throughout the State of the Australian Photo­ The Advertiser critic noted the “ justifiable Play entitled ‘The Woman Suffers’. pride” of the audience at the premiere, and I have to add that the Inspector-General of found The Woman Suffers “ a wonderful initial police has already been notified to this effect. effort” with excellent qualities, “ such as would This approval was signed, “ E. B. Harkness, be associated with a long line of works” .

In yet another paper the film was proclaimed Under-Secretary ’’.

Oddly enough, the film was accepted by the as “ equal to the best production of America and the old world” , and “ in every way a distribution-exhibition combine. It opened at triumph for the company, for the producer one of Union Theatres’ Sydney cinemas, the Lyric, on August 26. An advance notice in The . . . and for the cinematographer . . . ” No review at that time carried anything but Theatre Magazine of August 1 is typical of the generous endorsement for this far from steamy trade opinion of the film: dramatization of the double standard. Cer­ From first to last it is a good, strong story (always tainly, the seduction theme had not been over­ interesting and sometimes thrilling); the acting looked in Adelaide, but it tended to be throughout is tip-top; and in no instance does the mentioned in passing. “ Miss Lottie Lyell was photography . . . leave anything to be desired. enthusiastically applauded as Marjory Manton, Undoubtedly the best photo-drama Australia has the winsome and innocent character who was yet turned out . . . a production, in short, that will more than please the patrons of any house. seduced by Phillip.” {The Advertiser)

This was an accurate forecast. Longford’s scenario had given The Woman Suffers the calculated mix of scenery, sentiment, sex, sensation and pious moralizing that would guarantee its box-office in a war-weary com­ munity. The film’s season was extended to a second city theatre, the Grand, then to the suburban cinemas.

But boom was followed by bust. After seven weeks of successful exhibition, without warning or clear explanation, the film was banned. The Chief Secretary, George W. Fuller, prohibited its further screening in New South Wales, pending review by the Board of Censors.

Longford, writing as Director of Productions for the Southern Cross company, appealed to the Chief Secretary in a letter dated October 24.

Fie pointed out that this sudden prohibition, because of the costs of booking, printing and agency fees, would mean severe financial loss to the company’s unfortunate shareholders. He wrote: I consider, Mr Fuller, that in common justice to them and to me, an Australian Picture Producer, we are entitled to be informed what the objections were to the Film in question, also the Certain Representations that were made to you, mentioned in your communication of 17th October.

Common justice or not, Longford was never informed of the reasons for the banning, and neither was anyone else. Fuller had moved swiftly. Unknown to Longford, two days before he penned his appeal, the Board of Censors had reviewed the film and retrospec­ tively supported the Chief Secretary’s prohibition.

CINEMA PAPERS July — 159

The Woman Suffers

There were objections, of course, to this high-handed government action. A number of trade and other journals took up the cudgels on behalf of the film, or of individual freedom.

These included The Worker and The Bulletin, which were as one in condemning the arbitrary and unexplained prohibition.

In that sometime mouthpiece of radicalism, The Bulletin, one writer put the issue most forcefully: About the picture itself there could easily be two opinions. It is fine photography, picturing a yarn as suggestive as the typical kind which comes from the U.S., and is shown frequently. But the merits of the picture itself do not enter into the question at all as regards the action of the censor­ ship. Either the film was bad and the censors failed for months in their duty to the public in allowing it to be shown, or the film is good and the censors have made a mess of their job. Which­ ever way it is looked at, the censors’ action must stand condemned.

The Worker strongly suggested some sinister motive behind it all: Who made the ‘certain representations’ which have led to the prohibition of this Australian film we do not know; but this much is certain, that while locally-produced films are being hampered and stopped, the Yankee thrust is getting a greater hold than ever on the country.

The Worker's suspicions echoed Longford’s.

Evidently on his behalf, for the draft is among the Longford papers, Mr Brookfield, MLA for Sturt, undertook to put seven questions to the Chief Secretary on November 6. In the event, perhaps delayed because of other business, as well as the motions of loyalty and self-con­ gratulation to mark the Armistice, Brookfield’s questions, reduced to six, were merely tabled as printed, not orally delivered, questions.

Answers, of a kind, were supplied by Fuller on November 14, to those questions eventually put [see box]. They differed in detail, and also in some substance, from the draft retained by Longford. The critical third question of the draft was omitted entirely. It was as follows: After officially viewing the film did the [Censor­ ship] Board exclude two of its members who were present at the official screening from its delibera­ tions and then advise the company’s Sydney representative that the public exhibition of the picture was prohibited — no reason being given?

The Chief Secretary’s answer to the first part of this question could have proved interesting but probably would not have been, in view of his answers — bland to the point of arrogance — to those that were tabled.

Sole Proprietors................... J. C. WILLIAMSON, Ltd.

Adelaide Representative .. ..-Herbert Myers : i

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Sub-Lessees: The Southern Cross Feature Film Co. Ltd. M an ag er..................................... John F. Thicm

Saturday, March 2 3 , 1 9 1 8 The Southern Cross Feature Film Co. Ltd. Have Much Pleasure in Presenting THE FIRST STAR PHOTO-PLAY Acted and Filmed in South Australia, entitled

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jj

j “ THE WOMAN SUFFERS” i | I

Picturised and Directed by RAYMOND LONGFORD. Cinematographed by Arthur Higgins.

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Program advertising fo r Longford’s The Woman Suffers.

160 — July CINEMA PAPERS

New South Wales Legislative Assembly Thursday, 14th November, 1918 (from) Printed Questions and Answers, NSW Legislative Assembly, Voi. 73, November 14, 1918, pp. 2721-22.

M ov in g p ictu re film , The W oman Suffers Mr Brookfield asked the Colonial Secre­ tary: 1. Is it a fact that, on July 25 last, the Board of Censorship authorized the public screening of a picture play entitled The Woman Suffers, the said picture being an Australian production, owned by the Southern Cross Feature Film Com­ pany Limited?

A n sw er: Yes. 2. Is it a fact that this picture has been exhibited for months in Victoria, South Australia, Queensland and New South Wales?

A n sw er : I have no knowledge of its exhibition in other States. It has, I under­ stand, been exhibited periodically in New South Wales since the end of August.

3. Is it a fact that, without any reason being given, the board, on October 22, forbade any further exhibition in public of this picture?

A n s w e r : Complaints having been addressed to me concerning the film, per­ mission for its further screening was, on

At least as significant as the omitted ques­ tion was the substitution of the fourth question by the sixth, as shown in the Hansard record.

The deleted fourth was in these terms: What was the nature of the ‘certain representa­ tions’ made, and by whom were they made?

This, of course, was the very question that Longford desperately wanted to have answered. Did Brookfield lose enthusiasm about the matter? Or did his Parliamentary col­ leagues talk him out of being difficult at a time of national rejoicing?

If the representations had come from the then vocal “ wowser” element, that would not have been altogether too serious, for the wowsers were non-selective in their complaints about the way films from whatever source were undermining the moral foundations of the nation.

If, on the other hand, the representations were those of the Australasian Films-Union Theatres combine, as Longford, its frequent target and five-year antagonist, suspected, then they had been pressed upon the Government, not because the film was a wicked film but simply because it was successful. Logically, if home-produced films became too popular, they would put at risk the convenient and highly lucrative arrangements the distribution cartel had established with its American suppliers.

There was sufficient press and trade uproar about the banning to persuade the State Government to go through just one more motion. It agreed to Longford’s request that the censors again view the film in the presence of independent trade representatives. “ There were three well-known suburban showmen” , Longford told the Royal Com­ mission on the film industry, nine years later; “ Mr Ogden, Mr W. Szarka and the late Mr

October 22, withheld pending inspection by the Censor Board. The board reviewed the play, and unanimously recommended the prohibition of its further exhibition in this State, a recommendation which received my approval.

. ..

4. Can he state the reasons for this drastic action?

A nsw er: The prohibiting action taken by me is based upon the provision of Section 27 of the Theatre and Public Halls Act, 1908. * '

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5. Are the same standards of fitness applied to imported films as are applied to Australian-produced films, if so, how is it that bushranging pictures . . . are pro­ hibited, while those films shown by American firms, picturing horse thieves, etc., are allowed full publicity?

A nsw er: I cannot say.

6. Is it a fact that the police reported favourably at the initial inspection, before the picture was released for public view?

Answer: Yes.

Tom Howe. Their representation was nominal, their opinion was not asked.”

To be fair to Brookfield, it should be noted that he made one more attempt to prod the Chief Secretary into revealing why The Woman Suffers was banned. At question time on November 26, 1918, he asked the Minister could he give the House any information as to why he censored a picture which had been shown in every State of Australia for the past eight months? Can he explain why a prohibition was placed upon the company at a moment’s notice, without any explanation what­ ever being given?

Chief Secretary George Fuller’s reply was pre­ faced by an account of the censorship troubles he was having with the Federal censoring authorities: “ The system of censorship which was exercised by these gentlemen was in my opinion not sufficient.” Fuller also said that if the Federal board took “ proper action” he would be prepared to leave the censoring of films to that body, because the censorship of pictures ought to be for the whole of the Commonwealth.

The Chief Secretary concluded: When I find the censorship so lax that pictures appear on the screen which in the opinion of the New South Wales Censorship Board and myself ought not to be shown, then, in the interests of public morality, and particularly of the young people of the State, I intend to exercise my un­ doubted power, and have those pictures suppressed.

The Woman Suffers remained suppressed in

New South Wales, but, oddly enough, not in the other States.

Longford concluded his evidence to the Concluded on p. 196

ACTIVISM _____ towards a______

NATIONAL FILM ARCHIVE Graham Shirley

The Association for a National Film and Tele­ vision Archive (ANFTA) was formed in late 1974 to encourage the federal government to set up a centrally located, autonomous and adequately funded archive, along the lines of film archives as they are understood and operate overseas. Membership of the ANFTA included filmmakers, archivists, historians, educators, writers and members of film societies, all of whom were interested in improving the collection and preservation of film and television material.

Then, as now, the largest Australian film archive was operated by the Film Division of the National Library. The ANFTA was to press for the financial up-grading of this archive, its separation from the National Library and its relocation in one or more of Australia’s major centres of population and film industry activity. The ANFTA also aimed to promote greater co-ordination between the large number of Australian bodies which provided often overlapping film archival services.

Although the nucleus of the National Film Archive (NFA) of the National Library was established in 1936, it promoted no continuing concept of film preservation until the pioneering work of the Film Division staff, among them chief film officers Larry Lake, and his future successor, Rod Wallace, began in the early 1950s. Even 20 years later, its status was unclear, not to say stultified, by bureau­ cratic indifference, the kind that scarcely recog­ nized film as a medium in its own right. The NFA’s location in Canberra placed it in a double bind: not only did most of its potential users find it difficult to visit, but this also kept the stunting of its growth well hidden from the film community.

The president of the ANFTA was Barrie King, who was also secretary of the Australian Council of Film Societies and a member of the State Archives Sub-Committee of the West Australian State Film Centre. The chairman­ ship, held initially by Joan Long, was inherited by myself in June 1975 when Long resigned due to commitments elsewhere.

King and I had had our first contact with the archival side of the National Library’s Film Division in 1969, and, despite being impressed by the dedication of the staff, were appalled at its inhibited operations and low profile in the film community. From then on, we took every opportunity to press for greater recognition of the NFA and to stress the need for it to pursue on-going programs of field-search, acquisition and cataloguing.

demanded radical change in the NFA’s status, funding and staff level through complete auto­ nomy, and the need for preservation criteria for Australian and overseas films.2 The Edmondson Report found no favor with the National Library, which to this date has not publicly expressed an opinion on it. But for Edmondson it triggered a continuing dilemma.

In the eyes of outside observers, he would spend from then on trying to reconcile a 2. ibid., No. 5, March-April 1975, p. 85.

The Edmondson Report In August 1974, the first important develop­ ment in pressure for an up-graded NFA was the appearance of the Edmondson Report, the result of NFA archivist Ray Edmondson’s fivemonth study of film archives in Britain, Europe and the U.S. on a grant from the Australian Film and Television School.1 Its main recommendations were to be incor­ porated into the ANFTA’s November 1974 submission to the Committee of Inquiry on Museums and National Collections, and sub­ sequently into the ANFTA’s principles released in April 1975. Added to the submission’s call for a self-determining, easily accessible and effectively catalogued NFA, the principles 1. Cinema Papers, No. 1, December 1974, pp. 342-47.

Ray Edmondson, director o f the National Film Archive o f the National Library, Canberra, and author in 1974 o f a report on world film archives.

CINEMA PAPERS July — 161

National Film Archive

Above: Don Drayton inside theN F A ’s nitrate vault. Below: the Minister fo r Home Affairs and the Environment, Barry Cohen. Bottom: Senator David Hamer, advocate for an autonomous film archive.

conflict between the apparent policies of the National Library and the clear needs of the NFA. Referring to his 1974 Report, he told The Bulletin, “ It was made clear that I had damaged my career prospects by expressing the views that I did.” 3 His successors as NFA curator, Karen Foley and Mike Lynskey, were also to be identified with the opinion that the NFA should be removed from the National Library. Frustrated by a hierarchy which refused to allow the NFA to set policies or make its own major decisions, both were to resign after three years. Effective policy and decision-making were to remain in the hands of traditional librarians holding what the National Library regarded as the “ right” view.

The ANFTA, therefore, became aware of the vast philosophical gulf between the NFA staff and the National Library administration, one which involved the staff in spending enormous slabs of time justifying the archive’s day-to-day operations to their National Library superiors.

The ANFTA found the administration totally unwilling to discuss the question of the NFA autonomy, and the ANFTA received reports that the National Library’s behind-the-scenes reaction to the autonomy issue verged on the hysterical. The National Library’s inability to develop a logical response to the autonomy rationale was to change little in the next 10 years, and provided much fuel for the recent conflict between it and the film community.

The Archive Association By the end of 1976, and due significantly to pressure from the ANFTA, the National Library had established a distinction between its film archival and film lending operations, which had become blurred after the setting up of the lending collection in 1946. Guided by a steering committee,4 the ANFTA built a membership of more than one hundred financial supporters to which it circulated news­ letters and reports. The newsletters drew attention to the low priority given to the NFA within a National Library chiefly concerned with the keeping of books. The ANFTA also materially assisted the NFA’s acquisition and preservation activities by drawing attention to privately-held collections of films, stills and documentation. The ANFTA was to become an Observer Member of the International Federa­ tion of Film Archives (FIAF) and made submis­ sions to further official inquiries, including the Australian Film Commission’s Working Party into the National Film Archive (1976-80) and the Committee of Review of the ABC (1980-81).

But if the ANFTA seemed in the first eight years of its existence to be promoting a general awareness of film archive activity in Australia, most politicians remained blase about the NFA’s future. In June 1982 there were signs of refreshing change when Australian Labor Party Senators Susan Ryan and John Button wrote that the ANFTA’s suggestions would be noted during the formulation of the ALP Arts policy at the party’s next National Conference. In February 1983, the ALP’s election commit­ ments to the Arts did indeed promise, to support and develop existing national institu­ tions and in particular to direct increases to those areas such as the National Film Archive . . . which have been allowed to run down under Fraser government funding policies.

3. The Bulletin, August 16, 1983, p. 68.

4. Steering committee members included Judy Adamson, Alan Anderson, Reg Burbury, Robert Gowland, Ian Griggs, Hugh Mclnnes, Don Oughtred, Andrew Pike, Doug and Sue Roberts, Barbara Taylor, Peter Wagner and Ian Walker.

162 — July CINEMA PAPERS

Relations with the Library The historical reason for the NFA’s status can be traced as far back as the National Library Act 1960 which required the National Library to maintain and develop “ a comprehensive collection of Library material relating to Aus­ tralia and the Australian people” . The material was to include film along with the National Library’s collections of books, periodicals, newspapers, manuscripts, sound recordings, maps, pictures and photographs. The National Library Inquiry Committee (NLIC) of 1957, whose recommendations had led to this Act, did note that there was little in common . . . between orthodox librarianship and the skills required for film selection, film maintenance and projection . . . not even cata­ loguing is the same.

But the NLIC was impressed by the National Library’s “ valuable contribution” to film and, not wishing “ to disturb a successful and worth­ while development” , recommended “ that the Library continue to develop its film activities” .

This was the line pushed relentlessly by the National Library throughout the recent separa­ tion controversy. Such a blinkered view not only demonstrated contempt for the film industry but failed to recognize the develop­ ment of the film community since 1960 and its contribution to the growth of the NFA. In fighting to retain its empire, the National Library used defensive and sometimes easily disputed claims that did little to endear it to its political masters. A “ no comment” was the response by the Home Affairs and Environ­ ment Minister, Barry Cohen,5 to the Library’s press kit of October 13, in which the Library’s director-general, Harrison Bryan, had stated that recent suggestions that the NFA and Sound Recording Collection be separated from the Library “ could be interpreted as promoting sectional interests” .

According to Judy Cannon, a former Library publicity staffer writing for The Canberra Times (November 16), the pressure to remove the film and sound archives “ should be seen as sinister, ruthless and exploitative” . In her, and apparently the National Library’s, view, members of the film community who were trying to remove the NFA were filmmakers who “ want to control it” because “ Australian history at the present time is good box-office and filmmakers clearly recognize the com­ mercial value of the film archive” .

5. Quoted by Senator David Hamer in the Senate, December 13, 1983, (p. 3660, Senate proceedings).

Ray Edmondson, left, and Mike Lynskey, second from right, with two visiting Chinese film archivists, Mr Yi and Mrs Wu.

National Film Archive From evidence available, the National Library’s performance as presented to the Senate can hardly have enhanced its political credibility. Appearing before the Senate Estimates Committee on September 16, 1982, the Library administration was unable to answer half the questions put to it on issues crucial to an understanding of NFA operations.

At the 1983 Estimates Committee hearing, the National Library could not answer a quarter of the questions, most of them reflecting the previous year’s public pressure for NFA reform.

Dissatisfied with the National Library’s performance at these hearings and during its campaign to retain the Archive, Senator David Hamer on November 10 addressed another 13 questions to Cohen. The National Library’s replies, which seem to have formed the bulk of Cohen’s response of December 13, failed to satisfactorily answer eight of the questions,6 while it was too early to answer another two, which concerned the Government’s decision on NFA autonomy and the recent Australian Film Institute (AFI) conference on the NFA.

Involvement by the Film Community The basic facts of the film community versus National Library conflict since August 1983 are probably known to the majority of Cinema Papers readers.7 Most significant in the light of the previous decade of agitation has been the rapid and diverse proliferation of supporters for the NFA’s up-grading and separation.

Organizations in this push include the NFA’s Advisory Committee (a body of senior film and television industry representatives appointed by the National Library Council in 1981), the AFI, the Film and Television Production Association of Australia, the Film Industry Standing Committee, the Australian Council of Film Societies, the Australian Screen Studies Association and the Committee to Preserve Our Film Heritage, a new group which has incor­ porated the objectives of the ANFTA. On September 12, 1983, the rallying point for these and other bodies was the AFI-convened National Film Archive Conference held in Sydney.

The fact that this unique occasion was necessary at all was a supreme indictment of the National Library’s attitude toward the film community. At the meeting co-chaired by the AFI’s executive director, Kathleen Norris, and film producer and historian Anthony Buckley, delegates rejected outright the recommenda­ tions of the Nicholas Clark report into develop­ mental options for the NFA. The Report’s recommendations were seen by the Conference as one further re-run of the standard National Library view that it was more important to maintain the status quo than to understand the needs of a film archive.

Resentment simmered over the fact that in preparing the brief for the Report’s Stage 2 (the recommendation stage) the Library had not provided for anywhere near adequate film com­ munity consultation. Phil Budden, chairman of the NFA’s Advisory Committee, spoke of the result as “ a very disheartening affair. We had the chance to have a report that said something positive about the archive, and we didn’t get one.” After calling for the immediate separa­ tion of the NFA from the National Library, the meeting stated its belief that, a National Film Archive is as important to Austra­ lia’s cultural history as the National Gallery and the National Museum and insists that the National Library has as little relevance to the administration of the National Film Archive as it has to other organizations.

Recent Developments

The separation campaign continued even after the Prime Minister, Bob Hawke, made a promise in September to provide additional funding and “ some autonomy” for the NFA. In October 1983, Senator Hamer called on the government to make the NFA a complete statutory body, and declared there was “ no way a single institution, as the National Library suggests, can be the ‘custodian of the total record of Australian culture and develop­ 6. Four of the questions were hardly responded to. They ment’ ” . Indications of support came from concerned the Nicholas Clark Report; the National Senators Gareth Evans, Susan Ryan, Kathy Library’s above-mentioned Press Kit; the Library’s role Martin, Margaret Reid and Peter Rae, while in relation to film and to other government bodies charged with preserving records of Australian culture further interest was shown by Government and development; and its reaction to three of the four ministers John Dawkins, Chris Hurford and earlier reports on the NFA: the Edmondson Report, Barry Jones.

Clyde Jeavons’ “Some Observations of the National In December, the second History and Film Film Archive of Australia” (see C in e m a P a p e r s , No. 39, Conference called (as the first one had two August 1982) and the Roger Easton report on video developments for the NFA. The other four questions years before) for up-grading and autonomy, incompletely answered concerned the NFA budget, the while pointing out that the remedial measures NFA Advisory Committee, payment for the Nicholas suggested by the 1980 AFC Working Party Clark Report and aspects of the “Last Film Search” .

7. For those who want more information on the con­ Report on the NFA remained largely unful­ troversy, I would especially recommend Barbara filled. On December 15, 1983, Susan Ryan told Alysen’s articles “Action on Archives?” and “Archive the Senate “ that at the moment a large number Update” in the October and November/December 1983 of alternative possibilities” were under active issues of F ilm n e w s . Fia Cumming provides further consideration for both the film and sound informative reading in her articles for T h e B u lle tin on August 16 and 30, September 30 and November 29, archives. For a while afterwards, supporters of 1983. the pro-autonomy push feared that to placate

the film community and uphold the credibility of the National Library Cohen would announce little more than a compromise solution.

But in both Federal Houses on April 5, a statement from Cohen announced that the Government would immediately establish a new National Film and Sound Archive. For the long-term supporters of archive autonomy, it all seemed too good to be believable, particu­ larly since the statement had responded posi­ tively to all requests of the AFI’s September conference.

According to the Minister’s statement, the National Film and Sound Archive would be based on the existing film and sound archives located in the National Library, and would be made administratively independent of the Library. Its staff and finance were to be separated from the Library immediately, and accommodation would be made separate as soon as possible. The new archive would initially exist as an office within the Home Affairs department, being answerable directly to the Minister. Increases in staff, funds and equipment would cover the development of the archive, while an archive Advisory Committee (reporting within twelve months) would be appointed to advise future planning. Emphasis was to be placed on making the archive “ more accessible to the public and the film industry” .

This would involve the opening of offices in New South Wales and Victoria, with other states following if the Advisory Committee so suggested.

Even if little publicized, the decision to estab­ lish a separate National Film and Sound Archive is a major one for the Government’s commitment to film and to the community at large. Film people have much to look forward to in their relationship with the archive, one which should enhance an internal as well as overseas perception of Australian film culture and promote a wider awareness within Aus­ tralia of world cinema developments. Now that this first vital step has been taken, the next will be the guidelines to be established after the Advisory Committee’s report and further con­ sultation with all interests concerned. ★ CINEMA PAPERS July — 163

January 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 (G) For General Exhibition F resh J u ic e (16 m m ): T u n o w l, A u s tra lia , 8 3 3 .7 2 ft, M ich a e l J. S m ith T h e G old en S e a l (re d u c e d v e rs io n (a): S. G o ld w y n Jn r, U .S ., 2 4 4 1 .2 7 ft, R o a d sh o w D ist.

M o n k e y M ia (16 m m ): D o g s ta r P ro d u c tio n , A u s tra lia , 104 2.00 ft, C h a te a u P rods O kam bo uris: N o t sh o w n , G re e ce , 2 1 6 6 .0 0 ft, Lou is Film Co. (a) R e d u ce d by p ro d u c e r’s d e le tio n s fro m 2 5 5 0 .0 0 m to o b ta in lo w e r c la s s ific a tio n : p re v io u s ly sh o w n on N o v e m b e r 1983 list.

(NRC) Not Recommended for Children A laloum : G re c a F ilm s, G re e c e , 3 0 9 9 .5 9 ft, V id e o Star,

0(adult concepts) B u llshot: H a n d m a d e F ilm s, B rita in , 2 3 0 4 .0 0 ft, G re a te r U n io n F ilm D ist., 0(sexual innuendo) T h e D ay A fter: A B C M o tio n P ic tu re s , U .S ., 3 4 0 1 .3 2 ft, R o a d sh o w D ist., Ofadult concepts) Vff-m-j) T h e E m p e ro r and His M in is te r: S h a w Bros, H ong K o ng, 2 5 3 7 .0 0 ft, Jo e S iu In t’l F ilm C o.. L(i-m-g) H arry & Son: P. N e w m a n -R . B u ck, U .S ., 3 2 6 4 .1 7 ft, R o a d sh o w D ist., Ofsexual allusions) Lfi-m-g) T h e M an W h o K n ew T o o M u c h (a): A. H itc n c o c k , U .S., 32 6 7 .0 0 ft, U n ite d In t’l P ic tu re s , V(i-m-g) M y M oth er: C o n tin e n ta l K in g L u n g M o vie P ro d s, H o ng K ong, 2 4 1 3 .8 4 ft, J o e S iu In t’ l Film C o ., Ofadult con­

cepts) R e ar W in d o w (b): A. H itc h c o c k , U .S ., 3 0 7 4 .0 0 ft, U n ite d In t’ l P ictu re s, V(i-l-j) R u nning B rave: I. E n g la n d e r, C a n a d a , 2 8 8 0 .1 5 ft, R o a d sh o w D ist., Ofadult concepts) T o Be or N o t T o Be. B ro o ks Film s, U .S ., 293 5.01 ft, Fox C o lu m b ia F ilm D ist., Ofadult concepts) T h e T ro u b le w ith Harry: A. H itc h c o c k , U .S ., 2 7 1 8 .0 0 ft, U n ite d In t’l P ictu re s, Ofadult concepts) T w o of a K in d : R. R o th ste in -J. W iza n , U .S ., 2386.41 ft.

Fox C o lu m b ia Film D ist., S(i-l-j) U n d e rc o v e r (re vise d v e rs io n ) (d): P a lm B e a ch P ro d u c ­ tio n s, A u s tra lia , 2 4 2 8 .0 0 ft, R o a d s h o w D ist., Lff-l-g)

Sfi-m-j) (a) (b) (c) (d)

P re v io u s ly " N o t S u ita b le fo r C h ild re n (1956) P re v io u s ly " N o t S u ita b le fo r C h ild re n " (1955) P re v io u s ly " N o t S u ita b le fo r C h ild re n " (1955) R e d u ce d b y p ro d u c e r’s d e le tio n s fro m 2 6 0 5 .8 5 m; p re v io u s ly sh o w n on J u ly 198 3 list.

(M) For Mature Audiences C h ristin e: P o la r Film , U .S ., 3 0 1 7 .3 0 ft, Fox C o lu m b ia F ilm D ist., Vff-m-g) Lff-m-g) C rackers: E. Lew is-R . C o rte s, U .S ., 2 4 6 8 .7 0 ft, U n ite d In t’l P ictu re s, Ofadult concepts) T h e D e a th of S p rin g (16 m m ): N o t sh o w n , H o n g K ong, 9 3 2 .45 ft, C h in e s e C u ltu ra l C e n tre , Vff-m-g) T h e Fake G h o s t C a tc h e rs : S h a w B ros, H o n g K ong, 2 7 7 0 .4 3 ft, J o e S iu In t’ l Film D ist., Vfi-m-g) Fan n y an d A le x a n d e r: C in e m a to g ra p h y A .B ., S w e d e n , 5 1 7 1 .0 0 ft, R o a d s h o w D ist., Ofadult concepts) Fast T alkin g : R. M a tth e w s, A u s tra lia , F ilm w a ys, Ofadult

c o n c e p tL ff-m -j) H ex A fte r Hex: S h a w B ro s, H o n g K o ng, 2 6 0 5 .8 5 ft, Jo e S iu In t’l Film C o ., Ofadult concepts, nudity) T h e L ad y A s sassin: M Fo n g -W . K a -H ee, H o n g K o ng, 2 5 7 8 .4 2 ft, J o e S iu In t’ l F ilm C o ., Vff-m-g) T h e M an w ith T w o Brains: W a rn e r B ros, U .S ., 2 4 1 3 .0 0 ft, R o a d s h o w D ist., Ofsexual allusions) S h ao lin vs L am a: N o t sh o w n , H o n g K o ng, 2 3 5 8 .9 8 ft, Jo e Siu In t'l Film C o., Vfi-m-g) S ilk w o o d : A B C M o tio n P ic tu re s , U .S ., 3 5 3 8 .4 7 ft, R o a d ­ sh o w D ist., Ofadult concepts) Lff-l-j) S layg ro u n d : J. D a rk-G . F ro st, U .S ., 2 4 4 1 .2 7 ft, G re a te r U n io n Film D ist., Vfi-m-g) Lff-m-g) T h e S ta te o f Things : C. S ie v e rn ic h , W e s t G e rm a n y, 3 2 9 1 .6 0 ft, A u s tra lia n Film In s titu te , Lff-m-g) Sfi-m-g) S u pervan: S. C a p ra , U .S ., 2 4 4 1 .2 7 ft, 14th M a n d o lin ,

Ofadult concepts) Th u n d er: E u ro p e a n In te rn a tio n a l F ilm s, U .S .-Ita ly.

2 2 7 6 .6 9 ft, H o yts D ist., Vff-m-g) T h e T u rn in g Point: F o to c in e Film , H o n g K o ng, 2 4 6 8 .7 0 ft, Joe Siu In t’l Film C o ., Vff-m-g) S(i-m-g) T h e W h e e l of Life: L iao H s ia n g H sio n g , T a iw a n , 28 2 5 .2 9 ft, G o ld e n R eel F ilm s, Vff-m-g)

(R) For Restricted Exhibition H e a lth W arn in g : V e rd u ll F ilm P ro d s, H o n g K o ng, 2 5 7 8 .0 0 ft, G o ld e n R e el F ilm s, Sfi-m-g) Vff-m-g) Ju s tin e ‘A M a tte r o f In n o c e n c e ’ : R. W a lte rs , U .S ., 2 1 6 6 .9 7 ft, D .B . Film s, Sff-m-g) T h e K illing Hour: R. Di M ilia , U .S ., 2 6 5 6 .0 0 ft, S e ven Keys Film s, Ofsexual violence) Vfi-m-g) T h e L e g e n d of L ad y B lu e (th ird re c o n s tru c te d v e rsio n ) (a): T .I.B ., U .S ., 1 9 7 4 .0 0 ft, T h e H o u se of D a re, S(f-m-g) N a u g h ty Girls: Ho K w o k Y in g , H o n g K o ng, 2 5 2 3 .5 6 ft, P a rw e ll, Sfi-m-g) S w e e t and S a vage: A. F ra ca ssi, Italy, 2 5 5 0 .9 9 ft, R o a d ­ s h o w D ist., Vff-m-g) T h e T e x a s C h a in s a w M a s s a c re (b): T. H o o p e r, U .S ., 2 2 7 6 .6 9 ft, F ilm w a y s A u s tra lia , Vff-m-g) Ofhorror) (a) P re v io u s ly sh o w n on O c to b e r 198 3 list. (b) P re v io u s ly sh o w n on D e c e m b e r 1 98 3 list.

S p e c ia l C o n d itio n s : T h a t th e film /ta p e w ill not be e x h ib ite d in a n y S ta te in c o n tra v e n tio n o f th a t S ta te ’s la w re la tin g to th e e x h ib itio n o f film s .

164 — July CINEMA PAPERS

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

V (Violence)...............................

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

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

Title

Producer

Explicitness/lntensity

Infrequent

Frequent

Low

Medium

i i i /

f f f f

I I I I

m m m m

Country

A d io s g ringos: G. F e m m i, Italy, 86 m ins, RV R R e co rd s H o m e V id e o A m b e r W aves: S. K allis, U .S ., 98 m in s, V id e o C la s s ic s A n d re a C h enier: Lux Film , Ita ly-F ra n ce , 113 m ins, RVR R e cord s H o m e V id e o A n im als are B e a u tifu l P e o p le : M im o s a F ilm s P ty Ltd, U .S ., 92 m in s, W a rn e r H o m e V id e o T h e A p e W om an: E m b a ssy P ictu re s, F ra n ce -lta ly, 92 m ins, PB V id e o A rpa C olla (G rab colla): N. P e ra ki, G re e ce , 94 m ins, P. T ha nos A rruzza: E m b a ssy P ictu re s, B rita in , 85 m in s, PB V id e o Basta che non si s a p p ia in giro: M e d u sa , Italy, 100 m ins, C V R R e a lvisio n B lack A n gels: L. M e rric k , U .S ., 90 m ins, P re stig e V id e o B ra n a le o n e alle cro c ia te : F a irfilm , Italy, 117 m ins, CV R R e alvision B rea kin g Up: F. B ro g g e r, U .S ., 100 m ins, V id e o C la ssics T h e B rothers: T a T u n g Film C o., H o n g K o ng, 90 m ins, T h o rn EMI V id e o C a b a re t V o ltaire: N o t sh o w n , 60 m ins, M onash R e cord s C atch As C a tc h Can: A vco -E m b a ssy, U .S ., 95 m ins, PB V id e o C im e te re s en za croci: J. M o tte t, Italy, 87 m ins, RVR R e cord s H o m e V id e o C o m e ru b a m m o la bo m b a ato m ic a: N ot sh o w n , ItalyE g ypt, 95 m ins, RV R R e co rd s H o m e V id e o C o m e s v a lig ia m m o la b an ca d ’Italia: N ot sh o w n , Italy, 93 m ins, RV R R e co rd s H o m e V id e o C o tto n C andy: J. L en ox-R . H o w a rd , U .S ., 9 7 m ins, V id e o C la ssics C rim ina l Fac e (S to ria di un crim inal): H e rita g e Italian a, Italy, 102 m ins, RV R R e co rd s H o m e V id e o Crisis at C e n tral High: R. P a p a zia n , U .S ., 120 m ins, V id e o C la ssics C u ore: Lido, Italy, 90 m in s, T e c h n o Film T h e D ain C urse: M a rtin Poll P ro d u c tio n s , U .S., 118 m ins, P B L V id e o D e vildog: H o und of Hell: L. M o rh e im , U .S ., 95 m ins, V id e o C la ssics D iary of a T e e n a g e H itc h h ik e r: S. S h p e tn e r, U .S., 96 m ins, V id e o C la ssics D id n ’t Yo u Hear: S. S h e rw o o d , U .S ., 94 m ins, S h o w ­ case V id e o Don C h is c io tte e S a n c io Panza: G. G rim a ld i, Italy, 98 m ins, RV R R e co rd s H o m e V id e o E g g h e a d ’s Robot: C. M usk, B rita in , 56 m ins, T h o rn EMI V id e o E le c tric E skim o: F. G o d w in , B rita in , 57 m ins, T h o rn EM I V id e o Elim inator: M os Film , F ra n ce -R u ssia , 113 m in s, V id e o C la ssics F e b b re da C avallo: R. In ja s c e lli, Italy, 106 m ins, New P e ntax Film Fow l Play: W h rig h tw o o d In t’ l, U .S ., 80 m ins, R eid & P u skar G host in th e N o o n d a y Sun: G. W ig a n , B rita in , 95 m ins, V C L C o m m u n ic a tio n s A G u id e to M aking Love: V e s tro n V id e o , U .S ., 57 m ins, R o a d sh o w H o m e V id e o T h e H ealers: IFC -R os, U .S ., 90 m in s, V id e o B o x O ffice H e a rts and F lo w e rs fo r T o rà 16 m m ): S h o c h ik o Film , J a p a n , 1 2 0 6.70 ft, J a p a n In fo rm a tio n S e rvice Hot Fan tas ies: N o t sh o w n , W . G e rm a n y, 90 m ins, V id e o C la ssics H o tw ire: D. Ford. U .S ., 95 m ins, F ilm w a y s A ’ asian Dist.

I due d e lla F1: T e c h n o film , Italy, 90 m ins, T e c h n o film I f i g l i . . . s o ’ p e z z i’e: C a p ita l Film s, Italy, 99 m ins, CV R R e a lvisio n II b is b e tic o dom ato: C a p ita l F ilm s, Italy, 99 m in s, CV R R e a lvisio n Il b rig a d ie re P a s q u a le Z a g a ria am a la m am a e la polizia: C. M a ie tto , Italy, 90 m ins, N e w P e n ta x Film Il cas anova: L. C o m e n c in i, Italy, I 0 5 m ln s , RVR R e co rd s H o m e V id e o Il fa lc o e la c o lu m b a: Films International Co., Italy,

87 mins, RVR Records Home Video Il m atrim o n io : Costellazione, Italy, 92 mins, AVO Film­ AVO Program Il suo n o m e e ’q u a lc u n o : H e rita g e Ita lia n a , Italy, 82 m ins, R V R R e co rd s H o m e V id e o Il v ic h in g o v e n u to dal sud: In te rn a tio n a l F ilm C o ., Italy, 106 m ins, A V O F ilm -A V O P ro g ra m In s id e T h e L ov e H ouse: K. D a lter-J. B e g u n , U .S ., 120 m ins, R e id & P u s k a r Julia: A. W h yte , S w e d e n , 90 m ins, V id e o B o x O ffice T h e Kid a nd th e K illers: D. R o ss-J. Ross, U .S ., 120 m ins, PB V id e o La casa stre g a ta : M. C e c h i G ori-V . C h e c h i G ori, Italy, 95 m ins, C V R R e a lvisio n La m ala ordina: C in e p o rd u z io n e , Italy, 110 m ins, New P e n ta x Film La m o rte ha fa tto l ’uovo: G. Q u e sti, Italy, 86 m ins, RV R R e co rd s H o m e V id e o

Submitted length (m)

L ’a n e llo m a trim o n ia le : N e w M o vie P ro d u ctio n s, ItalyS p ain, 115 m ins, N e w P e n ta x F ilm La riv o lta dei p reto ria n i: Fia F ilm s In te rn a tio n a l, Italy, 95 m ins, D o m o vid e o La sca la d e lla follia: J. H a n n a h , B rita in , 90 m ins, RVR R e cord s H o m e V id e o T h e Last C om m an d: R e p u b lic S tu d io O rg a n iza tio n , U .S., 110 m ins, S u n d o w n e r F ilm a n d V id e o Lisa and th e Devil: A. L eo ne, Italy, 100 m ins, S h o w ­ case V id e o L ’ isola del teso ro : N ot sh o w n , Italy, 89 m in s, RV R R e co rd s H o m e V id e o L ’u ltim o guappo: A. B re scia , Italy, 90 m in s, R V R R e cord s H o m e V id e o L u n g w e i V illage: H sin W h a M o tio n P ic tu re C o m p a n y, H o ng K o ng, 90 m ins, T h o rn EM I V id e o M acch ie di b elle ta: Fair, Italy, 104 m in s, C V R R e a l­ visio n A Man C a lled Adam : E m b a ssy P ic tu re s , U .S ., 99 m ins, PB V ideo M arriag e Italia n Style: C. P o nti, Italy, 99 m ins, PB V ideo M a th e paidi m ou gra m m a ta : S. T sa ro u xa s, G re e ce , 95 m ins, P. T h a n o s M atrim o n io : M a rria g e Ita lia n S tyle: C. Po nti, Italy, 100 m ins, T e c h n o film M ayflow er: L. Y e lle n , U .S., 97 m ins, V id e o C la s s ic s M ich ele S tro g o ff: E. N a tan , Ita ly-F ra n ce , 90 m ins, T e c h n o film T h e M illion D o llar Face: V e s tro n V id e o , U .S ., 98 m ins, V id e o C la ssics M om T h e W o lfm a n and M e: M. H a rd in g , U .S., 100 m ins, V id e o C la ssics M oulin R ouge: R o m u lu s, B rita in , 112 m ins, T e c h n o film M o u n tain C harlie: H. S te w a rt, B rita in , 60 m in s, T h o rn EMI V id e o M u rd er by N a tu ra l Causes: R. P a p a zia n , U .S ., 96 m ins, V id e o C la ssics N a ple s, P a le rm o , N e w Y o rk T h e T ria n g le o f the Cam orra: G .P .S ., Italy, 95 m ins, N e w P e n ta x Film N a rc iso Nero: A rc h e rs -R a n k , Italy, 92 m ins, RVR R e cord s H o m e V id e o O A ris to k ra te s M agkas: H i-T e ch , G re e ce , 94 m ins, P. Thanos O K ara gkioses: N ot sh o w n , G re e ce , 95 m ins, P. Thanos O ne N ight S tand: F in le y V id e o E n te rp rise s, U .S ., 50 m ins, PB V id e o O n o re e gu a p p aria : M. G a rg iu lo , Italy, 92 m ins, New P e ntax Film O razi e curiazi: T e c h n o film , Italy, 93 m ins, RVR R e cord s H o m e V id e o P e o p le N e x t Door: A v c o E m b a ssy, U .S ., 93 m ins, PB V ideo P h anase: P. X e n a kis, G re e ce , 96 m in s, P. T h a n o s P h an to m T o lb o o th : C. Jo n e s-L . G o ld m a n , U .S ., 89 m ins, PB V id e o T h e P h o e n ix T e a m : L. M irkin , U .S .-B rita in , 120 m ins, V id e o C la ssics P o v e r ’ am m o re: D o m izia C in e m a to g ra fic a , Italy, 88 m ins, N ew P e ntax F ilm P ro b a b ility Zero: S. A rg e n to , Italy, 90 m in s, F ilm w a ys R ight of W ay: G. S c h a ffe r, U .S ., 107 m in s, V C L C o m ­ m u n ica tio n s T h e R o gue an d G rizzly: D. R o b in so n , U .S ., 96 m ins, S h o w ca se V id e o S a m m y ’s S u p e r T -shirt: F. G o d w in , B rita in , 58 m ins, T h o rn EMI V id e o T h e S c a rle t P im p e rn e l: D. C o n ro y, B rita in , 142 m ins, T h o rn EMI V id e o S c ra m b le: M. B a rn e s, B rita in , 61 m in s, T h o rn EMI V id e o Sex and th e S in g le P a re nt: S. K a llis, U .S ., 98 m ins, V id e o C la ssics S o litary M an: C. F itzsim o n , U .S ., 9 7 m ins, V id e o C la ssics S p ittin ’ Im age: R. C u tte r, U .S ., 92 m in s, S h o w ca se V id e o S ta tio n (16 m m ): J. T a n a ka , Ja p a n , 13 2 7 .0 0 ft, Ja p a n In fo rm a tio n S e rvice T h e S teag le: J. Di G a n g i, U .S ., 101 m ins, P B L V id e o T h e S tre e ts of Los A n g e le s : C. E n g la n d , U .S ., 96 m ins, V id e o C la ssics S u p e rs ta rs in C o ncert: W o rld F ilm S e rvice s, B rita in , 126 m ins, V C L C o m m u n ic a tio n s Te p e p a : A. G u o m o -N , P o m e lio , Italy, 103 m ins, RV R R e co rd s H o m e V id e o T h a t M an is P reg n an t: S. N u c h te rn , U .S ., 80 m in s, PB V id e o T o ko k k in o tra ino : H i-T e ch , G re e ce , 9 4 m in s, P. Thanos T h e T ra m p le rs : N o t sh o w n , U .S ., 105 m in s, P B V id e o 2 C a tch 2: R. H a n se n , U .S ., 95 m in s, S h o w c a s e V id e o Una v ita lu n g a un g iorno: L u cia n o , Italy, 96 m in s, N e w P e n ta x F ilm

Purpose High h h h h Applicant

Justified

Gratuitous

j j j j

g g g g Reason for Decision

Un d o lla ro buc ato : C a lvin J a c k s o n P a d g e t, Italy, 90 m ins, D o m o vid e o U o m ini di parola: T. C im a ro s a , Italy, 96 m in s, N e w P e ntax Film W a r o f th e W ild cats: R. N o rth , U .S ., 102 m in s, S u n ­ d o w n e r Film a n d V id e o W hodu nit: E n te rta in m e n t in V id e o , U .S ., 9 0 m ins, V id e o C la ssics T h e W ild D aisy (16 m m ): T. T a k a iw a , Ja p a n , 9 6 5 .0 0 ft, J a p a n In fo rm a tio n S e rvice X o ris M artu rers: V. P a p a m a lis, G re e ce , 94 m in s, P. Thanos Z e te ita i Drakos: S. Lia ko s, G re e ce , 94 m in s, P. T h a n o s T h e Zoo R obbery: J. B la ck-M . M cC a rth y, B rita in , 64 m ins, T h o rn EMI V id e o

Films Registered With Deletions Nil

Films Refused Registration T h e A b d u c tio n o f L o re le i (R e c o n s tru c te d v e rs io n ) (a): R. R ank, U .S ., 12 0 6 .9 2 ft, 14th M a n d o lin , Sfi-h-g)

Ofsexual violence) C iviltà del vizio (V id e o ta p e ): R. R im m e l, Italy, 90 m ins, T o rin o V id e o , Sfi-h-g) (a) P re vio u sly s h o w n on A p ril 198 3 list.

Films Board of Review Nil N ote: T itle of th e film sh o w n as J o h n H a rd in g 's Q u e e n s ­ land S a fari (M a y 1983 list) has b e e n a lte re d to T ro p ic R e ef S afari.

February 1984

Films Registered Without Deletions (G) For General Exhibition C a m m in a c a m m in a : R A I- R a d io te le v is io n , Ita ly , 4032.21 ft, S h a rm ill F ilm s C h ris tm a s S tory: M G M , U .S ., 2 4 9 6 .1 3 ft, U n ite d In t’ l P ictu re s T h e L y n x H its th e T rail: C e n tra l P o p u la r S c ie n c e S tudio, R u ssia, 18 9 2 .6 7 ft, T ra d e R e p re s e n ta tiv e o f U .S .S .R .

R u n n in g B rav e (re d u c e d v e rsio n ) (a): I. E n g la n d e r, C a n a d a , 28 2 5 .2 9 ft, R o a d s h o w D ist. (a) R e d u ce d by im p o rte r’s d e c is io n fro m 2 8 8 0 .1 5 m to o b ta in lo w e r c la s s ific a tio n ; p re v io u s ly sh o w n on J a n u a ry 1984 list.

(NRC) Not Recommended for Children C o n fid e n tia lly Y o u rs (V iv e m e n t d im a n c h e ): Les F ilm s du C a ro sse , F ra n ce , 3 0 4 4 .7 3 ft, P a n A m e ric a n P rods, Vfi-l-j) T h e D resser: P. Y a te s, B rita in , 3 1 8 1 .8 8 ft, Fox C o lu m b ia Film D ist., L(i-m-j) Ofadult themes) A P riv a te C o n v e rs a tio n : M o sfilm , R u ssia , 2 4 9 6 .1 3 ft, T ra d e R e p re s e n ta tiv e o f U .S .S .R ., Ofadult concepts) P ro je c t A: L. Ho, H o n g K o n g , 3 0 1 7 .3 0 ft, J o e S iu In t’l F ilm Co. m ins, V(t-l-j) R a cin g w ith th e M oon: P a ra m o u n t, U .S ., 2 9 3 5 .0 0 ft, U n ite d In t’l P ic tu re s , Ofadult concepts) Lfi-m-j) Red M o n a rc h : E n ig m a P ro d s -G o ld c re s t, B rita in , 2 8 2 5 .2 9 ft, F ilm w a y s A 'a s ia n D ist., L(i-m-j) Ofadult con­

cepts) T h e R ight S tu ff (re d u c e d v e rs io n ) (a): W in k le r and C h a rto ff, U .S ., 3 9 6 2 .0 0 ft, R o a d s h o w F ilm D ist., Ofadult

concepts) R o pe (b): T ra n s a tla n tic , U .S ., 2 1 3 9 .5 4 ft, U n ite d In t’ l P ictu re s, Ofadult concepts) S c an d alo u s: A. S e lle rs-A . W in its k y , B rita in , 2 6 6 8 .7 0 ft, R o a d sh o w D ist., Sfi-l-g) L(f-l-g) A S ta tio n fo r T w o : M o sfilm , R u ssia , 3 6 4 8 .0 0 ft, T ra d e R e p re s e n ta tiv e o f U .S .S .R ., Ofadult concepts) Vassa: M o sfilm , R u ssia , 3 7 3 0 .4 8 ft, T ra d e R e p re s e n ta ­ tive of U .S .S .R ., Ofadult concepts) V(i-m-j) V e rtig o (c): A. H itc h c o c k , U .S ., 3 4 0 1 .3 2 ft, U n ite d In t’ l P ictu re s, Ofemotional stress)

Film Censorship Listings

(a) R e d u c e d by p ro d u c e r’s d e le tio n s fro m 5 2 3 9 .1 2 m (O c to b e r 198 3 list) (b) P re v io u s ly “ S u ita b le O n ly fo r A d u lts ” (1948) and “ A ” w ith d e le tio n s (1962) (c) P re v io u s ly “ S u ita b le O n ly fo r A d u lts ” (1958)

(M) For Mature Audiences A d a m an d E v e (T h e F irst L o v e S tory): E. D o ria , Italy, 2 4 6 8 .0 0 ft, V id e o C la s s ic s , S(i-m-j) All th e R ig h t M oves: S. D e u tsch , U .S ., 2 4 4 1 .2 7 ft, Fox C o lu m b ia F ilm D ist., S(i-m-j) L(f-m-g) B lo o d b a th at th e H o u s e o f D e a th . W ild w o o d , B rita in , 2 4 4 1 .2 6 ft, PB V id e o , V(i-m-g) S(i-l-g) E s p rit d ’am o u r: D. S h e k-R . W o n g , H o n g K o n g , 2 4 8 6 .1 3 ft, J o e S iu In t’ l F ilm C o ., 0(adult concepts)

V(i-m-g) F o o tlo o s e : L. R a ch m il-C . Z a d a n , U .S ., 2 8 2 5 .2 9 ft, U n ite d In t’l P ic tu re s , V(i-m-g) L(i-m-g) J u s t fo r Fun: G . Lai-F . C h a n , H o n g K o n g , 2 7 9 7 .8 6 ft, J o e S iu In t’l F ilm C o ., 0(adult concepts) T h e Keep: G. K irk w o o d -H . K o ch , B rita in , 2 5 5 0 .9 9 ft, United In t’l P ic tu re s , Vfi-m-g) S(i-m-g) T h e L a s t A ffa ir: P e a rl C ity F ilm s L td , H o n g K o ng, 2 4 4 1 .2 7 ft, Jo e S iu In t’ l F ilm C o ., S(f-l-g) Lies: W h e a t, W h e a t a n d H e rm a n , U .S ., 2 7 4 3 .0 0 ft, H o yts D ist., Vff-m-g) S(i-m-g) T h e M an W h o L o v e d W o m e n : H. E d w a rd s-T . A d a m s, U .S ., 3 0 1 7 .3 0 ft, Fox C o lu m b ia F ilm D ist., S(f-m-g) P a p a s o u za s : F e stiva l F ilm , G re e c e , 2 8 2 5 .2 9 ft, V id e o ­ sta r, Ofadult concepts) T h e Pier: V e ro u ll L td , H o n g K o ng, 2 1 3 9 .5 4 ft, Jo e Siu In t’l F ilm C o ., V(f-m-g) S(i-m-g) T an k: I. Y a b la n s , U .S ., 2 8 2 5 .2 9 ft, U n ite d In t’ l P ic tu re s ,

Films Registered With Deletions Nil

Films Refused Registration E v ery Inch a L a d y (a): A m e ro B ro s, U .S ., 2 0 2 9 .8 2 ft, V id e o C la s s ic s , S(i-h-g) T ro p ic o f D e sire: G. P a lm e r, U .S ., 17 8 2 .9 5 ft, A.Z. A s s o c ia te d F ilm D ist., S(f-h-g) (a) P re v io u s ly sh o w n on J a n u a ry 1981 list.

Films Board of Review S c a rfa c e (a): U n iv e rs a l, U .S ., 4 5 5 3 .3 8 ft, U n ite d In t’ l P ictu re s D e cisio n re vie w e d : C la s s ify “ R ” b y Film C e n s o rs h ip B oard.

D e cisio n o f th e B o a rd : C o n firm th e d e c is io n of th e F ilm C e n s o rs h ip B o ard . (a) See also u n d e r “ F ilm s R e g is te re d W ith o u t D e le ­ tio n s ” (F o r R e s tric te d E xh ib itio n )

March 1984

U .S .,

(R) For Restricted Exhibition T h e B o dy is W illin g : G o ld e n H a rve st, H o n g K o ng, 2660.71 ft, J o e S iu In t’ l Film C o ., Sff-m-g) B o dy M agic: M. C o rb y , U .S ., 2 0 5 7 .2 5 ft, V id e o C la ssics, S(f-m-g) C a lig u la : T h e U n to ld S to ry : M e ta x a C o rp ., B rita in -lta ly , 2 6 0 5 .0 0 ft, V id e o C la s s ic s , S(f-m-g) V(f-m-g) T h e Key: San F ra n c is c o F ilm , Italy, 293 5.01 ft, R o a d ­ s h o w Film D ist., S(f-m-j) A L ife Full o f Evils: E te rn a l F ilm C o ., H o n g K o ng, 2 6 0 5 .8 5 ft, G o ld e n R e el F ilm s, S(f-m-g) V(i-m-g) A L ife o f N inja: N o t s h o w n , H o n g K o ng, 2386.41 ft, G o ld e n R e el F ilm s, V(f-m-g) P o ssesse d : J o h n n y M a k P ro d ., H o n g K o n g , 266 0.71 ft, G o ld e n R eel F ilm s, V(f-m-g) S c a rfa c e (a): U n iv e rs a l, U .S ., 4 5 5 3 .3 8 ft, U n ite d In t’l P ictu re s, V(f-m-g) (a) S e e a lso u n d e r “ F ilm s B o a rd o f R e v ie w ” .

V(i-l-j) Vassili and V a ssilisa: M o s film , R u ssia , 2 5 7 8 .0 0 ft, T ra d e R e p re s e n ta tiv e o f th e U .S .S .R ., O(emotional

stress)

(M) For Mature Audiences A c es G o P la c e s P a rt III: C in e m a C ity & F ilm s C o ., H o n g Kong, 2 5 5 0 .9 9 ft, Jo e S iu In t’l Film C o ., V(i-m-g) A m ity v ille 3-D: O rio n , U .S ., 2 4 6 8 .7 0 ft, H o y ts In t’ l,

O(horror) B a s ta rd S w o rd s m a n : S h a w B ro s, H o n g K o n g , 2660.71 ft, Jo e S iu In t’l F ilm C o ., V(f-m-g) T h e B o x e r’s O m e n: S h a w Bros, H o n g K o n g , 2 8 2 5 .0 0 ft, Jo e Siu In t’ l Film , O(horror) V(i-m-g) D.C . Cab: T . C a re w , U .S ., 2 7 1 5 .5 7 ft, U n ite d In t’l P ic ­ tu re s, Lff-m-g) V(i-m-g) Ofsexual allusions) D e a th T h ro e s (A gon ia): M o sfilm , R u ssia , 3 9 7 7 .3 5 ft, T ra d e R e p re s e n ta tiv e o f th e U .S .S .R ., Ofsexual allu­

sions and emotional pitch)

Films Registered Without Deletions

E n tre nous: A rie l Z e lto u n -P a rtn e rs P ro d u c tio n , F ra n ce , 2 9 6 2 .4 4 ft, Pan A m e ric a n P ro d u c tio n s , Ofadult con­

cepts)

(G) For General Exhibition

L(i-m-g) V(i-m-j) U n c o m m o n V a lo r: J. M iliu s-B . F e its h a n s , 2 8 5 2 .7 2 ft, U n ite d In t'l P ic tu re s , V(f-m-j) L(f-m-g)

P ris o n e rs o f th e L os t U n ive rs e: M a rc e l-R o b e rts o n & U n ite d M e d ia F in a n c e Ltd, F ra n c e -U .S ., 2 4 4 1 .2 7 ft, G re a te r U n io n F ilm D ist., V(i-m-g) L(f-l-g) S h ao lin In tru d e rs : S h a w B ro s, H o n g K o n g , 2 6 8 8 .1 4 ft, Joe S iu In t’ l Film C o., V(f-l-g) S p la s h : B. G ra ze r, U .S ., 2 9 6 2 .4 4 ft, G re a te r U n io n F ilm D ist., Ofadult concepts) T o C a tch a King: S tro k e -K e im a n , B rita in , 3 0 9 9 .5 9 ft, S e ven K e ys F ilm s, Vfi-m-j) U n fa ith fu lly Y o u rs : J. W iz a n -M . W o rth , U .S ., 26 0 5 .8 5 ft, Fox C o lu m b ia Film D ist., Ofsexual allusions)

T h e M e c h a n ic s o f H a p p in e s s : A rm e n Film C o., A rm e n ia , 2 4 4 1 .2 7 ft, A ra ra d E n te rp ris e s T h e S to ry o f T ia n y u n M o u n ta in : S h a n g h a i F ilm S tu d io , C h in a , 348 3.61 ft, R o n in F ilm s.

T h e V o y a g e o f th e B o u n ty (16 m m ): L o o k Film P ro d u c ­ tio n , A u s tra lia , 1 04 2.15 ft, L o o k Film P ro d u c tio n W e A re J a zz M en: M o s film , R u ssia , 2386.41 ft, T ra d e R e p re s e n ta tiv e o f th e U .S .S .R .

(NRC) Not Recommended for Children A n n ie ’s C o m in g O ut: F ilm A u s tra lia , A u s tra lia , 2 4 4 1 .2 7 ft, F ilm A u s tra lia , Ofemotional stress) L(i-l-g) C a n n o n b a ll Run II: G o ld e n H a rve st, U .S ., 2935.01 ft, R o a d sh o w D ist., 0(sexual allusions) Lff-l-g) Flig h ts o f Fancy: A. D o vje n ko , R u ssia , 2 4 4 1 .2 7 ft, T ra d e R e p re s e n ta tiv e o f th e U .S .S .R ., Ofadult concepts) G re y s to k e : T h e L e g e n d o f T a rz a n , Lord o f th e Apes: H u d so n -C a n te r, B rita in , 3 3 7 3 .8 9 ft, R o a d s h o w D ist.,

H o m e a t H o ng Kong: G o ld e n F o u n ta in P ro d u c tio n s , H o ng K o n g , 2 7 9 7 .8 6 ft, G o ld e n R e el F ilm s, Ofadult con­

cepts) Vfi-m-g) T h e L o n e ly Guy: A. H ille r, U .S ., 2 4 6 8 .7 0 ft, U n ite d In t’l P ictu re s, Ofsexual allusions) L u m ak ad K ang H u b ad sa M u n d o n g Ib ab aw : D o m b e r Film s, T h e P h ilip p in e s , 3 2 9 1 .6 0 ft, A. C o n fe rid o , Ofadult

concepts) T h e M urder: C h e e rie r F ilm s, H o n g K o n g , 2 4 6 8 .7 0 ft, G olde n R eel Film s, Sfi-l-g) Vfi-m-g) M y R e b e llio u s Son: S h a w B ros, H o n g K o ng, 2 6 8 8 .1 4 ft, Jo e S iu In t’ l F ilm C o ., Vff-m-g) 1 91 9 — C ro n ica D e l Alba: J. M o ro -C . E sco b e d o , S p a in , 2 4 4 1 .2 7 ft, C rysta l Film C o rp ., Sfi-l-j) O ne N ig h t S tan d : R. M a so n , A u s tra lia , 2 5 6 8 .0 0 ft, H o yts D ist., Ofadult concepts) P apa, Can Y o u H e a r M e S ing: C in e m a C ity F ilm s, H o ng K o ng, 2 4 9 6 .1 3 ft, Jo e S iu In t’ l F ilm C o ., Sfi-m-j)

Vfi-m-j)

In Lov e o f His O w n F re e W ill: L e n film P ro d u c tio n s , U .S ., 2386.41 ft, T ra d e R e p re s e n ta tiv e o f th e U .S .S .R .,

R a zorback: H. M cE fro y, A u s tra lia , 2 5 7 8 .4 2 ft, G re a te r U n io n Film D ist., V(f-m-g) R e ckless (a): E. S c h e ric k , U .S ., 2 5 5 0 .9 9 ft, U n ite d In t’l P ictu re s S w ap M eat: S. K ra n tz, U .S ., 2 2 7 6 .6 9 ft, 14th M a n d o lin ,

Ofadult concepts)

Ofsexual allusions) L(i-m-g)

V(f-H)

T -B ird A t A k o (V id e o ta p e ): F ilm V e n tu re s Inc., T he P h ilip p in e s , 91 m in s, M .J. P ro d u c tio n s , Ofadult theme) W h e re T h e B o ys Are: A. C a rr, U .S ., 2 4 6 8 .7 0 ft, Fox C o lu m b ia Film D ist., Ofsexual allusions) Lfi-m-g) Sfi-m-g) (a) See a lso u n d e r “ F ilm s B o a rd o f R e v ie w ” and “ F ilm s R e g iste re d W ith o u t D e le tio n s ” (F o r R e s tric te d E xh ib itio n )

(R) For Restricted Exhibition A B rid e ’s N ig h tm a re : S h a w B ros, H o n g K o ng, 2 6 3 3 .2 8 ft, J o e S iu In t’ l F ilm C o ., Vfi-m-g) Evil T h a t M en Do: ITC E n te rta in m e n t, U .S ., 2 4 5 8 .7 0 ft, Fox C o lu m b ia Film D ist., Vff-m-g) F an tas y W orld : C h in n & N e a l, U .S ., 15 0 8 .5 5 ft, A.Z. A sso c. Film D ist., Sff-m-g] H o t Dog: E. F e ld m a n , U .S ., 2660.71 ft, R o a d s h o w D ist.,

Sfi-m-g) H u m a n A n im als: A .J .B . F ilm s Inc., S p a in , 2 5 5 0 .9 9 ft, F ilm w a ys A ’ a sia n D ist., Sff-m-g) H um an Lan tern s : S h a w B ro s, H o n g K o n g , 2 6 3 3 .2 8 ft, Jo e Siu In t’ l Film C o ., Vff-m-g) J u lie D a rling: T h e u m e r-T e u b e r-S m ith , U .S ., 2 4 4 1 .2 7 ft, H o yts D ist., V(i-m-g) Sfi-m-g) M en fro m th e G u tter: M . Fo n g -W . K a h e e , H o n g K o ng, 2 3 5 8 .9 8 ft, Jo e S iu In t’l F ilm C o ., Sfi-m-g) Vff-m-g) R eckless: E. S c h e ric k , U .S ., 2 5 5 0 .9 9 ft, U n ite d In t’ l P icture s, Sfi-m-g) S e xy Island: N o t sh o w n , H o n g K o n g , 2 8 5 2 .7 2 ft, G olde n Reel F ilm s, Sff-m-g)

Films Registered With Deletions Nil

Films Refused Registration H o t Legs: G. P a lm e r, U .S ., 2 0 2 0 .8 2 ft, A .Z . A sso c. Film D ist., Sfi-h-g) Princess Seka: T a u ru s Film , U .S ., 1 6 4 5 .8 0 ft, 14th M a n d o lin , Sfi-h-g) W o m en in L o v e — A S to ry o f M ad am B o vary (re c o n ­ s tru c te d ve rsio n ) (b): K. H o ru lu , U .S ., 1 8 1 0.38 ft, R e g e n t T ra d in g E n te rp ris e s , Sfi-h-g) (a) P re v io u s ly s h o w n on N o v e m b e r 1982 list. (b) P re v io u s ly s h o w n on J a n u a ry 198 3 list.

Films Board of Review R e ckless (a): E. S c h e ric k , U .S ., 2 5 5 0 .9 9 ft, U n ite d in t’ l P ictu re s D e cisio n re vie w e d : C la s s ify “ R ” by F ilm C e n s o rs h ip B oard.

D e cisio n o f th e B o a rd : D ire c t Film C e n s o rs h ip B o a rd to cla s s ify “ M ” . (a) S e e also u n d e r “ Film R e g is te re d W ith o u t D e le ­ tio n s ” (F or M a tu re A u d ie n c e s )

■ ■ H■ ■ ■ ■

Video Week Ending 10 February 1984 G A v a la n c h e : C h ild re n ’s F ilm F o u n d a tio n , B rita in , 55 m in s, A u st. C o u n c il fo r C h ild re n ’s F ilm s & T e le v is io n C e n e r e n to la /H ia w a th a : U n k n o w n , Ita ly, 50 m in s, Ita lvid e o C h iffe y K ids (S e rie s 2): C h ild re n ’s Film F o u n d a tio n , B rita in , 120 m in s, A u s t. C o u n c il fo r C h ild re n ’s F ilm s & T e le v is io n E g g h e a d s R o bot: C h ild re n ’s Film F o u n d a tio n , B rita in , 56 m in s, A u s t. C o u n c il fo r C h ild re n ’s F ilm s & T e le v is io n E le c tric Es kim o: C h ild re n ’s Film F o u n d a tio n , B rita in , 57 m in s, A u st. C o u n c il fo r C h ild re n ’s F ilm s & T e le v is io n F e rn , T h e R e d D e er: C h ild re n ’s Film F o u n d a tio n , B rita in , 56 m in s, A u s t. C o u n c il fo r C h ild re n ’s F ilm s & T e le v is io n G litte r b a ll: C h ild re n ’ s F ilm F o u n d a tio n , B rita in , 56 m in s, A u s t. C o u n c il fo r C h ild re n ’s F ilm s & T e le v is io n II s e rg e n te ro m p ig lio n i: U n k n o w n , Italy, 9 3 m ins, Ita lvid e o K a v lk T h e W o lf Dog: J o n s la n -P a n th e o n , C a n a d a , 98 m in s, S ym e H o m e V id e o M a g o o A t S ea: U P A P ic tu re s , U .S ., 108 m in s, S ym e H o m e V id e o M a g o o M an o f M y s te ry : U P A P ic tu re s , U .S ., 9 2 m ins, S ym e H o m e V id e o M a g o o ’s F a v o u rite H e ro e s : U P A P ic tu re s , U .S ., 69 m in s, S y m e H o m e V id e o M r H o ra tio K n ib b les: C h ild re n ’s F ilm F o u n d a tio n , B rita in , 60 m in s, A u st. C o u n c il fo r C h ild re n ’s F ilm s & T e le v is io n M r M a g o o in S h e rw o o d F o res t: U P A P ic tu re s , U .S ., 79 m in s, S y m e H o m e V id e o M r M a g o o in th e K in g ’s S e rv ic e : U P A P ic tu re s , U .S ., 8 8 m in s, S y m e H o m e V id e o M r M a g o o ’s S to ry B ook: U P A P ic tu re s , U .S ., 109 m in s, S ym e H o m e V id e o R a g g e d y A n n & A n d y: R. H o rn e r, U .S ., 8 7 m in s, C B S Fox V id e o R o b in h o o d Ju n io r: C h ild re n ’s F ilm F o u n d a tio n , B rita in , 61 m in s, A u s t. C o u n c il fo r C h ild re n ’ s F ilm s & T e le v is io n S a c re d G ro und: N o t s h o w n , U .S ., 100 m in s, C B S -F o x V id e o S a m m y ’ S u p e r T -S h irt: C h ild re n ’s F ilm F o u n d a tio n , B rita in , 58 m in s, A u st. C o u n c il fo r C h ild re n ’ s F ilm s & T e le v is io n S c ra m b le : C h ild re n ’s F ilm F o u n d a tio n , B rita in , 61 m ins, A u st. C o u n c il fo r C h ild re n ’s F ilm s & T e le v is io n S k y P irates: C h ild re n ’s F ilm F o u n d a tio n , B rita in , 60 m in s, A u st. C o u n c il fo r C h ild re n ’s F ilm s & T e le v is io n Up in the Air: C h ild re n ’s F ilm F o u n d a tio n , B rita in , 55 m in s, A u s t. C o u n c il fo r C h ild re n ’ s F ilm s & T e le v is io n W h ite w a te r S am : K. L a rs e n , U .S ., 8 7 m in s, S ym e H o m e V id e o Z o o R o bbery: C h ild re n ’s Film F o u n d a tio n , B rita in , 64 m in s, A u s t. C o u n c il fo r C h ild re n ’ s F ilm & T e le v is io n

Chu Chu an d th e P h illy Flash: J. W e sto n , U .S., 92 m ins, C B S -F o x V id e o , Lfi-l-g) Cuore: L id o C in e m a te g ra fic a , Italy, 90 m ins, Ita lvid e o ,

Vfi-l-i) H e rc ule s: C a n n o n In te rn a tio n a l, U .S ., 99 m in s, S ym e H o m e V id e o , Vfi-l-g) II m e d ic o d e lla m utua: E u ro e x p lo re r Film , Italy, 95 m ins, Ita lvid e o , Ofsexual allusions) M ax D u gan R e turns : H. R o ss, U .S ., 98 m ins, C B S -F o x V ideo, Ofadult theme) M ission Hill: S till R iv e r F ilm s, U .S ., 82 m in s, F ilm w a y s A ’a sia n D ist., Ofadult concepts) Part 2 -M a d M is s io n -A c e s G o P laces: C. M ak-D . S h ek, U .S ., 89 m in s, F ilm w a y s A ’a sia n D ist., Vfi-l-g) Six Pack: M. T rik ilis , U .S ., 104 m in s, C B S -F o x V id e o ,

Vfi-m-g) L(f-l-g) T a k e a H a rd Ride: H. B e rn se n , U .S ., 98 m ins, C B S -F o x V ideo, Vfi-m-g) T o u g h E n ough: A m e ric a n C in e m a P ro d s, U .S ., C B S Fox V id e o , Vfi-m-g) Ofadult concepts) T h e Toy: R a star, U .S ., 102 m in s, Fox C o lu m b ia Film D ist., L(f-l-g) T re a s u re o f th e F o u r C ro w n s: C a n n o n In te rn a tio n a l, U .S ., 96 m in s, S ym e H o m e V id e o , Ofhorror) Vff-l-g) Urgh: A M usic W ar: L o rim a r, U .S ., 92 m ins, C B S -F o x V ideo, Sfi-l-g) A W arm D e c e m b e r: M. T u c k e r, U .S ., 96 m in s, S ym e H o m e V id e o , Ofadult concepts) W ith o u t a T ra c e : 20 th C e n tu ry -F o x , U .S ., 119 m ins, C B S -F o x V id e o , Ofadult concepts)

M A lo n e in th e D ark: R. S h a ye , U .S ., 92 m ins, F ilm w a y s A ’a sia n D ist., Vff-m-g) Baby Love: A v c o -E m b a s s y , U .S ., 78 m in s, 14th M a n d o lin , Ofadult concepts) T h e Bell Jar: R. G o ld s to n , U .S ., 88 m in s, V id e o C la ssics, Sfi-l-j) Ofadult concepts) T h e B lack Cat: V T C , Ita ly -B rita in , 88 m in s, F ilm w a y s A ’ asian D ist., Vff-m-g) B lo o d b a th at th e H o u s e o f D e a th (35m m ): R. C a m e ro n , B rita in , 2 4 4 1 .2 6 ft, P .B . V id e o , Vfi-m-g) Sfi-l-g) B lo o d rid e: R. S p ita ln y , B rita in , 87 m in s, V C L C o m ­ m u n ic a tio n s , Ofadult concepts) B rain w ash : G. M e h lm a n , B rita in , 98 m in s, V C L C o m ­ m u n ic a tio n s , Ofadult concepts) Vff-m-j) C ro c o d ile: P. O o n c h itti, T h a ila n d , 85 m in s, F ilm w a y s A ’ a sia n D ist., Vff-l-g) E a st o f E le p h a n t Rock: D. B o yd, B rita in , 93 m in s, V C L C o m m u n ic a tio n s , Vfi-m-j) G od Fo rg ives: I D o n ’t: E. D ’A m b ro s io , Italy, 110 m in s, S ym e H o m e V id e o , Vff-m-g) I O u g h t to be in P ic tu re s : H. R o ss-N . S im o n , U .S ., 107 m in s, C B S -F o x V id e o , Ofadult theme) Ko ng Island: T h re e S ta r F ilm s, Italy, 88 m ins, Film w a ys, A ’a sia n D ist., Vfi-m-j) Ofnudity) L a d ie s D o cto r: K ris ta l Film P ro d u c tio n , Italy, 90 m ins, S ym e H o m e V id e o , Sff-l-g) .

A L ittle Sex: R. De L a u re n tlis -B . P a ltro w , U .S ., 93 m in s, F ilm w a ys A ’a sia n D ist., Ofadult concepts) A M an C a lle d B lade: L. M a rtin o , Italy, 85 m in s, F ilm w a ys A ’a sia n D ist., Vff-m-g) M an w ith B o g a rt’s Face: A. F e n a d y, U .S ., 102 m in s, C B S -F o x V id e o , Vfi-m-j) M a trim o n io all Italia n a: C. P o n ti, Italy, Ita lvid e o , Ofadult

concepts)

PG B lo o m fie ld : J. H e y m a n -W . M a n k o w itz , B rita in , 94 m in s, V C L C o m m u n ic a tio n s , 0 (adult concepts)

P o rk y ’s II: T h e N e x t Day: D. C a rm o d y , U .S ., 93 m ins, C B S -F o x V id e o , Lff-m-g) Ofnudity) P o w e r Play: C. D a lto n , U .S ., 95 m in s, C B S -F o x V id e o ,

Vfi-m-g) Lfi-m-g)

S ta r C h am b er: 2 0 th C e n tu ry -F o x , U .S ., 107 m ins, Fox C o lu m b ia Film D ist., Vff-m-g) Lff-m-g) T h e S tu n tm a n : R. R u sh, U .S ., 130 m in s, C B S -F o x V ideo, Lff-m-g) S w a p M e e t (35m m ): S. K ra n tz, U .S ., 2 2 7 6 .6 9 ft, 14th M a n d o lin , Ofsexual allusions) Lfi-m-g) T h e S w o rd o f th e B a rb arian s: P. B u ric c h i, Italy, 87 m ins, F ilm w a y s A ’a sia n D ist., Vfi-m-g) Ofnudity) T a le s th a t W itn e s s M adnes s: N. P rig g e n , B rita in , 90 m ins, V C L C o m m u n ic a tio n s , Vfi-m-g) To o tsie: C o lu m b ia P ic tu re s , U .S ., 116 m ins, Fox C o lu m b ia Film D ist., Ofadult concepts) W h a t’s Up T ig e r Lily: W . A lle n , U .S ., 80 m in s, C B S -F o x Video, Vff-m-g) Ofsexual allusions) W ho is H a rry K e lle rm a n a n d W h y is H e S a y in g T h o s e T e rrib le T h in g s A b o u t M e?: H. G a rd n e r, U .S ., 108 m ins, C B S -F o x V id e o , Lfi-m-g) Ofadult concepts) T h e W ic k e d Lady: C a n n o n In te rn a tio n a l, U .S ., 98 m ins, S ym e H o m e V id e o , Sfi-m-g) Vfi-m-g) Z o rro , T h e G ay B lade: M e lvin S im o n P ro d u c tio n , U .S., 93 m ins, C B S -F o x V id e o , Ofsexual innuendo)

R Blood S u c k in g F reaks: D. C h ris tia n , U .S ., 85 m ins, B lake Film s, Vff-m-g) B lood y B irth day: G. O lso n , U .S ., 85 m ins, V id e o C la ssics, Vff-m-g) Sfi-l-g) Daw n o f th e M u m m y : F. A g ra m a , B rita in , 90 m in s, V C L C o m m u n ic a tio n s , Ofhorror) Vff-m-g) D e ath D im en sio n s: H. H o p e , U .S ., 86 m ins, F ilm w a y s A ’ asian D ist., Vff-m-g) G o in ’ All T h e W ay: F. R u b in -G . G ib b s, U .S ., 85 m ins, C B S -F o x V id e o , Sfi-m-g) Lff-m-g) H e ’s P o rn o -S h e ’s E rotic: M e th e u s, Italy, 95 m ins, S ym e H o m e V id e o , Sff-m-g) H itc h h ik e : C in e ta lia R o m e, Italy, 100 m in s, F ilm w a y s A ’asian D ist., Vfi-m-g) Sfi-m-g) I S p it On Y o u r G rave: C in e -M a g ic P ic tu re s P ro d u c tio n , U .S ., 101 m ins, B lake F ilm s, Ofsexual violence) L ad y S ta y Dead: R yn ta re P ro d u c tio n s , A u s tra lia , 90 m ins, S ym e H o m e V id e o , Vfi-m-g) Ofnudity and

drugs) I ’o n o ra ta fam ig lia : u c c id e re e c o s ta n o s tra: V a rie ty Film s, Italy, 90 m ins, Ita lvid e o , Vff-m-g) L o v e r Boy: F. M a rtin e lli, Italy, 90 m in s, S ym e H o m e V ideo, Sfi-m-g) Nazi L o v e C a m p 27: F ilm e z C o rp o ra tio n , Italy, 86 m ins, S ym e H o m e V id e o , Vff-m-g) Ofsexual violence) T h e S e c re t of Y o la n d a : C a n n o n In te rn a tio n a l, U S , , 86 m ins, S ym e H o m e V id e o , Sff-m-g) S n o w B u nnies: V a le n tin e E n te rp ris e s , U .S ., 86 m ins, S ym e H o m e V id e o , Sff-m-g) T e e n a g e P ro s titu tio n R a cket: C. M a ie tto , Italy, 86 m ins, S ym e H o m e V id e o , Sff-m-g) U n s a tis fie d (L ’ in s a tis fa ite ): C o c in o r, F ra n ce , 84 m ins, S ym e H o m e V id e o , Sff-m-g) W itc h fin d e r G en eral: M ille r a n d H e yw o o d , B rita in , 87 m ins, V C L C o m m u n ic a tio n s , Vff-m-g)

X A m e ric a n P ie. D. C h ris tia n , U .S ., 82 m in s, B la ke Film s,

Sff-h-g) E ternal Passion: F re e w a y F ilm s, U .S ., 73 m in s, S h o w T im e V id e o , Sff-h-g) For M e m b e rs Only: L im e lig h t R e le a s in g C o rp o ra tio n , U .S., 85 m ins, L u h a ze , Sff-h-g) H ard S e n s a tio n : J. D. A m a to , Italy, 87 m in s, C o n s o li­ da te d E xh ib ito rs , Sff-h-g) In Love: P la tin u m P ic tu re s , U .S ., 97 m in s, S h o w T im e V ideo, Sff-h-g)

Lip in F la m e (O pen Flam e): R o yce D is trib u to rs , U .S ., 60 m ins, V e n u s V id e o , Sff-h-g) Luau O rgy: R. W illia m s , U .S ., 60 m in s, V e n u s V id e o ,

Sff-h-g) Sea of H id d e n P leasu re s: R. A n g ro v e , U .S ., 70 m ins, S h ow T im e V id e o , Sff-h-g) V a lle y V ixens: G o u rm e t V id e o , U .S ., 60 m in s, V e n u s V ideo, Sff-h-g)

17 February 1984 G B e hin d th e S w in g: C. M a rtin -J. W in te r, U .S ., 60 m ins, C B S -F o x V id e o Ben C rop p: T re a s u re C h e s t — T h e C o ra l J u n g le : S e rie s -V o lu m e 1: B. C ro p p , A u s tra lia , 105 m in s, C B S Fox V id e o Ben C rop p: T re a s u re C h e s t — T h e C o ra l Ju n g le : S e rie s -V o lu m e 2: B. C ro p p , A u s tra lia , 105 m in s, C B S Fox V id e o Ben C rop p: T re a s u re C h e s t — T h e C o ra l Ju n g le : S e rie s -V o lu m e 3: B. C ro p p , A u s tra lia , 105 m in s, C B S Fox V id e o Ben C rop p: T re a s u re C h e s t — T h e C o ra l Ju n g le : S e rie s -V o lu m e 4: B. C ro p p , A u s tra lia , 105 m in s, C B S Fox V id e o Ben C rop p: T re a s u re C h e s t — T h is R u g g e d C oast: S e rie s — V o lu m e 5: B. C ro p p , A u s tra lia , 105 m in s, C B S -F o x V id e o Ben C rop p: T re a s u re C h e s t — T h is R u g g e d C oast: S e rie s — V o lu m e 6: B. C ro p p , A u s tra lia , 105 m in s, C B S -F o x V id e o Ben C rop p: T re a s u re C h e s t — T h is R u g g e d C o ast: S e rie s — V o lu m e 7: B. C ro p p , A u s tra lia , 105 m in s, C B S -F o x V id e o Ben C rop p: T re a s u re C h e s t — T h is R u g g e d C oast: S e rie s — V o lu m e 8: B. C ro p p , A u s tra lia , 105 m ins, C B S -F o x V id e o Ben C rop p: T re a s u re C h e s t — T h e E n c h a n te d Isles: S e rie s — V o lu m e 9: B. C ro p p , A u s tra lia , 105 m ins, C B S -F o x V id e o Ben C rop p: T re a s u re C h e s t — T h e E n c h a n te d Isles: S e rie s — V o lu m e 10: B. C ro p p , A u s tra lia , 105 m ins, C B S -F o x V id e o Ben C rop p: T re a s u re C h e s t — T h e E n c h a n te d Isles: S e rie s — V o lu m e 11: B. C ro p p , A u s tra lia , 105 m ins, C B S -F o x V id e o Billy Joe l L iv e fro m Lo n g Islan d: J. S m a ll, U .S ., 80 m ins, C B S -F o x V id e o BM X Bandits: T. B ro a d b rid g e -P . D a vis, A u s tra lia , 91 m ins, F ilm w a y s A ’a sia n D ist.

C h ris tm a s L ilie s o f th e Field : R. N e lso n , U .S., 96 m ins, S ym e H o m e V id e o T h e C leo L a in e C o lle c tio n : B. R a m se y, A u s tra lia , 90 m in s, C B S -F o x V id e o T h e G ift of Love: O s m o n d In te rn a tio n a l, U .S ., 9 6 m ins, S ym e H o m e V id e o T h e G o ld e n B reed: N o t sh o w n , U .S ., 90 m in s, 14th M a n d o lin J a c k ie G e n o v a : W o rk T h a t B ody: Isla n d P ic tu re s , U .S ., 49 m in s, C B S -F o x V id e o K id n a p p ed : O m n ib u s P ro d u c tio n s , B rita in , 107 m in s, V C L C o m m u n ic a tio n s Le M ans: J. R e d d is h , U .S ., 102 m in s, C B S -F o x V id e o R o bin son C rus oe: I.P .E . In te rn a tio n a l F ilm , Italy, 82 m ins, S ym e H o m e V id e o

Concluded on p. 195 CINEMA PAPERS July — 165

■ Studio 75' x 46' with 14' to lighting grid.

■ Large three sided paintable fixed eye. « Good access to studio for cars and trucks.

■ Design and set construction service available.

■ Dressing rooms, wardrobe, and make-up facilities.

FOR STUDIO BOOKINGS, PHONE: Alex Simpson,

(03)568 0058, (03) 568 2948

WITH A KEM K800 SYSTEM EVERYTHING IS POSSIBLE With this in cre d ib le system you c a n interlock 2 K800 tables w ith 16m m Twin p ictu re m odules a n d have 4 pictures a n d 2 sound tracks or you c a n transfer film to vid e o or lay film sound tracks to vid e o or you c a n c h a n g e all th e m odules to 35mm.

It offers so m a n y different com bination s.

FROM

FILMWEST G

SOLE AGENTS FOR KEM THROUGHOUT AUSTRALIA AND ASIA

For more details and prices on the K800 System contact: — Maureen Keast

Alan Lake

Peter Grbavac

Filmwest Equipment Sales Pty. Ltd.

Film Production Services

Photographie & General Instruments

Filmwest Pte. Ltd.

75 Bennett Street, East Perth, W .A . 6000.

Phone: [09] 325 I ¡77, 325 1423.

Telex: A A 94I50.

! 02 Chandos Street, Crows Nest, N.S.W . 2065.

Phone:[02] 439 7 102.

203 Rocky Point Road, Ramsgate, N.S.W. 22I7.

Phone: [02] 525 63 14

Suite 157, Raffles Hotel, I - 3 Beach Road, Singapore. 07 18 Phone: 337 8041, 336 1509.

Telex: RS36389 FLMWST.

Jon Noble

D T /F W /7 8 3

Prod, assistant..............................Paul Fogo DOT AND THE KOALA Based on the original idea Wardrobe mistress............Louise Wakefield 1st asst director......................... David Roach by...........................................Yoram Gross Props buyers...............Christopher Webster, Prod, company.................................... YoramGross Comic associate.......................... Ian J. Taite Assoc, producer...................... Sandra Gross Marta Statescu Film Studio Lighting assistants.............. Mark Freedman, Prod, supervisor.......................

Janette Toms Standby props......................... John Daniell Producer..............................................YoramGross John Lee, Animation director................................. AtholHenry Art department co-ordinator........Janet Hay Director................................................ YoramGross Glen Pead Studios.................. Yoram Gross Film Studio Special effects............................. Brian Cox, Scriptwriters........................................... GregFlynn, Camera assistant...........Robert MacDonald Laboratory.......................................Colorfilm Chris Murray Yoram Gross Boom operator...............Jacqueline Lawson Budget....................................... $1.25 million Set dresser............................ Barry Kennedy PRE-PRODUCTION Based on the original idea Art director........................................... StevenMarr Length........................................... '....80 mins Asst set dresser........................Nicki Roberts b y..................................................... YoramGross Asst art director.............Christine Robertson (live action and animation) Scenic artist............................... Ian Richter Photography........................Graham Sharpe Costume designer.................................. MishiWatts Carpenter................................... John Moore Gauge.................................................. 35mm Assoc, producer.................................SandraGross Make-up........................Klarenz von Deusing Synopsis: An exciting and magical journey Set construction ARMANDINE Animation director............................ GairdenCooke Hairdresser...................Klarenz von Deusing supervisor.................................Derek Mills in search of the secret of life.

This is the story Length................................................80 mins Producers................................ Peter Beilby, Wardrobe............................................... MishiWatts Set construction of a journey of battle with the spirit of earth, Gauge..................................................

35mm Timothy White Make-up assistant.................................... SueBurns manager........................... Keith McAloney fire and wind.

Synopsis: Dot and Bruce the Koala fight to Scriptwriter............................. Glen Crawford Set construction.................................. StevenMarr Asst editor............................ Denise Haratzis stop a dam destroying the bush.

Based on the original idea Still photography..................Brian Gallagher Musical director...................Garry Hardman MELVIN, SON OF ALVIN b y .........................................Glen Crawford Horse master............................................ MaxFoster Sound editors.......................... Frank Lipson, MESMERISED Prod, company................ McElroy & McElroy Exec, producer........................Robert Le Tet Catering................................................. LindaPead Craig Carter, Dist. company............................. Roadshow Assoc, producer............................Trish Foley Prod, company........................Eadenrockfor Laboratory........................... Cine Film Labs Rob Grant Producer................................................... JimMcElroy Length.............................................. 110 mins Length................................................ 90 mins Film Enterprises M ixer........................................James Currie Director...................................................

John Eastway Gauge..................................................35mm Cast: Yahoo Serious (Albert), Peewee Producer...........................Antony I. Ginnane Stunts co-ordinator......................Bill Stacey Scriptwriter............................................MorrisGleitzman Shooting stock.....................................Kodak Wilson (Mr Einstein), Su Cruickshank (Mrs Director............................ Michael Laughlin Still photography..........................Bliss Swift, S y nopsis: The story of a beautiful, young Einstein), Roxanne Wilson (Honey), Antoin­ Photography........................................... RossBerryman Scriptwriters.....................Michael Laughlin, Greg Noakes Frenchwoman embroiled in the 1920s ette Byron (French nurse), Ian J. Taite (Tas­ Editor.........................................Greg Ropert Susanna Moore Storyboard a rtist................ Scott Hartshorne Prod, designer........................ John Dowding scandal of the “ white slave trade” in Based on the story manian Devil), Robert Dickson (Walt), Ray Art dept runner.....................Daniel Morphett Australia.

Fogo (clerk), Warwick Teece (boss), Don Composer.................................... Colin Stead b y.................................Jerzy Skolomowski Horsemaster............................................. RayWinslade Assoc, producers..................... Tim Sanders, Carson, Waiter Blundel (neighbours), Photography..........................................LouisHorvath Asst horsemaster.................. Bill Willoughby Wilma Schinella BLOWING HOT AND COLD Warren Coleman, Stephen Abbott, Glen Editor......................................... Peter Zinner Carriages................................. Clem Wilson Prod, manager..........................................Tim Sanders Butcher, Russel Cheek, Angela Moore Prod, designer...................................... DavidCopping Prod, company........................Celsius Prods Armourer.................................. Rob Mousley Prod, secretary........................Sally Blaxland (asylum characters).

Budget.............................................$4 million Producer...................................Basil Appleby Wranglers.................................................RayWinslade, Prod, accountant...............Kathleen Rushton S ynopsis: The incredible, untold story of Length................................................ 90 mins Director......................Brian Trenchard Smith Bill Willoughby Australia’s most unsung hero, the Tas­ 1st asst director......................... David Clarke Gauge...........35mm Panavision Anamorphic Scriptwriters......................... Rosa Colosimo, Best b oy.............................................GraemeShelton manian genius, Albert Einstein. A comedy 2nd asst director.....................................JohnTitley Shooting stock..........................Eastmancolor Runners...................................Mason Curtis, Reg McLean •Scheduled release...........................February1985that reveals his birth to a Tasmanian apple 3rd asst director.................. Brett Popplewell Script editor........................Everett de Roche David Field farmer, the premature discovery of rock and Casting............................ Mitch Consultancy Synopsis: A Victorian melodrama — a cross Exec, producers......................Reg McLean, Publicity......................Suzie Howie Publicity roll, and the joys of the birth of relativity. It is Additional casting....................................... JoLarner between Rebecca and Wuthering Heights Catering................................Jem’s Catering Rosa Colosimo also the saga of his love affair with a beauti­ Camera operator............... Stephen Dobson — set in New Zealand in 1903.

Scheduled release......................Easter 1985 Studios..................... SAFC Hendon Studios Focus puller................................................IanJones ful but, sadly, highly intelligent woman.

Cast: Giancarlo Giannini (Nino), Arkey Mixed a t.................... SAFC Hendon Studios Clapper/loader........................................Brian Breheney NO NAMES NO PACKDRILL Whiteley (Sally).

Laboratory........................................Colorfilm Key grip.................................... Barry Hanson Prod, company...........Phillip Emanuel Prods Synopsis: The story of a friendship between Lab. liaison.................................................BillGooley Asst grip................................... Ken Conner Dist. company............................... Roadshow two men who struggle to conquer differences Budget......................................................$7.3million Gaffer................................................. LindsayFoote Producer.............................................. PhillipEmanuel of culture, temperament and values in order Length......................... 6 x 60 mins (series), Electrician...................................GarySholes PRODUCTION Director..............................................MichaelJenkins to survive the dangers of their adventures 145 mins (feature) Costume designer.............................. SandraTynan Scriptwriter.............................................. BobHerbert and achieve their goal. The action moves Gauge...................................................

35mm Make-up.................................Kirsten Vessey from the vast expanses of the Australian Based on the play b y ............................... BobHerbert Shooting stock...................................... Kodak5294, Hairdresser........................Felicity Schoeffel Photography...........................................PeterJames desert to the peaks of treacherous, snow­ Agfa 682 THE BOY WHO HAD EVERYTHING Ward, assistant.........................................GailMayes capped mountain ranges.

Co-producer........................................... RossMathews Cast: Sam Neill (Captain Starlight), Steven Props buyer.....................Keith Handscombe Prod, manager......................................... SueWild Prod, company................. Alfred Road Films Vidler (Dick), Christopher Cummins (Jim), Standby props........................Nick Hepworth Prod, secretary................................ SuzanneDonnelly Dist. company....................................... Hoyts COMING UNSTUCK Set decorator.............................................. JillEdenLiz Newman (Gracey), Deborah Coulls Casting............................................... Forcast Producers..........................................RichardMason, (Kate), Susan Lindeman (Jeannie), Tommy Set construction................ Geoff Richardson Prod, company..........Brookvale Investments Synopsis: No Names No Packdrili is based Julia Overton Lewis (Warrigal), Ed Devereaux (Ben), Jane Stunts co-ordinator................................. GlenBoswell Dist. company.........Stage Door Prods-GLFD on Bob Herbert’s stage play which is set in Director.............................................Stephen Wallace Menelaus (Aileen), Elaine Cusick (Mary), Still photography............... Geoff McGeachin Producer......................................Brian Jones Sydney in 1942 and is about a relationship Scriptwriter.......................................

Stephen Wallace Andy Anderson (George).

Runner...............................

Leigh Ammitzbol Director........................................ Brian Jones between Harry Potter, an American marine Based on the original idea Publicity.................................................. GaryDalySynopsis: Based on Rolf Boldrewood’s Photography........................................... JohnRuane who is AWOL, and Kathy, a singer in a local b y .................................................. StephenWallace famous novel about two bushranging Catering............................................CateringAbout Sound recordist.................................. RussellHurley night club, who harbors him from the police Script consultant........................ Sandra Levy Studios..........................................CambridgeFilms brothers and their legendary leader, Captain Editor...................................................RussellHurley and MPs. Photography.........................................

Geoff Burton Starlight.

Laboratory...............................................Atlab Prod, designer................................Sid Smith Sound recordist........................................TimLloyd Budget......................................................$2.3million Exec, producer............................ Brian Jones TERRA AUSTRALIS SKY PIRATES Editor.................................................... HenryDangar Length......................................................... 90mins Lighting cameraman:..............................John Ruane Prod, designer............................. Ross Major Gauge................................................... 35mm Prod, company.................................... YoramGross Prod, company....................... John Lamond Camera operator.................................... John Ruane Composer...........................

Ralph Schneider Cast: Graeme Blundell (Alvin Purple), Gerry Film Studio Motion Pictures Sound editor........................................RussellHurley Prod, manager......................................... RodAllan Sont (Melvin Simpson), Lenita Sillakis Producer.............................................. YoramGross Dist. company...............................Roadshow Mixer....................................................RussellHurley Prod, secretary..................................... CathyFlannery (Gloria Giannis), Tina Bursill (Dee Tanner), Director................................................ YoramGross Producer..............................John D. Lamond Laboratory.........................................Cinevex Prod, accountants......................................JillCoverdale, Jon Finlayson (Burnbaum), David Argue Scriptwriters........................................... GregFlynn, Director................................................... ColinEggleston Length................................................90 mins Howard Wheatley (Cameraman), Abigail (Mrs Simpson), Col Yoram Gross Scriptwriter...........................John D. Lamond Gauge................................................... 35mm 1st asst director......................................MarkTurnbull McEwan (Col Simpson).

Photography.....................................

Graham Sharpe Photography............................................Gary Wapshott Synopsis: What’s at the end of the rainbow 2nd asst director....................................... IanPage Synopsis: A young man, with a problem, Assoc, producer.................................SandraGross Sound recordist......................... Gary Wilkins is not necessarily gold, but it could be.

3rd asst director...................................... Julie Forster finds he has inherited it not from King Kong Consultant zoologist..................Dr M. Archer Editors................................ John D. Lamond, Continuity................................. Daphne Paris or Frankenstein but from Alvin Purple.

Director of model design...... Norman Yeend Colin Eggleston DOT AND KEETO Length.........................................................80minsCasting consultants.................................M&LCasting Prod, designer............. Kristian Frederickson ROBBERY UNDER ARMS Lighting cameraman.............................Geoff Burton Prod, company.....................................YoramGross Gauge.................................................. 35mm Assembly editor..................................... PippaAnderson Camera operator................................... GeoffBurton Film Studio Composer......................................Brian May Synopsis: Based on scientific findings, Prod, company......................... SAFC Prods Focus puller................................. Derry Field Producer...............................................YoramGross Sound design......................... Roger Savage, Dist. company.................. ITC Entertainment Terra Australis is set in prehistoric Clapper/loaders.......................... Gill Leahy, Director.................................................YoramGross Australia.

Producer................................................. JockBlair Bruce Lamshead Conrad Slack Directors.............................Donald Crombie, Scriptwriter............................................. John Palmer Dubbing m ixers................. Bruce Lamshead, Key grip.................................... Lester Bishop Photography......................................GrahamSharpe THE" WRONG WORLD Ken Hannam Peter Burgess Asst grip.........................................

Geoff Full Assoc, producer................................. SandraGross Underwater Scriptwriters.......................... Tony Morpheft, Prod, company...................Seon Film Prods Gaffer.........................................Ian Plummer Length................................................80 mins photography................ Ron and Val Taylor Graeme Koetsveld Producers.............................................

Bryce Menzies, Electrician........................................... PatrickO’Farrell Gauge................................................... 35mm Based on the novel b y....... Rolf Boldrewood Mixed a t ................................. Film Australia Ian Pringle Boom operator..........................................PhilKuros S y n o p s is : Dot shrinks to insect-size and Photography..............................Ernest Clark Gauge....................35mm anamorphic Dolby Director...................................................... IanPringle Costume designer..................................RossMajor battles her way through the spider kingdom.

Sound recordist.....................................

Lloyd Carrick Shooting stock..... Eastmancolor 5247, 5257 Scriptwriters................................ Ian Pringle, Make-up........................................... MargaretLingham Editors.................. Andrew Prowse (feature), Cast: John Hargreaves, Meredith Phillips, Doug Ling Wardrobe..............................................JennyMiles Cliff Hayes (series) Max Phipps, Simon Chilvers, Bill Hunter.

Photography.................................. Ray Argali Ward, assistant........................................MegHunt Prod, designer........................George Liddle Synopsis: Mystical adventure set in the Editor....................................................... RayArgali Props buyer............................................ PetaLawson 1940s.

Exec, producer.......................................

Jock Blair Composer................................Eric Gradman Standby props.......................................... IgorLazareff Assoc, producers......... Pamela H. Vanneck, Exec, producer........................Basia Pushka Asst editor...........................................PamelaBarnetta Bruce Moir Assoc, producer.,................................... JohnCruthers Sound editor.......................................... DeanGawen Prod, co-ordinator..............................BarbaraRing Prod, manager................................... AndrewWiseman Editing assistant............................... AmandaSheldon Location manager...................

Ron Stigwood Unit manager...........................Daniel Scharf Mixer................................. Julian Ellingworth Prod, accountant.................................... JohnBurke POST-PRODUCTION Prod, accountant..................... Caroline Fyfe Asst m ixer..........................................MichaelThomas Accountant trainee.............................BrendaSharrad 1st asst director.......................................LucyMcLaren Still photography................................ CarolynJohns 1st asst directors....................................PhilipHearnshaw, 2nd asst director................ Christina Pozzan Dialogue coach..................................... ClaireCrowther Brian Giddens Continuity........................... Fiona Cochrane Trainer.................................................... JackPros2nd asst director.......... Christopher Williams THE COCA-COLA KID Focus puller...........................Jenny Meaney Runner....................................................KateIngham 3rd asst director.................................LindsaySmith Clapper/loader....................... Mandy Walker Prod, company............. Grand Bay Films Inc. Consultant publicist................................. ReaFrancis 2nd unit director.................................... DavidEggby Gaffer......................................................GregHarris Producer........................................David Roe Catering................................................. JohnFaithfull Continuity.................................................AnnWalton Art director....................................... ChristineJohnson Director.............................. Dusan Makavejev Mixed a t................................................. Atlab Producer’s secretary..............................ChrisHoward Asst art director......................................ChrisKennedy Scriptwriter............................................

FrankMoorhouse Laboratory.............................................. Atlab To ensure the accuracy of your Casting......................................Audine Leith Best boy.............................. John Cummings Based on the short stories Lab. liaison............................................ PeterWillard entry, please contact the editor of Lighting cameraman................

Ernest Clark Runner.................................................OdetteSnellen b y .......................................................

FrankMoorhouse Length.........................................................93mins this column and ask for copies of Camera operator..................David Foreman Length............................................. 100 mins Photography........................................... DeanSemler our Production Survey blank, on Gauge.................................................. 35mm Focus puller.......................................... MartinTurner Gauge............................................. Super 16 Sound recordist............................

Mark Lewis which the details of your produc­ Shooting stock....................................... 3247,3294 Clapper/loader.......................................DavidWolfe-Barry Shooting stock.................................Fuji 8521 Editor....................................................... JohnScott tion can be entered. All details Cast: Jason Connery (John Aspinall), Diane Key grip.....................................................RobMorgan Cast: Richard Moir (Trueman).

Prod, designer.....................Graham Walker must be ty p e d In u p p er an d low er Cilento (Mrs Aspinall).

Asst grip.....................................................JonGoldney Synopsis: A contemporary drama.

Composer................................................... BillMotzing case.

S ynopsis: The story of a young man at 2nd unit photography............................ DavidEggby, Additional composition............................ TimFinn E d ito r’s note: All entries are university in 1965. He is a sporting cham­ YOUNG EINSTEIN David Graham, Exec, producer...................................CinemaEnterprises supplied by producers/producpion, academically brilliant and from a John Foster Prod, company................................... SeriousProds Co-producer.........................Sylvie Le Clezio tion companies, or by their agents. wealthy family and is searching for a Gaffer................................................... TrevorToune Producers.............................................YahooSerious, Laboratory............................................ Atlab Cinema Papers cannot, therefore, meaning for his life.

Generator operator.............. Werner Gerlach David Roach accept re s p o n s ib ility for the Lab. liaison............................................. PeterWillard EPIC Boom operators................. Chris Goldsmith, Director................................................. YahooSerious correctness of any entry.

Gauge.................................................. 35mm Eric Briggs Scriptwriters..........................................YahooSerious, Prod, company........................ Yoram Gross Scheduled release..................................Early1985 Asst art director........................ Vicki Niehus David Roach Film Studio Cast: Eric Roberts (Becker), Greta Scacchi Costume designer.....................Anna Senior Photography.............................................JeffDarling Producer..................................Yoram Gross (Terri), Bill Kerr (MacDowell), Max Gillies Make-up................................Karla O’Keefe Sound recordist................................ GeoffreyGristDirector.................................... Yoram Gross (Frank), Kris McQuade (Juliana), Tim Finn Hairdresser...........................Christine Ehlert Composer.............................................RobertDickson Scriptwriters.............................John Palmer, (Phillip), Chris Haywood (Kim), Paul Chubb Location manager..................................BryanYoung Yoram Gross Costume supervisor.............Graham Purcell (Fred), Tony Barry (the Bushman), Colleen

FEATURES

PRODUCERS AND PRODUCTION COMPANIES

CINEMA PAPERS July — 167

Production Survey

Eva Wajs, Photography...............Mick Von Bornemann 2nd asst director..............................JonathanBarraud Producers’ assistant...................................JoStewart Li Yang Sound recordist................ Rodney Simmons 3rd asst director......................... Geoffrey Hill Camera operator............ Gaetano Martinetti Backgrounds..............................

Amber Ellis, Editor.................................................

Lindsay Fraser Continuity.................................Daphne Paris Clapper/loader.....................Brendan Lavelle Gennady Kozlov Camera assistant........................ ChristopherCainProducer’s assistant.....................Ann Lyons Prod, designer.....................................RobbiePerkins Models.....................................

Leaf Nowland Composer................................ Simon Walker Casting........................Onorato-Frank (U.S.), THE COOLANGATTA GOLD Key g rip................................Paul Ammitzboll Graphics......................................... Eric David M&L (Aust.) Exec, producer.........................................DonHarley Asst grip..................................Peter Kershaw Prod, company............................... Anaoloro Special effects painting....................... AmberEllis, Assoc, producer........................................IanAdkins Camera operator................................ MichaelRoberts Boom operator.................... Louise Hubbard Producer..................................... John weiley Jeanette Toms, Prod, supervisor.................................Colleen Clarke Focus puller...................

David Wynn-Jones Art director............................................

Asher Bilu Director......................................... Igor Auzlns Gennady Kozlov Prod, co-ordinator.......................................JoStewart Asst art director.........................................LiritBilu Clapper/loader.............. Vaughan Matthews Scriptwriter................................ Peter Shreck Publicity.............................Helena Wakefield Prod, manager...................................ColleenClarke Key grip..........................

Grahame Litchfield Wardrobe..................................................

Lirit Bilu Based on the original idea (International Media Marketing) Prod, secretary........................................... JoStewart Props......................................................... LiritBilu Grip............................ Rourke Crawford-Flett b y .......................................... Peter Shreck Laboratory........................................Colorfilm Prod, accountants..................................JoanWright, Gaffer....................................................... DonJowsey Asst edito r................................Peter McBain Photography.......................................... KeithWagstaff Lab. liaison................................................

BillGooley Geoff Appleby Electricians....................................... BrendonMune, Sound editor.......................................... CraigCarter Sound recordist.............................. Phil Judd Length................................................ 80 mins Timothy Rose 1st asst director.......................... Gerald Letts Mixer....................................................JamesCurrie Editor........................................................ TimWelburn Gauge.................................................35mm 2nd asst director..............................Judy Fox Genny operator....................................... TomWilton Still photography................... Maria Stratford Prod, designer...................................Bob Hill Continuity..............................................LindaRay Cast: Ron Haddrick (O’Connel).

Boom operator...................................AndrewDuncan Runner................................... Virginia Rouse Assoc, producer................. Brian D. Burgess Character voices: Barbara Frawley, Ron Script editor............................................BettyArcher Art director................................Ron Highfield C atering.............................

Beeb Fleetwood, Prod, co-ordinator........... Rosslyn Abernathy Haddrick, John Meillon, Robyn Moore, Casting......................................................JoeScully Catering About Costume designer.................................BruceFinlayson Unit manager......................................... KeithHeygate Michael Pate.

Casting consultants.............................. MitchMatthews Make-up................................................Robyn Austin, Mixed a t...............................Hendon Studios Prod, accountant......................................LeaCollins Synopsis: An exciting adventure based on Anne Pospischil Lighting Laboratory......................................... Cinevex 1st asst director......................................ColinFletcher the actual journeys of the explorers at the cameraman............ Mick Von Bornemann Hairdressers.......................Shayne Radford, Budget........................................

Responsible Producer’s assistant.........Rosemary Probyn beginning of this century.

Patricia Cohen Camera operator...................................BruceHillyard Length....................................................... 100mins Casting............................................. Forcast, Wardrobe................................................ Julia Mansford Focus puller..............................................PhilCross Gauge...................................................35mm Michael Lynch RUN CHRISSIE RUN Clapper/loader..................... Ann Darrouget Shooting stock...........................................Fuji8512Standby wardrobe....................Michael Kane Key g rip ................................................. PeterMardell Key g rip................................ Peter Kewshaw Ward, assistants................................... KirstyCameron, Cast: John Hargreaves (John), Wendy Prod, company.................................... SAFC Gaffer...................................................... MickMorris Elizabeth Jowsey Gaffer....................................................BruceGailey Hughes (Helen), Lucy Charlotte Angwin Producer.............................. Harley Manners Art director............................................ OwenPaterson Electrician...............................................NoelCarius Props buyer.............................................PaulDulieu (Lucy), David Cameron (Tom), Charles Director................................ Chris Langman Costume designer...........................Lea Haig Boom operator...................................... GrantStuart Standby props...................................Al Ford, "Bud” Tingwell (Helen’s father), Betty Lucas Scriptwriter...........................Graham Hartley Construction manager............................. RayPattison Janelle Aston Art director............................................. MikeHudson (Helen’s mother), Robin Lovejoy (John’s Based on the novel Length..............................................120 mins Make-up............................................. PatriciaPayneWhen We Ran b y ................ Keith Leopold Special effects...................... Kevin Chisnall, father), Lucy Uralov (John’s mother), Ron G auge............................. 35mm anamorphic Selwyn Anderson, Wardrobe.......................................... LucindaMcGuigan Falk (Psychiatrist), Jon Finlayson (Con­ Photography.................................Ernie Clark Shooting Ralph Gardiner Ward, assistant................................. MichaelChisholm ductor), Julia Blake (Kirstin), Renee Geyer Sound recordist......................................LloydCarrick stock...... Kodak Eastmancolor 5247, 5293 Choreography.................... Catherine Cardiff Standby props......................................... RobSteelEditor................................................. AndrewProwse (Barmaid).

Cast: Joss McWilliam (Steve Lucas), Nick Set decorator....................... Andrew Mitchell Synopsis: “ . . . we must love one another or Set finisher...............................................PaulRadford Prod, designer................ Alistair Livingstone Tate (Joe Lucas), Colin Friels (Adam Lucas), Asst set decorator................................ MartinPerkins Asst set finisher..................................RichardAdams die . .

Exec, producer............................. Jock Blair Josephine Smulders (Kerry Dean), Robyn Set construction.... Studio Set Constructions Carpenters.............................................FrankBurney, Assoc, producer......................Ron Saunders Nevin (Robyn Lucas).

Peter Burney, Asst editor..................... Annabelle Sheehan RESTLESS Prod, co-ordinator................MargoTamblyn Synopsis: A young athlete’s conflict with his Gordon Scouler Neg. matching.......................Carol Parsons Prod, manager...............................Jan Tyrrell Prod, company............................Wyndcross ambitious father.

Musical director...................................JamesMcCarthy Standby carpenter................... Henry Wilcox Prod, accountant............. ••........ Frank Evans Dist. company....................Endeavour Prods Sound editor.............................................

Tim Jordan Set construction......................

Trevor Major THE GREAT GOLD SWINDLE 1 st asst director......................

Robert Kewley Producers............................... John Barnett, Editing assistants.................. Adrianne Parr, Asst editor..............................................DavidCoulson 2nd asst director..................................... JohnRooke Brian W. Cook Prod, company...............Indian Pacific Films Fiona Strain Unit drivers........................... Robin Hosking, 3rd asst director.................................LindsaySmith Director................................ Denis Lewiston Producer............................................BarbaraGibbs Randi Neill, Mixer.......................................................JohnHerron Continuity.................................................AnnWalton Scriptwriter...........................Denis Lewiston Director........................................John Power Roger Preston, Location sound transfer....... Eugene Wilson Casting.....................................Audine Leith Based on the story b y ...............Gerry O’Hara Scriptwriter............................................DavidWhite Thomas Lowe Still photography.................................... SuzyWoods Camera operator................. David Foreman Photography..................................

Alec Mills Based on an original idea Opticals.................

Victorian Film Laboratory Fibre-glasser...............

Adrian Landon-Lane Focus puller.......................................... MartinTurner Sound recordist......................... Gary Wilkins by....................................................... DavidWhite Prop makers........................... Alistair Madill, Title designer............... Optical and Graphics Clapper/loader.................David Woife-Barry Editor......................................Michael Horton Photography..................... David Sanderson John Miles, Tech, adviser................. Rosemary Crossley Key grip...................................Lester Bishop Prod, designer....................Josephine Ford Sound recordist...................................... MarkLewis Maurice Quin Runners.................................... Evelyn Vinyl, Asst g rip ...................................Geoffrey Full Prod, manager................... Howard Grigsby Editor.........................................Sara Bennett Steven Bennett, Mixer........................................................

Don Connolly Gaffer...................................................Trevor Toune Unit manager............................ Dan Hennah Art director.........................................BernardHides Phillip Healy Stunts.............................................. Tim Lee, Electrician.............................. Keith Johnson Prod, secretary....................... Jennifer Barty Exec, producer.................. Michael Thornhill Grant Price, Publicity............................................. BabetteSmith, Boom operator.................... Chris Goldsmith Prod, accountant................ Keith MacKenzie Assoc, producer.................................... DavidWhite Karl Bradley, Wendy Day Art director..........................................HerbertPinter Asst accountant......................Tony Whyman Prod, co-ordinator............................. PamelaBorain Michael Baxter-Lax Catering....................................Kris Frohlick Asst art director........................Stewart Way Prod, assistant.....................Penny Garland Location manager.................................. TonyBarrett Mixed a t ...................................Film Australia Still photography........................Ken George Make-up....................................Helen Evans 1st asst director....................Terry Needham Prod, secretary................................... MaggieHegarty Laboratory............................................... VFL Post-production Hairdresser..............................Sash Lamey 2nd asst director.............. Jonathan Barraud Prod, accountant....... Moneypenny Services supervisor................ Sylvia Walker Wilson Lab. liaison..............................................JohnHarley Wardrobe...........................

Louise Wakefield 3rd asst director................................Geoffrey Hill 1st asst director...................................... MarkTurnball Budget.................................................$1.047million Best boy........................................... Ian Philp Props buyers......................................... BarryHall, Continuity...................................... Linda Ray 2nd asst director.................. Sue Pemberton Unit nurse.................................Toni Okkerse Length................................................

93 mins Ken James Producer’s assistant........................ Rose Lai Continuity............................ Chris O’Connell Catering............................ Location Catering Gauge..................................................35mm Standby props..........................Igor Lazareff Casting..............................Al Onorato (U.S.), Casting...................................................M & L and Services (NZ) Shooting stock......................... Eastmancolor Special effects.........................

Brian Pearce M&L Casting (Aust.)

Focus p uller........................................... JohnBrock Studios.........Northern Television, Auckland Cast: Angela Punch McGregor (Jessica), Set construction.................................... DerekMills Focus pullers....................... Barry Helleren, Clapper/loader......................... Geoff McKell Mixed a t.................................................SAFC Drew Forsythe (David), Wallas Eaton (Dr Asst editor...........................

Denise Haratzis Ian Turtill Key g rip ............................... Karel Akkerman Laboratory........................................Colorfilm Rowell), Simon Chilvers (Warren Metcalfe), Sound editor..........................................FrankLipson Clapper/loader............... Vaughan Matthews G affer.......................................Craig Bryant Monica Maughan (Vera Peters), Mark Butler Lab. liaison.................................Bill Gooley Editing assistant.......................... Rex Watts Key grip.................................Geoff Jamieson Boom operator.......................Jack Friedman Budget........................................ $5.5 million (Dr Munroe), Liddy Clark (Sally), Phillippa Stunts co-ordinator............................. DennisHunt Asst g rip .....................Rourke Crawford-Flett Make-up.......................................Jan Stokes Baker (Sister Waterman), Alistair Duncan Length................................................95 mins Still photography.................... Corrie Ancone Gaffer..................................................WarrenMearns Hairdresser................................. Jan Stokes Gauge.......... 35mm Panavision Anamorphic (Hopgood), Charles Tingwell (the judge).

Mechanic.................................................. EricBatty Electrician............................................... BrettMills Wardrobe.......................... Lesley McLennan Shooting stock..........................Eastmancolor Synopsis: In 1979 18-year-old Anne Mc­ Best boy.................................Keith Johnson Genny operator..........................................IanBeale Ward, assistant.......................................StevRiches Scheduled release............. June 1984 (U.S.), Donald emerged Into a new life of hope and Runner................................................. MasonCurtis Boom operator.......................Mark Wasiutak Props buyer.......................Philip Monaghan December 1984 (Australia) dignity through the efforts of Rosemary Publicity................................................

SuzieHowie Art director...........................Kirsten Shouler Standby props................... Michael Tolerton Cast: Diane Franklin, Roger Wilson, Sir Crossley. Rosemary’s love, help and deter­ Unit publicist.......................................... SuzieHowie Costume designer.............. ...... Patrick Steel Special effects............................. Brian Cox, Robert Helpmann, John Gadsby, Johnmination secured Anne's release from the Catering.....

Frank Manley (South Australia), Make-up..............................Anne Pospischil Michael Simpson Institution in which she had been confined Michael Howson.

John Welch (Sydney) Hairdresser........................................ FranciaSmeets Carpenter.................................... Alex Dixon Synopsis: For a bet, God and the Devil since the age of three. Together they wrote Laboratory....................................... Colorfilm Wardrobe................................................ Julia Mansford Asst editor................................... Emma Hay plunge a contemporary couple back into the about their experience and today their award Lab. liaison...................................Bill Gooley Standby wardrobe..................................

Hera Cook Still photography......................................SkipWatkins Garden of Eden, Ancient Rome, World War 1 winning book has been brought to the Budget................................................... $165 million Ward, assistants..............Glen Christensen, Story consultant................ Shirley Windham screen. Annie’s Coming Out is a story of and the Roaring Twenties.

Length.......................................................

100mins Sally Hennah Best boy........................ Guy Bessell-Brown the triumph of the human spirit against all Gauge.................................................. 35mm Props buyers...............................Paul Dulieu, Runner..................................... Kelvin Sexton odds, a woman’s love and the hope of a Shooting stock......................................Kodak Warren Hoy Catering................................... Big Belly Bus child, and the battle of the individual against Cast: Carmen Duncan (Eve), Michael Standby props.....................Trevor Haysom, Laboratory........................................Colorfilm bureaucracy.

Aitkens (Riley), Shane Briant (Terrier), Amanda Lane AWAITING RELEASE Lab. liaison..................................Bill Gooley Redmond Symons (Pitt), Nicholas Eadie Scenic a rtist............................. Paul Radford Budget............................................. $750,000 THE CAMEL BOY (Toe), Annie Jones (Chrissie).

Standby carpenter....................Henry Wilcox Length................................................96 mins Synopsis: Eve and Riley were lovers. Now, Prod, company.......Yoram Gross FilmStudio Set construction....................... Trevor Major Gauge...................................................16mm 17 years later, Riley wants to pick up the Dist. company..........Cori Films International Carpenters..........................Gordon Scouler, Scheduled release...........................Mid-1984 ABRA CADABRA threads. But there was more to their past Frank Burney, Producer.................................. Yoram Gross Cast: John Hargreaves, Tony Rickards, than is first evident • Peter Burney Director....................................

Yoram Gross Prod, company ................... Adams Packer Robert Hughes, Chris Haywood, Brian Asst editor.................................. Rex Potier Film Prods Scriptwriter..............................John Palmer Marshall, Barbara Llewellyn, Barrie Barkla.

SILVER CITY Based on the original idea Unit drivers...........................Robin Hosking, P ro du ce r.................................Phillip Adams Synopsis: Dramatized account of the b y ..........................................Yoram Gross Roger Preston Director ............................... Alexander Stitt swindling of the Perth Mint of more than $1 Prod, company................................LimelightProds Photography.......................Graham Sharpe, Camp commandant................................Tony Forster S criptw riter......................... Alexander Stitt million in gold, in 1982.

Dist. company........................................Hoyts Jenny Ochse Flight co-ordinator.................... Robert Burce Based on the original Producer.................................................JoanLong Still photography.........................Ken George FANTASY MAN idea by ............................Alexander Stitt Editors................................................PhilippeVignes, Director............................Sophia T urkiewicz Christopher Plowright Best boy.......................................Don Jowsey Sound recordist .............Brian Lawrence, Scriptwriters................... Sophia Turkiewicz, Producers................................................BasilAppleby, Lighting dept runner............................... BrettJarmen AAV Australia Composer................................................ BobYoung Thomas Keneally Darrell Lass Director of animation.............. Ray Nowland Publicity...................................... Tony Noble, C om poser................................... Peter Best Based on the original idea Director..................................John Meagher Prod, co-ordinator.................................... MegRowedb y .................................Sophia Turkiewicz Consultus (NZ) Exec, producer ..................Phillip Adams Scriptwriter.............................John Meagher Prod, managers....................Narelle Hopley, Catering................................ David Williams, Assoc, producer ................Andrew Knight Photography............................................JohnSeale Photography..........................Andrew Lesnie Jeanette Toms Location Catering Prod, secretary ......................... Janet Arup Sound recordist...................................... MarkLewis Sound recordist.......................Ross Lindon Administration.......................................CathyWilson, Unit nurse................................Toni Okkerse Animation director ................Frank Hellard Editor....................................................... DonSaunders Editor...................................................... RoddHibberd Patricia O’Neill Laboratory................................Colorfilm (NZ) Key a n im a to rs........................

Anne Jolliffe, Composer...........................................William Motzing Prod, designer......................................DarrellLassLab. liaison.............................................. RickShields, Gus McLaren, Prod, accountants.............. Libay de la Cruz, Prod, manager..................................... SusanWild Composer................................ Adrian Payne Peat Marwick Mitchell Grant Miller Steve Robinson, Location unit manager..........................

Chris Jones Prod, supervisor....................................... SueWildLength................................................ 90 mins Ralph Peverill Asst editor......................................... BarbaraOzerski Asst unit manager.............................MatthewBinge 1st asst director................ Michael Bourchier Animation.......................................... GairdenCooke, Gauge...................................................35mm Painting supervisor ...........

Marilyn Davies Prod, secretary...............

Suzanne Donnelly Continuity..............................................JennyQuigley Ariel Ferrari, Shooting stock..........................Eastmancolor Director special fx Prod, accountants.................................. AlanMarco, Gaffer.................................................... AlleynMearns Murray Griffen, Cast: Simone Griffeth (Christine Weber), photography.................. Mike Browning Deborah Eastwood Art director........................................... LouallaHatfield Nicholas Harding, Steve Marachuk (Greg Sandford), Bryan Art d ire c to r...........................Alexander Stitt (Moneypenny Services) Mixed a t........................................ PhilTipene Lianne Hughes, Marshall (Clive Weber), Elizabeth Haw­ Musical director .........................

Peter Best 1st asst director.................................

MichaelFalloon Laboratory...............................................Atlab Charles McRae, thorne (Suzanne Maxwell), Ray Henwood Tech, a dvise rs..................Mike Browning, 2nd asst director.................................... PhilipRich Length..........................................................60mins(Douglas Maxwell), Peter McCauley (Detec­ Robert Malherbe, Volk Mol 3rd asst director.................................MichaelFaranda Gauge................................................... 16mm Don McKinnon, tive-Inspector Nolan).

Studios............................................... Al et al 2nd unit director..................................... JudyReimer Shooting s to ck............Kodak Eastmancolor Ray Nowland, Laboratory ............................ Victorian Film Continuity..........................................ThereseO’Leary Scheduled release.................................... Mid1984 Andrew Szemenyei, SECOND TIME LUCKY Laboratories Producer’s assistant........................ AndrenaFinlay Cast: Harold Hopkins (Nick Bailey), Jeanie EvaSzabo, Length ..............................................90 mins Producer's secretary.........................GeorgiaMarlin Prod, company.............................. Eadenrock Drynan (Liz Bailey), Kate Fitzpatrick (Betty), Szabalos Szabo Gauge ..........................35mm Panavision, Producers.......................

Antony I. Ginnane, Casting.................................................

AlisonBarrett Kerry Mack (Donna).

Triangle 3D Additional animation...................Paul Baker, Brian W. Cook Extras casting.............................................JoHardie Synopsis: Human comedy about a man who Zbigniew Bilyk, Shooting s to c k .......................Eastmancolor □¡rector..............................Michael Anderson Camera operator.............

Danny Batterham has a fantasy love affair with a waitress as he Lucinda Clutterbuck, Voices: Jacki Weaver, John Farnham, Scriptwriters...........................Ross Dimsey, Focus puller........................................... DerryField is approaching 40 and a mid-life crisis.

Max Gunner, Hayes Gordon. Gary Files, Jim Smilie.

Howard Grigsby Clapper/loader..................................... RobynPeterson Eva Helischer, Hamish Hughes.

Based on the story b y ................. Alan Byrns.

Camera attachment...............................ChrisCole MY FIRST WIFE Koichi Kashiwa, Synopsis: Will Abra Cadabra thwart the David Sigmund Key grip...................................................RossErikson Wayne Kelly, Prod, company.................... .............. uotine plans of rotten B. L. Z’Bubb and nasty Klaw, Photography........................................... JohnMcLean Asst grip...............................................RobertVerkerk Boris Kozlov, Dist. company..................Village Roadshow the Rat King, to control all of the known and Editor.......................................Tony Paterson 2nd unit photography............................ LouisIrving Domingo Rivera, Producers.........................Jane Ballantyne, unknown universe?

Prod, designer........................David Copping Gaffer................................................. WarrenMearns Paul Cox Vicky Robinson, Composers...........................................LaurieStone, Electrician................................................AlanDunstan Liu Ruo, Director............................................ ^ au| C °x ANNIE’S COMING OUT Garry McDonald Boom operator........................................JackFriedman Phillip Scarrold, Scenario b y ....................................i a' i l ? ox Assoc, producer............................ Jon Turtle Art director....................................... Igor Nay Prod, company........................Film Australia Jan de Silva, Adapted for the screen by..............Paul Cox. Prod, supervisor....................

Brian W. Cook Asst art director........................................ KimDarby Dist. company.......................................

Hoyts Bob Ellis Bela Szeman, Unit manager..................................... MichaelFuller Costume designer.................................... JanHurley Producer..................................... Don Murray Min Xu, Photography.................................. Yur' Sokol Location manager.....................................DanHennah Make-up..................................................

JudyLovell Director.......................................Gil Brealey Gennady Kozlov Sound recordist.....................Ken Hammond Prod, secretary.......................Jennifer Barty Hairdresser............................................Ziggy Scriptwriters........................Chris Borthwick, w im r ................................. Tim Lewis Painting/tracing................ Belinda Bateman, Prod, accountant..............Keith Mackenzie Wardrobe...............................................Anna Wade John Patterson Maria Haren, Assoc, producer..........Tony Llewellyn-Jones Asst accountant.................................... BruceRankine Ward, assistant...................................... MaryKeep Based on the novel Mimi Intal, Prod, accountant..................Santhana Naidu Prod, assistant...............Deborah Lancaster Standby wardrobe................................. FionaNicolls by................................Rosemary Crossley Corallee Munro, Assistant to director.....................Erwin Rado 1st asst director.................................. HowardGrigsby and Anne McDonald Wendy Munro, Continuity ............... Joanne McLennan

Clifford (Mrs Haversham), Rebecca Smart (DMZ), Esben Storm (country hotel manager).

168 — July CINEMA PAPERS

Production Survey

Props buyers........................... Marlin O’Neill, Composer...........................................various Birch), Nik Forster (Harry Bell), Rob Steele (Trish), Jason Van de Velde (Simon), Tracey Catering................................... John Faithful Exec, producer............................ Paul Dainty Peta Lawson (C ha rlie N elson), A n th o ny H awkins Sydney liaison................................. Jo Hardie Harvey (Lois), Mitchell Faircloth (Dr Allen).

Prod, manager...........................Helen Watts Standby prop s................. Karan Monkhouse Synopsis: After 1990, when Melbourne was Broken Hill liaison...................Derek Wyness (Sergeant), Marion Edward (Meg), Reg Set dressers............................ Martin O’Neill, Unit manager................. Michael McGennan divided by bitter class war and a wall, people Evans (Ernie).

Laboratory........................................ Colorfilm Peta Lawson Prod, secretary................... Elizabeth Symes Lab. liaison..................... Richard Piorkowski, stopped reading Dostoievski and other Synopsis: In 1936, the miners in the small Scenic artist........................................... PeterHarris Prod, accountant................................... CraigScottSouth Gippsland town of Korumburra Megan Williams boring novelists altogether. Instead they had Set construction....................... Danie Daems (Moneypenny Services) barricaded themselves in the main shaft of great fun re-staging Oliver on mullock Cutting rooms...........................................FPS Asst editor....................................... CatherineSheehan 1st asst director................. Stuart Freeman the Sunbeam colliery, demanding better pay heaps throughout the inner city.

Budget......................................... $3.5 million Musical director....................William Motzing 2nd asst director......................... Paul Healey and conditions. Their story is that of the Gauge................................................... 35mm 3rd asst director............... Murray Robertson Sound editor............................... Les Fiddess Australian Labor Movement of the 1930s.

Cast: Gregory Harrison (Carl Winters), Arkie RAZORBACK Continuity................................ Helen Gaynor Still photography....................................... JimTownley Whiteley (Sarah Cameron), Bill Kerr (Jake Title designer........................................... FranBurke Producer’s secretary........................BeverleyFrostWHERE THE GREEN ANTS DREAM Prod, company............McElroy and McElroy Cullen), Chris Haywood (Benny Baker), Producer......................................Hal McElroy Extras casting................... Monica Pellizzari Language coach................................... ClaireCrowther David Argue (Dicko Baker), Judy Morris Prod, company................... Werner Herzog Director................................ Russell Mulcahy Best b o y ...................................Alleyn Mearns Camera operator...............David Williamson (Beth Winters), John Ewart (Barman), John Fiimproduktion Scriptwriter..........................Everett de Roche Runners................................................. HenkPrins, Focus puller............................Robert Murray Howard (Cameraman).

Dist. company...................... Newvision Film Based on the novel b y............ Peter Brennan Clapper/loader.......................Rex Nicholson Gary Freeman, Synopsis: After the disappearance of an Distributors (Australasia) Photography..............................Dean Semler Colin Tregenza, Key g rip...................................................GregWallace American woman campaigning against the Director................................. Werner Herzog Sound supervisor......................................TimLloydslaughter of kangaroos, her husband Asst g rip.................................................BarryBrown Stephan Elliott Scriptwriter............................ Werner Herzog Editor.......................................................... BillAnderson G affer.......................................................RobYoung Publicity.............................................. BabetteSmith attempts to avenge her death.

Additional dialogue.......................... Bob Ellis Prod, designer.......................................BryceWalmsley Boom operator...................... Mark Waziutak Unit publicist.........................................PennyHammer Composer...................................... Iva Davies Art director...........................................RobertDeanBased on the original idea Catering.....................Sue and John Faithfull THE WILD DUCK b y.......................................Werner Herzog Assoc, producer.......................................

Tim Sanders Costume designer...............Norma Moriceau Mixed a t..................................................Atlab Photography............. Jorg Schmidt-Reitwein Assoc, editor....................... Jeanine Chialvo Prod, company....................................... Tinzu Make-up............................... Deryck de Niese Laboratory...............................................Atlab Sound recordist.......................

Klaus Langer Prod, co-ordinator............Fiona McConaghy Dist. company................................Roadshow Hairdresser...................................... AmandaRowbottom Lab. liaison.............................................PeterWillard Editor.................. Beatte Mainka-Jellinghaus Transport manager.................. Ralph Clarke Producer...............................Phillip Emanuel Wardrobe........................................AphroditeDowding Gauge...................................................35mm Exec, producer.........................Lucki Stipetic Location unit manager..............Gerard Elder Director....................................Henri Safran Standby wardrobe................................FrankiHogan Shooting stock..........................Eastmancolor Prod, co-ordinator...... Tony Llewellyn-Jones Asst unit manager...............Terry Shepherd Based on the play Props buyer...........................Sally Campbell Cast: Gosia Dobrowolska (Nina), Ivar Kants Financial controller............. Santhana Naidu Prod, secretary.................................... LeoneThomas by........................................... Henrik Ibsen Standby props....................................... HarryZettel (Julian), Anna Jemison (Anna), Steve Bisley Prod, assistant......................

Maria Stratford Bus. affairs manager..................

Mike Wilcox Photography..............................Peter James Set decorator........................ Sally Campbell (Viktor), Debra Lawrance (Helena), Ewa Brox Continuity................... Christine Ebenberger Fin. controller............................................RobFisher Sound recordist....................Syd Butterworth Construction manager.......... Ken Hazelwood (Mrs Bronowska), Joel Cohen (young Camera operator...................'..................

JSR Prod, accountant................

Elaine Crowther Editor........................................................

DonSaunders Asst editor............................. Annette Ringer Daniel), Tim McKenzie (Roy McKenzie), Focus puller.................... Rainer Klausmann 1st asst director.................. Stuart Freeman Prod, designer...................................... DarrellLass Neg. matching................................. Colorfilm Halina Abramowicz (Ella).

Clapper...............................................

Werner Herzog 2nd asst director.....................................Chris Short Composer...............................

Simon Walker No. of shots.............................................. 530 Synopsis: Love story set against the epic Loader................................................MichaelEdols 3rd asst director........................Janet Mclver Exec, producer..................................... PhillipEmanuel Musical co-ordinator................................ RedSymons background of post-war migration to Camera assistant.............Rainer Klausmann 2nd unit director................. Arch Nicholson Co-producer........., .................. Basil Appleby Music research..................................AnthonyO’Grady Australia.

Key g rip ...................................................... VitMartinek 2nd unit cameraman................................ BillyGrimond Prod, manager............................ Susan Wild Music performed b y ............................variousartists 2nd unit photography......................... MichaelEdols 2nd unit focus pulle r.............................. JohnBrock Unit manager........Rosanne Andrews-Baxter Sound editors.....................Bruce Lamshed, THE SUM DUSTY MOVIE Electrician................................ Manfred Klein 2nd unit clapper/loader...........................MarkSullivan Prod, secretary.............. Suzanne Donnolley Terry Rodman Prod, company........... The Slim Dusty Movie Boom operator....................................... PeterRappel 2nd unit electrician.................................... IanPlummer Prod, accountants.... Moneypenny Services, Still photography................................... DavidSimmonds Producer................................................. KentChadwick Art director............................Uii Bergfelder 2nd unit co-ordinator/ Valerie Williams Opticals............................................ Colorfilm Director.................................................... RobStewart Asst art director....................................Trevor Orford asst director............................................ IanPage1st asst director......................................DavidMunro Tech, advisers..........Bob Bicherton (drums), Photography......................................... DavidEggby, Wardrobe............................................ FrankieHogan 2nd unit continuity.....................Gaye Arnold 2nd asst director.......................................KimAnning Les Fagin (orchestra) Dan Burstall (Melbourne sequences) 2nd unit art department......... Nick McCallum 3rd asst director................................... StevenOtton Best b o y................................................. ColinWilliams Location sound supervisor.......... Paul Clarke Special effects....................................... BrianPearce 2nd unit Continuity.................................................SianHughes 3rd electrician.............................. Laurie Fish Editor........................................................KenSallows Music performed in part sound recordist.............Phillip Hollingdale Producer s assistant....................Debra Cole Unit publicist.......................................

Roland Rocciocelli Composer..................................... Slim Dusty b y ................................................. WandjukMarika 2nd unit runner....................George Tsoutas Casting consultants............................... MitchMathews Catering................................................

Helen Wright Assoc, producer..................................... BrianDouglas Still photography............................. Paul Cox 2nd unit g rip ........................Paul Thompson Lighting cameraman.............................. PeterJames Laboratory........................................Colorfilm Prod, supervisor..................................... John Chase Catering.........Sergio Albrigo (Coober Pedy), Continuity...........................................DaphneParisCamera operator............... Danny Batterham Lab. liaison..................................Bill Gooley Prod, co-ordinator............................. MelankaComfort Early Morning Risers (Melbourne) Casting consultant..................................FaithMartin Focus puller.........................Andrew McLean Budget................................................... $2.23 million Prod, manager......................

JulietGrimm Length....................................................... 100minsSenior desert wood collector Focus puller........................... Steve Dobson Clapper/loader.................................... ConradSlack Location manager.................................... PhilMcCarthy and water carrier..................................AlfieKeszler Clapper/loader.......................... Colin Deane Key g rip ...............................Graeme Mardeil Gauge.................................................. 35mm Prod, secretary.....................Cathy Flannery Asst desert wood collector Key g rip ............................ Merv McLaughlin Asst g rip ..................................................GaryCardin Shooting stock..... Eastmancolor 7247, 7294 Prod, accountant..................Graeme Wright and water carrier..... Tony Llewellyn-Jones Grip......................................... Peter Maidens Gaffer....................................................... MickMorris Scheduled release..............................

August 1984 1st asst director........................................ RayBrown Laboratory................. Cinevex (Rushes only) Asst grip.....................................Rick Bartsch Electrician................................................ MattSlattery Cast: Vince Colosimo (Vinnie), Sigrid 2nd asst director................................ MichaelMcIntyre Lab. liaison.................................Bruce Braun Special fx unit manager......................... MarkCanny Boom operator..............................Noel Quinn Thornton (Gloria), Sandy Gore (Bonnie 3rd asst director.....................Brian Gilmour Gauge..................................................

35mm G affer........................................John Morton Art director........................................Igor Nay Rogers), Bill Hunter (Det. Sgt Fitzpatrick), Continuity..............................Andrea Jordan Post-production.......Munich, West Germany 1st electrician....................Jonathon Hughes Costume designer................................. DavidRowe Ray Marshall (George), Amanda Muggleton Producer’s assistant............................Jennie Crowley Cast: Bruce Spence (Hackett), Ray Barrett 2nd electrician..........................................NeilGamblin Make-up................................................. HelenEvans (Miss Reagan), Peta Toppano (Vinnie’s Casting.......................................... Lee Larner (Cole), Wandjuk Marika (Milidjbi), Roy 3rd electrician......................Mark Nancarrow Liv Ullman’s mother), Peter Sardi (Joey).

Lighting cameraman..............................DavidEggby Marika (Dayipu), Colleen Clifford (Miss Generator operator...................................Tex Foote hairdresser.......................................... MaraSchiavetti Synopsis: A lot of things start happening Camera operators................................ DavidConnell, Strehiow), Norman Kaye (Ferguson), Basil Boom operator........................................JackFriedman Hairdresser............................................SuzieClements when a good-looking boy with a bad future Clive Duncan, Clarke (Blackwell), Ray Marshall (Coulthard), Art director................................................NeilAngwin Wardrobe superviser............................. TerryThorley meets a radical and sensitive music teacher Nino Gaetano Martinetti Ralph Cotterill (Fletcher), Gary Williams Supervisor of make-up............Bob McCarron Wardrobe...............................................FionaNicolls who channels him into big-band rock music.

Focus pullers................................ Ian Jones, (Watson).

Make-up artist......................................WendySainsbury Props buyer............................................ BrianEdmonds Greg Ryan Synopsis: ‘‘You have ravaged the earth with Make-up assistant................. Ivonne Pollock Property master.......................................MikeFowlie STRIKEBOUND Clapper/loader.................. Leigh Mackenzie your mines; don’t you see that you have Hairdresser............................................ MariaSchiavetti Asst standby props............................ CarolynPolin Camera assistant......................................RexNicholson Prod, company............................TRM Prods ravaged my body?^’ (Sam Woolagoodjah). Wardrobe designer................ Helen Hooper Set decorator.......................Ken Muggleston Key grip.................................................... JoelWitherdon Producers..........................................MirandaBain,We belong to the world of song where people Ward, assistant......................Brendan Boys Set dresser.......................... Olivia Isherwood Helicopter aerials..........................Kerry Lee Timothy White share everything.

Props buyers/set dressers....Marta Statescu, Scenic artists............................................ RayPedlar.

Louma crane operator.......... Geoffrey Brown Director...............................................RichardLowenstein David Bowden Billy Malcolm Scriptwriter......................................... RichardLowenstein Gaffer.....................................................StuartSorby Standby props....................................... HarryZettel Construction Based on the original Electrician............................................. DavidParkinson Special fx mechanical co-ordinator...................Stan Woolveridge research b y ......................................WendyLowenstein Boom operator......................Steve Haggerty body technician.................................. DavidYardley Construction forem an............Dennis Donelly IN RELEASE Photography....................... Andrew de Groot Art director.............................................LeslieBinns Special fx mechanical Carpenters......................Errol Glassenbury, Sound recordist........................ Dean Gawen Asst art director.........................Peter Kendall head technician.................................... TadPride Wayne Allan Editor............................................. Jill Bilcock Art dept assistant.................................. DerekWyness Special fx external Construction assistant.......... George Zammit Prod, designer............................ Tracy Watt Costume designer................................. Jane Hyland technician.............................................. NikDoming Art department runner................ Fiona Mohr Exec, producers......................... Erik Lipins, Costume maker.....................................SandiCichello FUTURE SCHLOCK Special fx external Asst editor.......................... Marianne R.‘ dwell Don Fleming, Make-up.............................................. KirstenVeysey Edge numberer.................................... SimonSmithers Prod, company..................................UltimateShowtechnician’s assts...........Alan McGuiness, Miranda Bain Hairdresser......................................... Felicity Schoeffl Caroline Jones, Transport manager........ Clark Film Services Dist. company................................... Valhalla Films Prod, consultant................................. MichaelBourchier Wardrobe supervisor.......................... MargotLindsay Lewis Morley, Tutor/chaperone..........Johanna Kauffmann Producers.............................................. BarryPeak, Prod, co-ordinators.................................Julie Stone, Props master.......................................... JohnMoore Jesse Currell, Dubbing editor............................. T m Chau Chris Kiely Chris Warner Standby props........................................ BarryKennedy Marilyn Pride Still photography........................ Jim Townley Directors................................................BarryPeak, Prod, accountant.................................MandyCarter Set decorator.........................................DavidO'Grady Dialogue coach...................... Mitch Mathews Chris Kiely Eye technician....................... Bill Perryman 1st asst director.......................Robert Kewley Assoc, editor.................................Rob Scott Tracking vehicle drive r....... William Wilmont Animal handler............................ Dale Aspen Scriptwriters.......................................... BarryPeak, 2nd asst director.................. Brendan Lavelle Neg. matching................................ Colorfilm Construction manager..........Ken Hazelwood Best boy.................................................... RegGarside Chris Kiely 3rd asst director................................... MandyWalker Music production.............................Rod Coe Construction supervisor........ Bob McCarron Generator operator........... Jonathon Hughes Based on the dramatic Continuity............................................AndreaJordan Asst editor..............................................PaulaLourie Music performed by.................................SlimDusty R !‘ .ner................................Roxane Delbarre fragment b y ...............

Leo Tolstoy (Tolstoi) Camera operator..................................... PaulEliot Sound editors........................................ DeanGawen, Edge numberer....................................AshleyGrenville Drivers....................................Jamie Barnes, Photography.................... Malcolm Richards Focus p uller...........................................DavidKnaus Ken Sallows, Dubbing editor...................................

Andrew Stuart Tracy Lock Sound recordists...........Murray Tregonning, Clapper/loader................... Steve McDonald Rob Scott Stunts co-ordinator..................................MaxAspin Publicity....................................... Wendy Day Lindsay Wray, Key g rip ................................................... JackLester S tunts.....................................................

Glen Boswell, Asst film and Receptionist/ Don Borden Gaffer...................................... Colin Williams sound editor.................................... VirginiaMurray Deanna North telephonist.............................. Vicki Traino Boom operator...................................Jacquie Fine Editors...................................................... RayPond, M ixer....................................................GethinCreagh Still photography................................ CarolynJohns Catering................................. Kaos Catering Barry Peak Art directors...............................NeilAngwin, Wrangler.................................................. DaleAspin Still photography....................................DavidParker Cast: LivUllman (Gina), Jeremy Irons Prod, designer.............................Ian McWha Harry Zettel Special fx mechanic.............................. DavidThomas Titles animation........................................MaxBannah (Harold), Lucinda Jones (Henrietta), John Composer...............................................John McCubbery Asst, art director.................. McGregor Knox Best boy..................................... Craig Bryant Opticals............................................ Colorfilm Meillon (Old Ackland), Arthur Dignam Costume designer.................................JennyTateExec, producer............................Bret Mattes Runner...................................................Henry Osborne Title designer............... Optical and Graphics (Gregory), Michael Pate (Wardle). Colin Croft Assoc, producer....................... Warren Lee Make-up..................................Deryk de Neise Publicity..........................................Gary Daly Mechanics.............................................KevinBryant, (Mollison), Rhys McConnochie (Dr Roland), Prod, co-ordinator.........

Michael McCubbery Assistant make-up................................... NickSeymour Merv Ellis Prod, manager..........................................RayPond Hairdresser............................. George Huxley Runner................................................. KatinaBowell Prod, secretary........................ Terry Bourke Wardrobe............................................ FrankieHogan Publicity...................................................PattiMostyn Prod, accountant......................Maree Mayall Ward, assistant........................... Lynn-MareeMilburn Unit publicist............................................ PattiMostyn Prod, assistant......................... Roger Currie Props supervisor..................Paddy Reardon Catering............................. Beeb Fleetwood, 1st asst director.................................. GeorgeElovaris Props buyer......................... Harvey Mawson Catherine Calvert 3rd asst director................Drago Mlenovich Standby props......................McGregor Knox Unit nurse...................................................LizKerin 2nd unit director............... Malcolm Richards Special effects........................................CliveJones Studios..................... Spotswood, Melbourne Continuity............................ Adrian Duvernet Special effects assistant............David Hardie Mixed a t ........................................... Colorfilm Casting consultants...............Actor’s.Agency Set decorator....................... Andrew Mitchell Laboratory........................................Colorfilm Lighting cameraman................John Ogden Construction manager................................

Bill Chandler Lab. liaison................................. Bill Gooley Clapper/loader........................ Hands Robins Asst editors...........................................RobertGrant, Budget......................................... $2.3 million Key grip.................................... Kerry Boyle Jaqui Horvath Length...............................................105 mins Asst g rip ......................................Jim Dunne Sound editors......................... Dean Gawen, Gauge...................................................35mm Gaffer...................................... Gary Scholes Frank Lipson Shooting stock........ Panavision anamorphic, Art director................................................. IanMcWha Stunts co-ordinator/ Dolby stereo soundtrack Costume designer............Chong and Merkel safety officer.....................

Chris Anderson Scheduled release............August 1984 Make-up.................................. Pietra Robins Cast: Slim Dusty, Joy McKean, Anne Kirk­ Still photography...................................SteveMcDonald, Hairdresser.............................. Pietra Robins Vladimir Osherov patrick, Stan Coster, Buddy Weston, Gordon Wardrobe.................................Marion Boyce Opticals.................................................... VFL Parsons, Buck Taylor, David Kirkpatrick, The Ward, assistant........................ Kate Seeley Tech, adviser............................................. BillHall Travelling Country Band, John Blake (Slim Props.................................................. GeorgeElovaris Best boy............................................... AdrianCherubin Dusty as a young man), Dean Stitworthy Asst editor................................

Diane Harper Runners......................................Serge Zaza, (Slim Dusty as boy), Sandy Paul (Joy No. of shots.............................................. 662 Daniel Scharf, McKean as young woman).

Musical director....................Doug Saunders Geoff Smith Synopsis: A country and western road Music performed b y ...........................Expertz Unit doctor...................Dr Christopher Brook musical spanning 40 years: the life and times Narrator...................................................

TirelMora Unit publicist..............................Julie Stone of Slim Dusty.

Still photography............Michael McCubbery Catering................................Kristina Frolich Publicity..............................Sylvia Bradshaw Post-production.............................Mike Reed STREET HERO Studios.................. Doug Saunders, Preston Post Production Laboratory.........................................Cinevex Prod, company................... Paul Dainty Films Laboratory................................................VFL Budget............................................... $70,000 Dist. company.......... Roadshow International Lab. liaison........................... Bill Harrington, Length......................................................... 85mins Produced b y ........................................... Julie Monton Steve Mitchell Gauge................................................... 16mm Length.............................................. 100 mins Director...............................................MichaelPattinson Shooting stock............................Ektachrome Gauge................................................... 35mm Scriptwriter............................................... JanSardi Released................................................. April1984 Screen ratio...........................................1:1.83 Based on the original idea b y ......... Jan Sardi Cast: Maryanne Fahey (Sarah Pink), Shooting stock..........................Eastmancolor Photography.......................................VincentMonton Michael Bishop (Bear), Tracey Callander Cast: Chris Haywood(Wattie Doig), Carol Sound recordist...................................... GaryWilkins (Ronnie), Tiriel Mora (Alvin), Simon Thorpe Editor......................................................DavidPulbrook Burns (Agnes Doig),Hugh Keays-Byrne (Sammy), Gary Adams (Bob). Deborah Force (Idris Williams), David Kendall (Edward Prod, designer........................................ BrianThomson

35mm & 16mm Negative Cutting

CHRIS ROWELLPRODUCTIONS 24 Carlotta St Artarmon N.S.W. 2064

(02) 439 3522

CINEMA PAPERS July — 169

Sometimes, all you need is the right direction. attempting VX outo­getmaya bescript off the

ground, or possibly negotiating a deal with an overseas buyer, or even finding out how the tax incentives apply to the funding on your current production.

That’s where the Australian Film Commission can assist or advise you.

There have been a number of changes at the Australian Film Commission in recent months. You’ll find new faces, new ideas and new policies.

Through its various branches, the Australian Film Commission is fully committed to film development and production.

The Creative Development Branch supports independent film . making and creative film activities to encourage new talent, while the Project Development Branch provides film makers with script and project development funding.

The Special Production Fund provides entrepreneurial financial assistance to quality projects.

The Marketing Branch . offers a sales and distribution service in Australia and overseas through its London and Los Angeles offices.

The Policy Unit is involved in research, dissemination of information and policy initiatives.

The film production arm of the A.F.C. is Film Australia. It produces films for government departments and on subjects of general interest to Australians.

In addition, the A.F.C. offers a comprehensive counselling service on legal, financial and creative matters.

For fu rth e r inform ation on th e A ustralian Film Commission and th e A ustralian film industry, contact:

Iistralian F ilm C om m ission SYDNEY: 8 West S treet, N orth Sydney 2060 Telephone (02) 922 6855 toll free: (008) 22 6615 MELBOURNE: 185 Bank S treet, South M elbourne 3052 Telephone (03) 690 5744 (Victorian enquiries only)

DOPE 1924 Directed by Dunslan Webb Starring Gordon Collingridge, Lorraine Esmond Screenplay Con Drew Cinematography Lacey Percival Photograph reproduced by kind permission of the National Film Archive, National Library of Australia

Production Survey

Marion Edward (Mrs Summers), Peter de Salis (Peters).

Synopsis: Based on Henrik Ibsen’s play of the same name. The tragic story of a young, blind girl and her love for a wild duck.

tions and life-styles, from outback Australia

Cast: Adrian Barker, Jenny Jacobs, Doug Scroope, Janet Foye.

Synopsis: The program provides a detailed explanation of the work in two separate areas. The first is floor managing a straight­ forward interview. The next sequence deals with a simple studio drama.

Directors......................................Ben Lewin, Karl McPhee Scriptwriters................................ Ben Lewin, Karl McPhee Photography...........................John Hosking, Geoff Simpson Director...................................... Eric Halliday Sound recordists................... David Glasser, Photography..................George Petrykowski Howard Spry, Sound...........................................Deri Hadier G O V E R N M E N T FILM THE GYNGELL TAPES Rodney Simmons, Editor....................................... Mark Sanders Bruce Nihill D O C U M EN TA R IE S (THE EARLY DAYS OF Length.................................55 mins (part 1), P R O D U C TIO N Editors...................................... Les McLaren, TELEVISION IN AUSTRALIA and 27 mins (part 2) Kerry Regan Gauge..................................1-inch videotape WIDENING HORIZONS) Length..........................................6 x 55 mins S y nopsis: Terry Hayes, producer and writer Producer.................................... Eric Halliday of the television mini-series T h e D ism issal, Gauge..................... 16mm, released in 2 ins Director...................................

Mark Sanders Shooting stock........ Eastmancolor negative, FEATURES the problems involved in making AUSTRALIAN FILM AND Photography...............................Conrad Mill, discusses videotape the series and the reactions of the public and George Petrykowski Progress..........................................In release TELEVISION SCHOOL politicians.

Sound....................................................... DeriHadier, First released........................... May 14,1984 Noel Quinn Narrator: Peter Gwyne.

THE FOUNTAIN OF YOUTH Prod, assistant.................... Bronwyn Walker Synopsis: Drawing upon a rich variety of Prod, company.............. The Film House T.V. Technical director........................

Rod Bower techniques; such as dramatized re-enact­ ALICE IN EFFECTSLAND Producer................................................. PeterBeilby Floor manager.................... Norman Neeson FILM AUSTRALIA ments, actuality, cinema verite, archival Director.................................................... PaulDrane Producer................................................... EricHalliday Length......................... 50 mins (Early Days), footage and others, the producers have been Scriptwriter..........................................RussellGleeson Director.............................................. CynthiaConnop 50 mins (Horizons) careful not to subjugate fact to entertaining Based on the original idea Photography......................... ...Steve Arnold Gauge................................ 1-inch videotape fictions about our past. The Migrant Experi­ b y .....................................................RussellGleeson Sound....................................Graham Tardiff Synopsis: Bruce Gyngell is interviewed by ALL THAT GLITTERS ence is richly entertaining and controversial.

Photography.......................................... DavidHaskins Prod, manager....................Nancy Wahlquist Julie James Bailey.

Prod, company.........................................Film Australia Sound recordist.............................Ian Wilson Camera assistant...................................AnnaHoward ODYSSEY Dist. company...........................................FilmAustralia Editor........................................... John Dutton Special fx adviser.................................... PaulNichola LESSONS IN A VISUAL Producer................................................ PeterJohnson Prod, company........................Film Australia Exec, producer.........................Robert Le Tet Gauge.................................................. 16mm LANGUAGE — RHYTHM Director.....................................................NickTorrens Dist. company..........................Film Australia Assoc, producer...................................... TrishFoley Progress.............................. Post-production Photography...................................... AndrewFraser Producer................................................... EricHalliday Producer...................................................DonMurray Prod, manager...........................Tony Leach Cast: Constance Lansberg.

Director.............................. Peter Thompson Sound recordist....................Syd Butterworth Director.................................... David Barrow Prod, assistant.......................... Jan Duncan Synopsis: An imaginative explanation of the Photography...........................................BrianProbyn Editors...................................................... RayThomas, Scriptwriter..............................David Barrow Length................................................ 96 mins techniques and applications of filmed special Sound recordist..................John O’Connell Nick Torrens Photography............................ John Hosking Gauge...................................................16mm effects.

Editors................................Peter Thompson, Assoc, producer................................. ColleenClarke Sound recordist................................. HowardSpry Progress.......................................Production Bill Aiers Length..............................................

112 mins Editor.....................................................Bruce Ezard Synopsis: An international review on APPROACHES TO AUSTRALIAN Prod, manager................... Nancy Wahlquist Gauge.................................................. 16mm Assoc, producer.................... Nigel Saunders advances made in life enhancement and life FILMS: “ SPLENDID FELLOWS” Producer’s assistant......... Bronwyn Walker Shooting stock.........Eastmancolor Negative Length................................................ 47 mins extension.

(1934) AND AUSTRALIAN HISTORY Camera operator.................. Steve Newman Progress..............................Awaiting release Gauge.................................................. 16mm Director....................................Mark Sanders Camera assistants.................Bill Hammond, Synopsis: All That Glitters is the official film Shooting stock.........Eastmancolor negative, TRIUMPH OF THE NOMADS Ray Harris of the XII Commonwealth Games. The story Scriptwriter..............................Ina Bertrand videotape Prod, company....................................NomadFilms Length................................................10 mins of All That Glitters began in 1980 with Photography................ George Petrykowski, Synopsis: The film looks at the rehabilitation International comprehensive research visits to India, Conrad Mill, Gauge..................................................16mm of drug addicts at Odyssey House.

Dist. com pany.....................................NomadFilms Michael Chorley Synopsis: A demonstration of the use of Kenya, Great Britain, Canada, Jamaica, Fiji International Sound.......................................... Deri Hadier rhythm in filmmaking. and New Zealand, meeting with some 200 OUT OF TIME, OUT OF PLACE Producer................................................ DavidMorgan athletes, their coaches and sporting officials.

Exec, producer...........................Eric Halliday Prod, company........................................ FilmAustralia Director.................................................. DavidMorgan The film follows these athletes and coaches Prod, assistants................................BronwynWalker,MAKING A VIDEO PROGRAM Dist. company.......................................... FilmAustralia Scriptwriter..............................................FredFolkard Kaye Dineen through to the final drama of the events in Producer................................. Eric Halliday Producer...................................................RobMcAuley Based on the novel Brisbane and their struggle for gold.

Technical director.................. Rodney Bower Director....................................Mark Sanders Director...................................Bob Kingsbury Triumph of the Nomads by Floor manager.................................... JeremyEnglish Scriptwriters............................. Chris Roach, Scriptwriter............................................. JohnEdwards Professor Geoffrey Blainey Vision switcher...... Youvanna Chantharassy 18 FOOTERS Mark Sanders Photography......................................AndrewFrazer, Photography............................ Alex McPhee Presenter: Ina Bertrand.

Photography................ George Petrykowski, Prod, company........................Film Australia Paul Tait Sound recordist.....................Robert Cutcher Synopsis: Ina Bertrand of La Trobe Uni­ Conrad Mill, Dist. company.......................... Film Australia Sound recordists......................Howard Spry, Editor..........................................Paul Howard versity discusses the historical and social Producer...................................................Tim Read Greg Penniket, Grant Roberts, Composer..............................Frank Strangio context which influenced the making of Peta Hill, Director................................... John Edwards George Hart Exec, producer..................................DouglasStanley Splendid Fellows.

Stephen Prime Scriptwriter..............................John Edwards Editor.....................................

Lindsay Fraser Prod, co-ordinator..................................... LeeBeston Sound......................................................RossBoyer, Photography.........................Andrew Fraser, Length................................................ 70 mins Prod, accountant.................. Neil Manthorpe AUSTRALIAN FILMMAKER — Barry Fernandes, Ross King Gauge..................................................

16mm Prod, assistant............................ Craig Bolles PETER WEIR Paul Gleeson Sound recordist................................. HowardSpryShooting stock..........Eastmancolor negative 1st asst director..................................... PeterAskew Prod, assistant.....................Bronwyn Walker Editor.....................................

Lindsay Fraser Progress.............................

Awaiting release Producer...................................................EricHalliday Camera assistant................................... John Ogden Technical director.................................... RodBower Assoc, producer.....................................JerryLettsSynopsis: In the 1970s, two exciting dis­ Director................................................... MarkSanders 2nd unit photography..............Terry Carlyon Floor manager.....................Norman Neeson Length..........................................................10minscoveries of human fossil remains focused Photography................ George Petrykowski, Costume designer..............................FrankieHogan Gauge.................................................. 35mm world attention on Australia. The evidence Conrad Mill Gauge..................................1-inch videotape Make-up.................................. Kim Anderson Progress...............................

Post-production Shooting stock....... Eastmancolor Negative, implied that two very different types of Sound Deri Hadier Wardrobe................................ Rob McCleod Cast: David Waters, Drew Forsythe, Anne people lived in Australia long before Dolby Stereo Gauge.................................1-inch videotape Props........................................ Rob McCleod Semler, Andrew McFarlane, Joy Smithers, Progress...............................

Post-production emergence of the modern aborigines. The Synopsis: Peter Weir is interviewed by Peter Asst editor.....................................Serge Zaza Greg Penniket, John O’Connell, Jamie Scheduled release..................................June1984key scientist in both finds, Dr Alan Thorne, Thompson.

Neg. m atching.................................. Cinevex Higgins, Paul Cam. Synopsis: Chesty Bond-Tia Maria racing on reveals for the first time the origins of the first Mixer...................................... David Harrison Synopsis: This is a simple and entertaining beautiful Sydney Harbour with the camera Australians. The story takes up back 30,000 CUT OUT ANIMATION Still photography.................................... John Ogden approach to the “ how to do it” and “ how not as a crew member. years and beyond, journeying to Java, Mixed a t................................ FilmSoundtrack Producer.................................... Eric Halliday to do it” aspects of making a video program.

China, Britain, Kow Swamp and Lake Laboratory....................................... Cinevex Director...................................David Johnson Starting with some thoughts on scripting, HUMAN FACE OF THE PACIFIC Mungo, where the early Australians were Length.......................................... 3 x 60 mins Photography...........................Steve Newman and pre-production planning, the program found.

Gauge................................................... 16mm Prod, company.......................Film Australia Sound............................................... Sue Kerr looks in detail at many aspects of production, Shooting stock.......................................... Fuji Dist. company.........................

Film Australia Prod, manager................... Nancy Wahlquist editing and simple post-production.

STRIVING Progress............................... Post-production Producers......................... Dennis O’Rourke, Animation............................... David Johnson Synopsis: Drama documentary on Austra­ Oliver Howes Prod, company....................... Film Australia Gauge.................................................. 16mm MICROPHONES AND THEIR USES lian Aborigines.

Directors................................. Tim Litchfield, Dist. company..........................Film Australia Progress....................................... Production — LOCATION RECORDING Graham Chase, Producer..................................Nick Torrens Voices: Lance Curtis, Russel Taylor.

UNDERSTANDING CANCER TECHNIQUES Oliver Howes, Directors..................................Nick Torrens, Synopsis: This is the third program in the Dennis O’Rourke, Karin Altman, AFTS’ animation series. The program gives Producer.................................Eric Halliday Prod, company............. University of Sydney Phillip Robertson Graham Chase, an easy-to-follow explanation of the tech­ Director................................... Mark Sanders TV Service Photography.....................Dennis O’Rourke, David Roberts, niques and tricks of cut-out animation.

Scriptwriter..............................................RossLinton Dist. company.............................. M.C. Stuart Joe Pickering, Dick Marks, Photography................ George Petrykowski, & Associates Tony Wilson, Bruce Ezard, FILMMAKER INTERVIEW — Keith Watson Producer.......................................... Jim Dale Andrew Fraser Dennis O’Rourke, Director.................................. Roger Hudson Sound......................................... Deri Hadier, KEN HALL David Haythornwaite Paul Brincat Sound recordists........................ Gary Kildea, Scriptwriters..........................Roger Hudson, Producer...................................................EricHalliday Rod Simmons, Photography......................... Andrew Fraser, Technical producer.................................. BobForster Jonathan Clements, Director................................................... MarkSanders George Hart, Brendan Ward, Ian Freeman Synopsis: A detailed study of microphone Photography............................................ RonHurrell, Howard Spry, Paul Tait, types and their usage in relation to film and Photography................................Phillip Bull, Conrad Mill, Tom Foley, Tony Wilson, television location recording with Ross Colin Hawke, Youvanna Chantharassy Lindsay Fraser, Dick Marks, Linton, sound recordist.

Doug Chatwin Sound...........................................Deri Hadier Tim Litchfield, Dennis O’ Rourke, Sound recordist........................... Jacqui Fine Prod, assistant.....................Bronwyn Walker Graham Chase Kerry Brown, OVERSEAS FILMMAKER: Editors...................................................FrankRijavec, Technical director.................................... BobForster Length....... 6 x 28 mins; 92 mins (videotape) Brian Doyle, Ian Allen LINDA AGRAN Floor manager................................... NormanNeeson Ross King, Gauge...................................................16mm Composers.........................................GrahamTardif, Gauge..................................1-inch videotape Producer.....................................Eric Halliday Shooting stock........Eastmancolor Negative, Tony Gailey, Steve Arnold Progress...............................Post-production Director.................................................. DavidFurley videotape James Ward, Exec, producer.... Prof. William H. McCarthy Synopsis: Ken Hall is interviewed by Photography.............................................KenKippen, Progress............................. Awaiting release Lyle Binnie, Prod, manager............... Christine Gallagher Graham Shirley, George Miller and Phil Phil Patterson, Synopsis: The Human Face of the Pacific Bill Hammond, Mixed a t......................Palm Studios, Sydney Noyce.

Bronwyn Walker is a series of six documentaries of 28 Rod Hinds, Laboratory...............................................Atlab Sound.......................................................NoelBolden minutes each, covering six Pacific nations or Gene Moller, Lab. liaison............................................... DonMoseley FLOOR MANAGING A TV DRAMA Technical director.....................................JimTumeth territories. These are Tahiti, Kiribati, the Gary Phillips, Budget............................................. $210,000 Floor manager..........................................KenKippen Marshall Islands, Fiji, Samoa and New John Stokes, Producer.................................. Eric Halliday Length......................................... 3 x5 0 mins Length............................................... 30 mins Caledonia.

Henry Pierce Director.................................... Mark Sanders Gauge................................................... 16mm Gauge.................................

1-inch videotape Sound recordists......................... Bob Hayes, Photography.......................... Greg Penniket, Shooting stock...................................7247/93 Synopsis: Linda Agran is interviewed by THE LITTLE WORLD OF Syd Butterworth, Paul Brincat Scheduled release..August/September 1984 Keith Smith and Barry Oakley of the AFTS. Peter Lipscomb, DIETMAR FIL Sound recordist....................John O’Connell Presented by: Prof. Richard Fox, Ludwig Ian Wilson, Prod, assistant.....................Bronwyn Walker Institute for Cancer Research.

Prod, company....................... Film Australia OVERSEAS FILMMAKER — Leo Pollini, Technical directors.............. John Saunders, Synopsis: Three films that study the poss­ Dist. company......................... Film Australia SIR RICHARD ATTENBOROUGH Rowland McManis, Rod Bower ible causes, diagnostic processes and treat­ Producers................................... Don Murray, Max Bowring, Gauge..................................1-inch videotape ments of the disease. Episode 1: The Search Director....................................Eric Halliday John Shaw Howard Spry Progress....................................... Production for a Cause; episode 2: The Patient’s Story; Editor.......................................Mark Sanders Directors................................. Greg Redding, Editors...................................... Ray Thomas, Synopsis: A second program dealing with Length................................................39 mins episode 3: The Road to Recovery.

Stephen Ramsey (pilot) Nick Torrens, the role of the floor manager on a more com­ Gauge................................. 1-inch videotape Scriptwriter............................. Greg Redding “ WOMEN” DOCUMENTARIES Trevor Ellis, plex production. It was snot in co-operation Synopsis: British actor, director and pro­ Photography....................... Peter Viskovich, Bruce Ezard, with the ABC during the making of its rock ducer, Sir Richard Attenborough, discusses Prod, company ....John Blackett-Smith Prods Dietmar Fil Ted Otton drama, Sweet and Sour.

Producer........................ John Blackett-Smith his approach to filmmaking, with particular Sound recordists.............. Rodney Simmons, Length..........................................8 x 24 mins Director..................................................... TimKupsch reference to Gandhi.

Rowland McManis Gauge..................................................

16mm INTRODUCTION TO FLOOR Scriptwriter................................................TimKupsch Editor................................... Richard Hindley Shooting stock......... Eastmancolor negative MANAGING Photography........................................DennisNicholson, PETE WATKINS REFLECTS ON Assoc, producer............................Jerry Letts Progress..............................Awaiting release Gary Smith THE WAR GAME AND THE MEDIA Length.......................................... 6 x 24 mins Synopsis: Striving, in eight 24-minute pro­ Producer................................. Eric Halliday Sound recordists....................................GeoffWilson, Gauge...................................................16mm Director....................................Mark Sanders Director....................................Eric Halliday grams, takes a close personal look at 10 Ian Ryan Photography................ George Petrykowski, Photography................. George Petrykowski Shooting stock......... Eastmancolor negative, athletes preparing for and competing in the Editor...............................Rebecca Grubelich videotape John Agapitos, SoundT.......................................... Deri Hadier Brisbane Commonwealth Games. They Composer.......................Burkhard V. Dallwitz Progress.............................. Post-production Youvanna Chantharassy, Editor....................................... Mark Sanders come from diverse backgrounds but all Prod, m anagers..... Bernadette O’Mahoney, Phil Long Length................................................ 43 mins Scheduled release........................September1984share a drive to win. Why do they do it? Each Fiona Cochrane Synopsis: A series which depicts the life and Sound.........................................Deri Hadier, Gauge..................................1-inch videotape athlete tries to explain.

Narrator................................................. DianeCilento John O’Connell Synopsis: When Peter Watkins made The work of Dietmar Fil — brilliant micro and Research............................................... FionaCochrane, Prod, assistant.................... Bronwyn Walker War Game in 1966 it was subsequently macro photographer — and incorporates WHAT PRICE VALOUR Joe Connor, Technical directors................... Bob Forster, banned from broadcast by BBC Television. some of his much loved, early film work.

Jane Watson Prod, company.........................................FilmAustralia Rod Bower He discusses the theme of repression in the Length..........................................5 x 50 mins Dist. company...........................................FilmAustralia THE MIGRANT EXPERIENCE Floor manager.................... Norman Neeson media and its effect on social attitudes.

Progress....................................... Production Producer.....................................John Leake On-camera floor managers....... Don Bethel, Prod, company.........................................FilmAustralia Cast: Diane Cilento (presenter).

Director................................................... BrianHannant Jeremy English, Dist. company........................................... FilmAustralia Synopsis: Five television documentaries Scriptwriter..............................................Brian Hannant John Rooke Producer............................................ MalcolmSmith featuring women in non-traditional occupa­ Photography............................... John Leake to Sydney Harbour entitled: W o m e n w ith W in g s, T h e S ire n s , T h e R o u g h Life, Y o u ’re N e v e r T o o O ld and G o W e s t.

A SEMINAR ON THE TELEVISION MINI-SERIES “ THE DISMISSAL” WITH TERRY HAYES (PARTS 1 AND 2)

CINEMA PAPERS July -

171

Production Survey

Sound recordist......................... Ralph Steele Continuity.................................. Lee Heming, Length....................................... 5 x 120 mins GOLDEN PENNIES MOVING THE COLLECTION Editor.......................................... Ian Waddell Kay Hannessy, Gauge.................................................. 16mm Prod, company..........Revcom (France)-ABC Producer................................................ PeterDrummond Exec, producer...........................Don Murray Sue Overton, Synopsis: A dramatization of Australia's Producer............................

Oscar Whitbread Director.............................Anamarie Beligan Assoc, director.........Margaret Rose Skinner Ann Dutton participation in World War 1.

Director.............................. Oscar Whitbread Length......................................................... 47minsScriptwriter....................... Anamarie Beligan Producer’s assistants................Lee Heming, Scriptwriter........................................

GraemeFarmer Photography..................................Yuri Sokol BUTTERFLY ISLAND Gauge................................................... 16mm Kay Hannessy, Based on the original idea Editor......................................................PeterDrummond Shooting stock.......... Eastmancolor negative Sue Overton, Prod, company............... Independent Prods by....................................................

GraemeFarmer Exec, producer.................................. VincentO’Donnell Progress........................................ Production Ann Dutton Producer............................. Brendon Lunney Photography...............................................IanWarbuton Exec, assistant....................................... MaryGustavsson Scheduled release........................September1984 Casting....................................... Greg Apps Director.....................................Frank Arnold Sound recordist.........................John Boswell Gauge.................................................. 16mm Synopsis: The auctioning of a Victoria Cross Lighting directors.............. Peter Simondsen, Scriptwriter............................. David Phillips Editors........................................................BillMurphy, Progress................................ Pre-production in 1983 and the story of the man behind the J Peter Lewis Script editor............................ Hugh Stuckey Barry Munroe Synopsis:. A film on the removal of the medal: Major E. T. Towner of Longreach, Technical producers........... Steve Pickering, Based on the original idea Prod, designer........................................CarolHarvey anthropological collection of the Museum of Queensland.

John Bennett by.......................................................... RickSearle Prod, manager...................................... FrankBrown Victoria to a new home. It uses the removal Camera operators...................................JohnTuttle, Exec, producer................................. RichardDavis 1st asst director.....................Peter Trofinovs of the collection as a unifying theme to YIRRIKALA EXCHANGE Ian Margocsy, Length....................................... 10 x 30 mins Continuity...............................Christine Lipari reflect the role of museums within Australian Roger McAlpine Gauge..................................................16mm Prod, company........................................ FilmAustralia Casting..........................................Greg Apps society.

Synopsis: A resort island on the Great Key g rip ....................................................MaxGaffney Prod, company........................................ FilmAustralia Lighting cameraman.............Ian Warburton Barrier Reef owned, run by the Wilson Electrician................................................... JoMitzal Producer.........................................Ian Dunlop Art director...............................

Carol Harvey PROMOTIONAL FILM FOR family, is the unwilling home of Vietnamese Boom operators..................................... ErnieEverett, Director..................................... Edwin Scragg Publicity...................................................ABC GEELONG REGION Harry Harrison refugee teenager and the desired prize of Scriptwriter................................Edwin Scragg Studios..................................................... ABC (Working title) avaricious businessman who has oil on his Art director................................Bob Walters Photography............................ Edwin Scragg Mixed a t...................................................ABC Asst art directors......................Frank Earley, mind.

Editor.........................................Edwin Scragg Prod, company.......................... Merton Film Length..........................................8 x 30 mins Dale Mark Assoc, producer....................Nigel Saunders Director.................................................. BarryMerton Gauge................................................... 16mm Costume designer...................................Julie Skate COLOUR IN THE CREEK Length......................................................... 47minsPhotography..................................Tim Smart Shooting stock...................................... Kodak Make-up................................Jurjen Zielinski, Gauge................................................... 16mm Sound recordist...................................... JohnPhillips Prod, company...................................... PBLProds Synopsis: An English family come to the Ian Loughnan Shooting stock.......... Eastmancolor negative Editor..................................... Tony Patterson Producers................................... PBL Prods, Australian goldfields in the 1850s to seek Wardrobe............................. Beverly Jasper, Progress................................. Pre-production Exec, producer.................................. VincentO’Donnell Michael Midlam their fortune. In the family, mother, step­ Ann Brown Scheduled release............... December 1984 Exec, assistant....................................... MaryGustavsson Scriptwriter.................................. Sonia Borg father and the young son and daughter, P rops........................................................NeilOyster, Synopsis: Twenty-five children from a Can­ Camera assistant.............................WarwickFieldBased on the novels animosity exists between the step-father and Karl Miller berra high school visit the Yirrikala Mixer....................................Steven Edwards Colour in the Creek and the son. The children then meet the family of Props buyer..........................

Helen Williams Aboriginal Settlement in the Northern Terri­ Gauge................................................... 16mm Shadow of Wings b y ......... Margaret Paice a travelling sideshow and it is against the Special effects..........................................RodClark, tory for a two-week period to study Aboriginal Progress................................. Pre-production Exec, producers......................... Ian Bradley, background of the family’s struggles that the Terry Burrow lifestyle. In October 1984 a return visit by a Synopsis: A film to encourage population Penny Spence Music performed by..............Greg Sneddon children’s adventures are set. contingent of Yirrikala Aboriginal children and investment in Geelong.

Assoc, producer.......................... Jim Badger Mixer..................................... John Beanland will study life in Canberra.

Length......................................... 5 x 30 mins PALACE OF DREAMS Still photography...................Lindsay Hogan VICTORIA’S 150TH ARCHIVAL Gauge.................................................. 16mm Title designer.......................... Phil Cordingly Prod, company........................................ ABC Synopsis: In 1932, the Depression made Publicity................................ Maggie Sefton, FILMING Producer............................................. SandraLevy living in the outback difficult. The Fletcher Prod, company................ Moving Picture Co. ABC Directors.........Denny Lawrence (Episode 1), family decides the best way to cope is to Catering.......................................BandeAide Director..................................................... IvanHexter FILM VICTORIA John Misto, move up to the Queensland goldfields where Sound recordist........................................ IvanHexter Studios..................................................... ABC John Upton, there is always the possibility of striking it Length.........................................9 x 50 mins Exec, producer.................................. VincentO’Donnell Ian David rich.

Exec, assistant....................................... MaryGustavsson Gauge..........................................1 inch (OB), Scriptwriters.......................... Debra Oswald, Prod, liaison.....................Dr Michael Searby 2 ins (studio) Marc Rosenberg ARTS CENTRE PROMOTIONAL COWRA BREAKOUT Gauge...................................................16mm Shooting stock............................... Videotape Based on the original idea TAPE Progress........................................Production Prod, company.....................Kennedy Miller Cast: Terry Bader (Bryce), Richard Healy b y..................................................... SandraLevy (Working title) Synopsis: Documentation of developments (Ken), Debra Lawrance (Pat), Peter Hosking Dist. company........................... Network Ten Script editor......................Denny Lawrence leading to the 150th Anniversary, acknow­ Producer...............................Kennedy Miller (Blair).

Prod, designer.................. Geoffrey Wedlock Producer...................................Steven Salgo ledging activities being undertaken in this Directors...................................................PhilNoyce, Synopsis: The events surrounding a pair of Exec, technical producer.............Barry Quick Exec, producer................Vincent O'Donnell year of celebration, 1984.

Chris Noonan down-at-heel private eyes.

Prod, manager........................ Carol Chirlian Exec, assistant.................Mary Gustavsson Scriptwriters.................................... MargaretKelly, Prod, secretary................. Regina Lauricella Prod, liaison........................... Peta Landman VON MUELLER Chris Noonan, FLIGHT INTO HELL Casting...............................................JenniferAllen Gauge............................................Videotape Russell Braddon, Prod, company........... ABC Forest’s StudiosStudios.................................. ABC Channel 2 Progress.................................Pre-production Prod, company......................... Film Victoria, Sally Gibson Length.........................................10x50 mins Synopsis: A videotape designed to intro­ in association with Revcom (France) Length........................................ 10 x 60 mins Shooting stock.............................. Videotape duce the public to the facilities of the recently Film Australia Producer...................................... Ray Alehin Gauge...................................................16mm Scriptwriter............................................ PeterYeldham Synopsis: An inner-city hotel, during the completed Victorian Arts Centre, and to Scriptwriter............................................ ChrisMcGill Synopsis: The story of the Cowra POW Based on a true story early years of the Depression, is run by a encourage their utilization.

Exec, producers..............Vincent O’Donnell, breakout. family of Russian Jewish emigres. A young Don Harley Photography..........................................PeterHendry man from a country town comes to live in the THE CHOICE OF HOUSING Exec, assistant..................Mary Gustavsson Sound recordist...........................Ron Moore DISPLACED PERSONS hotel and share their life.

Gauge...................................................16mm Prod, designer..................................... LaurieJohnson Prod, company..................... Rob Brow Prods Prod, company........................................ABC Progress...........................................

Scripting Exec, producer............................Chris Muir Exec, producer.................................. VincentO’Donnell THE RIVER KINGS .

Dist. company.........................................ABC Assoc, producer...........................Ray Brown Synopsis: A film which explores the life and Exec, assistant....................................... MaryGustavsson Producer................................................... JanChapman times of Ferdinand Von Mueller and so Prod, manager........................................JudyMurphy Prod, company................Independent Prods Prod. Liaison........................... Bonnie Smith Director.............................................GeoffreyNottage displays the architectural and scenic Producer.................................... Jim George Unit manager.............................................ValWindon Gauge.................................................. 16mm Scriptwriter.............................................LouisNowra heritage of Victoria.

Scriptwriter.................................Rob George Prod, secretary................................. MaureenCharlton Progress.................................Pre-production Based on the original idea Based on the novel b y .............Max Fatchen Continuity............................ Larraine Quinell Synopsis: A film on public housing philo­ b y ..........................................Louis Nowra WASTE WATER TO TREES Casting.............................................. JenniferBruty Exec, producer.........................Richard Davis sophy and practice.

Prod, designer..........................Quentin Hole Camera operator...................................RogerLanser Length......................................... 10 x 30 mins Producer..............................................StevenSalgo Prod, manager..................................

Michael Collins Gauge..................................................

16mm Designer............................................. AndrewBlaxland HONORARY PROBATION Director.....................................Russell Street Prod, secretary.................................MargaretGalletti Costume designer....................... Jim Murray Synopsis: A young boy runs away to take a OFFICERS Scriptwriter.............................. Russell Street 1st asst director..................................GrahamMillar Length......................................... 4 x 75 mins job on an old river boat, trading on the River Photography........................................... GarySmith Scriptwriter..............................Jeremy Press 2nd asst director.............. Stephen O’Rourke Gauge.................................................. 16mm Murray at the turn of the century.

Sound recordist..........................................IanRyanProducer’s assistant...... Danuta Blachowicz Exec, producer.................................. VincentO’Donnell Synopsis: The true story of two German Editor...............................................Ray Daly Exec, assistant........................................MaryGustavsson Casting consultant.................. Jennifer Allen aviators, Hans Bertram and Adolf Klaus­ SINN FEIN Exec, producer............... Vincent O'Donnell Gauge............................................Videotape Make-up.................................................... ValSmith mann, lost in the Australian bush for 53 days.

(OURSELVES ALONE) Exec, assistant.................. Mary Gustavsson Progress.................................Pre-production Wardrobe.......................... Carolyn Matthews The story relates their ordeal and the search Producer................................................. PeterBeilby Synopsis: Recruitment of honorary pro­ Mixed a t............................ Film Soundtrack Publicity................................................LesleyJackson for them.

Laboratory.........................................Cinevex Scriptwriter.............................Glen Crawford bation officers is a continuing problem. The Length................................................80 mins Gauge................................................... 16mm Based on the original idea Department of Community Welfare Services Gauge...................................................2-inch A FORTUNATE LIFE Progress............................Awaiting release b y........................................Glen Crawford has great difficulty in recruiting people who Shooting stock............................... Videotape Synopsis: The film is designed to illustrate Exec, producer.........................Robert Le Tet have a shared economic and cultural outlook Synopsis: A group of European refugees Prod, company.............................PBL Prods Assoc, producer...................................... TrishFoley to the offenders. The intention of the film is to the use of domestic and industrial waste arrive at the Sydney Quarantine Station in Dist. company..............................PBL Prods water on tree plantations, and the social and Synopsis: A 12-year-old boy of Irish descent reach people in the lower socio-economic 1945. One of them has died of an unknown Producer.....................................................BillHughes ecological advantages of such use. strives to understand the reason for his com­ group and encourage them to become disease and the others will have to remain Directors............................................. MarcusCole, Henri Safran munity’s hatred of The Empire during World honorary probation officers. quarantined until the carrier of the disease is Scriptwriter.................................. Ken Kelso War 1. found.

Script editor.........................................MarcusCole JOB CREATION SCHEME AND Based on the autobiography STOCK SQUAD THE DUNERA BOYS ARTISTS b y....................................................... AlbertFacey Prod, company................Independent Prods Prod, company..........................Jethro Films Prod, company............................ Ukiyo Films Sound recordist...........................Ross Linton Producer................................ ...Tom Jeffrey Producer............................................... '...BobWeis Producer...................................................DonMcLennan Editor......................................................KerryRegan Scriptwriter.............................Hugh Stuckey Director.....................................................BenLewin Director.....................................................DonMcLennan Prod, designer..................... David Copping Exec, producer.......................

Richard Davis Scriptwriter............................................... BenLewin Photography....................................ZbigniewFriedrich Exec, producer...........................................IanBradley Length................................................ 92 mins Based on the original idea Exec, producer.................................. VincentO'Donnell Assoc, producer...........................Ken Kelso Synopsis: Stark visual beauty of Australia is b y .......................................................... BenLewin Camera operator............................. ZbigniewFriedrich Prod, manager........................................ TerriVincent a backdrop to an exciting, compelling and Synopsis: 1939: German Jews in exile in Prod, accountant................................... CraigScott Mixed a t................................................. OpenChannel unusual outback police story.

England, suspected to be Nazi sym­ Laboratory..............................................OpenChannel (Moneypenny Services) pathizers, are sent by Churchill’s govern­ Gauge................................................. %-inchBVU 1st asst directors...........Charles Rotherham, ACT TWO ment to an unknown destination on the ship Progress............................... Post-production Eddie Prylinski “ Dunera” .

Synopsis: Three documentaries, on video­ Prod, company............................. PBL Prods 3rd asst director....................................... NickAlimede Dlst. company.............................. PBL Prods tape, each 20-30 mins duration, broadly Continuity.................................................PamWillis, PRODUCTION THE FAST LANE Producer............................

Richard Brennan along the following thematic lines: (1) new Judy Whitehead, Director...............................................RodneyFisher roles for artists and new ways of working; (2) Roz Berrystone Prod, company........................................ABC Scriptwriter............................................... RayHarding community groups and their relations with Casting......................................................JoySargant Producer................................................. NoelPrice job creation schemes: and (3) what participa­ Based on the original Idea Art directors.............................................. KenJames, Directors..................................... Noel Price.

FIVE MILE CREEK b y .......................................................... RayHarding Phil Monahan tion in the job creation scheme has meant to Lindsay Dresden, Cast: John Waters (Robert Marks).

Series 2 • artists.

Richard Sarell, Costume designer.................................BruceFinlayson Synopsis: Talented, witty and more than a Colin Budds Props buyer........................... Derek Chetwyn Prod, company................................... Valstar little self-centred. Robert Marks is the author LAW ENFORCEMENT AND THE Standby props..........................................

Igor Lazareff Scriptwriters......................... Andrew Knight, Producers...........................Henry Crawford, of a successful first novel. Success, and the BICYCLIST John Clarke Set construction............................ Phil Worth Doug Netter lifestyle that followed it, have since dried up Asst e ditor.............................. Debbie Regan Based on the original Idea Directors..................................Gary Conway, Prod, company.......................................SeonProds his talents. Act Two tells with humor and Neg. matching..... Negative Cutting Services by........................................... John Clarke, Kevin Dobson, Producer.............................................. StevenSalgo charm, the effects of failure on one man's Laboratory..............................................

Atlab Andrew Knight Brendan Maher, Director...................................................CraigKirchner marriage and reveals the confidence he Length..........................................4 x 93 mins Photography.....................Peter Simondsen, Robert Stewart Scriptwriter.............................. Ian McFadyen finds with another woman.

Peter Lewis, Gauge...................................................16mm,videotape Scriptwriters.......................

Sarah Crawford, Photography........................................... BrianMcKenzie John Tuttle, Synopsis: Based on the best-selling auto­ Graham Foreman, Sound recordist............................... GeorginaGuilfoyle ANZACS biography of A. B. Facey. A story of survival Ian Margocsy, David Boutland, Editor......................................................CraigKirchner Roger McAlpine and triumph in a vast, inhospitable wilder­ Prod, company.........................................TheBurrowes Keith Thompson, Exec, producer.................................. VincentO’Donnell ness. A pioneering saga about a man who Sound recordists...................John Beanland, Dixon Company Denise Morgan, Exec, assistant........................................MaryGustavsson David Redcliff battles incredible odds and near impossible Producer............................................... GeoffBurrowes David Stevens, Prod, manager....................................... DavidThomas circumstances, and wins.

Editors.....................................................GaryWatson, Directors.................................................John Dixon, Gwenda Marsh Prod, liaison...........................Sgt Ted Wilson Ken Tyler George Miller Script editor............................................. TomHegarty Camera operator.................................StevenMcDonald GLASS BABIES Prod, designers...................................RobertWalters, Scriptwriters........................................... JohnDixon, Photography................................ Kevan Lind Key g rip...................................................GregHarris (Working title) Frank Earley, John Clarke, Sound recordist..................Syd Butterworth Gaffer/grip.............................................. GregHarris Dale Mark, Prod, company............................. PBL Prods James Mitchell Editor................................. Stuart Armstrong Art director..............................................JaneHowat Rudi Joosten Dist. company.............................. PBL Prods Composer............................. Bruce Smeaton Gauge................................................... 16mm Photography..........................Keith Wagstaff Composer.............................. Greg Sneddon Producer...................................Peter Herbert Prod, supervisors......................... David Lee, Progress..................................Pre-production Sound supervisor...................Terry Rodman Exec, producer............................. Noel Price Director................................Brendan Maher Jan Bladier Synopsis: The film, specifically for the Editor............................................ Philip Reid Prod, manager................ Lorraine Alexander Scriptwriters................... Graeme Farmer, Prod, co-ordinator.......................Dale Arthur Police Force, focuses on the attitude of the Prod, designer.......................... Lesley Binns Prod, secretary.......................... Debbie Cole Greg Millin police to bicycling traffic offenders. It will Composer............................................. BruceRowland Location m anager............Steve Maccagnan 1st asst directors....................................PeterMurphy, Based on the original idea demonstrate a real need to change the well- Assoc, producer.................................. DennisWright Prod, accountant...... Moneypenny Services, James Lipscombe, b y ...........................................Russell Scott established prejudice in favor of cyclists, and Prod, supervisor.........................................BillRegan Val Williams Graeme Cornish, Exec, producer........................................... IanBradley seeks to encourage police to enforce the law Unit manager........................................... RayPatterson Prod, Bill Smithett Prod, supervisor......................................MikeMidlam assistant................... Elizabeth Hagan Story consultant...............Patsy Adam Smith 1st asst directors.............. Adrian Pickersgill, with care and concern.

2nd asst directors..................

Dorothy Faine, Casting............................ Mitch Consultancy Synopsis: Love, lust and greed weave Keith Heygate Don Ryan, Costume designer..................................JaneHyland tangled webs when a dynasty turns for its 2nd asst director.................................... PeterKearney Ann Bartlett survival to test tube babies.

Publicity......................Suzie Howie Publicity 3rd asst director...........................G. J. Carroll Budget..................................................... $6.5million Continuity........................... Jackie Sullivan

TELEVISION

PRE-PRODUCTION

172 — July CINEMA PAPERS

Production Survey

Casting................................. Vicki Popplewel! middle-aged comedian. She is disturbed Sound recordist........................ Peter Barker Duncan (Barbara Dean), Darius Perkins Electrician............................... Jason Rogers Focus pulier...............................Tracy Kubler when, going for a swim at Bondi Beach, she Editor....................................................... SaraBennett (Stephen Caine), Regina Gaigalas (Kate Boom operator.............................. David Lee is witness to the drowning of a young man.

Clapper/Ioader............................... Chris Cole Prod, designer...................... Larry Eastwood Trahearn), Caroline Gillmer (Gloria Doran), Art director.................................... Billy Allen From that moment his presence haunts her.

Key grip....................................................BrettMcDowell Prod, co-ordinator..................... Lynda House Peter Kowitz (Jerry Ashton), Victor Kazan Costume designer............... Robyn Richards What does he want from her? The key to the G rip ............................... “ Nobby” Szafranek Prod, manager....... Carolynne Cunningham (Neville Jackson), Nicole Kidman (Bridgette Make-up......................................................LizFardon mystery is held — and withheld — by an Gaffer............................ Graham Rutherford Elliot), Gregory Fleet (Jim Finn), Con 2nd unit make-up.......................................VivMepham Unit manager............. ............Mardi Kennedy Boom operator...................................GrahamMcKinney eccentric old lady.

Hairdresser...........................................CherylWilliams Mathious (Jacko Ross).

Financial Art director.......................................Lisa Elvy controller.... Richard Harper Management Synopsis: A contemporary tele-feature that Wardrobe................................... Jenni Bolton THE MAESTRO’S COMPANY Costume designer.....................Jenny Arnott looks at the public and private life of police Ward, assistant....................Julie Frankham Prod, accountant............................... Michele James Make-up.....................................Viv Mepham 1st asst director...................................... ColinFletcher surgeon Matthew Caine.

Machinist.............................. Sheryl Pilkinton Prod, company............... Independent Prods Hairdresser..................................Joan Petch 2nd asst director.....................................TonyMahood 2nd unit wardrobe.............. Leslie McLennan Producer......................................Jim George Standby wardrobe....................... Viv Wilson, 3rd asst director...............Murray Robertson QUEEN OF THE ROAD Props buyer.................................Lissa Coote Director...............................William Fitzwater Judy-Ann Fitzgerald Standby props....................Nick McCallum Asst unit Scriptwriters........................ Marcus Cooney, Prod, company...............................JNP Films Ward, assistant....................................JamesWatson manager........Christiaan Hoppenbrouwers 2nd unit standby props...........Peter Terakas SueWoolfe, Producer.............................................. JamesDavern Props buyers...........................................BrianEdmonds, Continuity......................................Pam Willis Set decorator.......................... Blossom Flint Sheila Sibley, Director....................................... Bruce Best Scenic artist.............................................

Billy Malcolm Producer’s assistant.................... Rosie Lee Michael Tolerton Marcia Hatfield, Scriptwriter........................ Luis Luisbayonas Carpenters............................................. ChrisNorman, Standby props......................................... NickReynolds, Casting................... Forcast (Michael Lynch, Rick Maier, Based on the original idea by............ Original Rae Davidson) Frank Phipps Gary Freeman Hugh Stuckey Photography........................... Joe Pickering Set construction.......................... Billy Howe Set dressers............................................BrianEdmonds, Extras casting..............................................JoHardie Story/script editor................................... HughStuckey Sound recordist..................... Ken Hammond Lighting cameraman...................Louis Irving Asst editors............................................Claire O’Brien, Michael Tolerton Series created by................................. MarciaHatfield Editor....................................................... ZsoltKollanyi Louise Innes Focus puller................................. Derry Field Scenic artist...............................................RayPedler Photography.....................Robert McDonnell Prod, designer........................... Michael Rolf Clapper/Ioader.....................Laurie Kirkwood Still photography....................................... Jim Sheldon Construction manager.............Denis Donelly Sound recordist....................................... NoelQuinn Composer............................Michael Perjanik Key g rip ................................................. BruceBarber Tech, adviser..........................................Peter Philpott Asst editor........................ Danielle Weissner Videotape editing...................................20/20Vision Assoc, producer..........................Irene Korol Asst grip..............................Brendan Shanley Best boy..................................................CraigBryant Neg. matching................................. Delaneys Set designer........................................WendyDickson Prod, supervisor..........................Irene Korol Gaffer........................................Peter O’Brien Runner................................................Melissa Blanche Music editor.......................... Garry Hardman Exec, producer...................................

RichardDavis Prod, co-ordinator............... Sally Ayre-Smith Electrician...................... John Bryden-Brown Catering.................................................Feast (Australian Screen Music) Prod, co-ordinator......................Julia Ritchie Prod, manager............................ Irene Korol Boom operator............................. David Lee Studios.............................

The Metro Theatre Sound editor...........................................HughWaddell Prod, manager...........................

Brenda Pam Prod, secretary....................................DebbieBrahan Wardrobe designer................................DavidRowe Laboratory........................................Colorfilm Asst sound editor.....................................MikeJones Prod, accountant................... Margaret Keefe Continuity.................................... Nicki Moors Make-up.................................................... BobMcCarron Lab. liaison................................................

Bill Gooley Mixer.................................. Julian Ellingworth Director’s asst/research...........

Sian Hughes Camera operator.....................Joe Pickering Make-up assistant............................... WendySainsbury Length........................................ 10 x 60 mins Stunts co-ordinator...................................GuyNorris 1st asst d irector..................... Stephen Jones Focus puller............................................AnnaHoward Hairdresser................................Jenny Brown Gauge................................................... I6rnm Still photography....................................... Jim Townley 3rd asst director..................................RichardJazek G affer....................................................... RegGarside Wardrobe supervisor..............................AnnaWade Shooting stock......................................Kodak Head wrangler......................................DannyBaldwin Casting consultants.... Maizels & Associates Art director.......................................... MichaelRalph Standby wardrobe..............................AndreaBurns Cast: Gary Sweet (Bradman), Hugo Weaving Wranglers..............................................LaurieNorris, Camera facilities and Costume designer.................................HelenHooper Ward, assistant............................ John Shea (Jardine), Jim Holt (Larwood), Rhys McConGary Amos, operation...................................Tram Video Wardrobe............................................... HelenHooper Standby props...........................................IgorLazareff nochie (Warner), Julie Nihill (Jessie), John Brian Rourke Gaffer.....................................................ShaunConway Asst e ditor........................... Leanne Glasson Walton (Woodfull), Max Cullen (Cooper), Asst props buyer....................................... KimDarby Best b o y ....................................................KenMoffat 2nd sound recordist.............................. DoranKippen Sound editor........................Ashley Grenville Design assistant.............................. RebeccaRaftStunts co-ordinator..................... Grant Page John Gregg (Fender), Arthur Dignam Art director......................... Chris Breckwoldt Location nurse.........................................Julie Rourke Art dept administrator............................ LeahCocks (Jardine sen.), Frank Thring (Lord Harris).

Catering...................................................KateRoach Costume designer.................................FionaSpence Publicity.......................................Lucy Jacob Art dept runner....................................

Murray Pope Heather Mitchell (Edith).

(Katering Co.) Make-up..............................Sylvana Vennery Catering................................... Kaos Katering Synopsis: The Bodyline series dramatizes, Set decorators........................................ Sally Campbell, Wardrobe..................................................

RitaCrouch Tutor.............................Deborah McCormack Studios..............................................Mortbay Lissa Coote In 10 one hour-long episodes, the story of the Mixed a t.................................................. Atlab Ward, assistant.........................Moya Calvert Length................................................ 98 mins cricket battles between England and Scenic artist........................................... PeterHarris Props maker.............................

Eugene Intas Laboratory...............................................Atlab Gauge...................................................35mm Painter..........................................Chris Reid Australia in 1932.

Props buyer........................ Sandy Wingrove Post-production.................................. CustomVideo Cast: Joanne Samuel (Rosie Costello), Carpenters............................................... BobPaton, Length......................................... 13 x 46 mins Standby props...................................... JamieCrooks Amanda Muggleton (Gail O’Reagan), Chris Errol Glassenbury, CHILDREN OF TWO COUNTRIES Scenic artist...............................................RayPedler Gauge................................................... 16mm Haywood (Max), Chris Hession (Len), Allan Dave Young, Set construction..................................... BrianHocking Shooting stock........................................ 7247 McQueen (Fegs), Kevin Leslie (Bronco), Prod, company................................. KingcraftProds Geoff Howe Mixer.................................................... GeminiSound Cast: Liz Burch (Kate Wallace), Louise Clark Shirley Cameron (Mama Lil), Shane Withing(Australia) Construction manager...........................

Brian Hocking Still photography.....................................MarkBurgin (Maggie Scott), Rod Mullinar (Jack Taylor), ton (Fred (Speedy) Norton), Al “ Herpie” Producer.................................................PhilipBond Workshop manager................................ AlanFleming Catering..........D.J. & C.J. Location Catering Jay Kerr (Con Madigan), Gus Mercurio (Ben Graves (Brian Moll).

Director....................................Terry Ohisson Asst editors................................. Emma Hay, Length......................................... 13 x 25 mins Jones), Michael Caton (Paddy Malone), Synopsis: A drama comedy about two Scriptwriter............................. Terry Ohisson Margaret Sixel G auge...............................1 in. PAL C format Martin Lewis (Sam), Priscilla Weems female truckies v/ho are doing a run from Photography...........................Michael Kings, Dubbing editors....................... Paul Maxwell, Shooting stock............................... Videotape (Hannah Scott), Peter Carroll (Mr Withers), Sydney, Brisbane and return. They are being John Mounsey Anne Breslin Cast: Justine Clarke (Tina).

Adam Willits Tony Blackett (Backer Bowman). chased by everyone from the repossessor to Sound recordist......... David McConnachle Asst dubbing editors........................MargaretSixel, (Johnny), Ross Browning (The Baron), Alan Synopsis: Television series made for Disney thugs, not to mention the police.

Editors.........................................Bill Stacey, Julia Gelhard Highfield (Carlo), Ben Franklin (Jacques), Channel. The story of two women, one Aus­ Liz Irwin Still photography................................ CarolynJohns TIME’S RAGING Dasha Blahova and Clelia Tedeschi (Lotte). tralian, one American, who run a stage stop Exec, producer.......................... Neil Ohisson Best boy..................................................CraigBryant Peter Seaborn (Maestro), Janet Ashelford station at Five Mile Creek for the Australian Prod, company............ABC Forest’s Studios Prod, manager....................................... TerrySlack Unit runner............................................. PeterVoeteri (Maria), Alan Highfield (Renato Del Cardo), Express. Five Mile Creek dramatizes the Producer...............................Michael Carson Unit manager......................................... TerrySlack Publicity..............................................Victoria Buchan, Mazz Appleton (Weazel). lives and experiences of these frontier Director............................Sophia Turkiewicz Prod, secretary.................................... MarinaSeeto Channel 10 Synopsis: Two children, who are ignorant of people in the 1860s.

Scriptwriters.................... Frank Moorhouse, Lighting cameraman.......................... MichaelKings Catering......................................John Welch the world of opera, become involved with a Sophia Turkiewicz Camera operator................................ MichaelKings Studios...........ABC Studios, French’s Forest THE FLYING DOCTORS group of eccentric would-be opera stars, por­ Focus puller..........................................Martyn Goundry Based on the original idea Laboratory........................................ Colorfilm trayed by puppets. A series designed to b y ................................. Frank Moorhouse, Prod, company.................... Crawford Prods Clapper/Ioader..................................... MartynGoundry Lab. liaison.................................Bill Gooley, entertain and stimulate a general interest in Sophia Turkiewicz Producers.................................Bud Tingwell, Key grip..........................................Peter Doig Richard Piorkowski opera stories through the lighthearted Graham Moore Photography........................... Julian Penney Asst g rip ................................................. KerryBesgrove Length.........................................3 x 120 mins medium of puppets.

D irector....................................................PinoAmenta Sound recordist.............................Ben Osmo Still photography........................ Ron Furner, Shooting stock...................................... Kodak Editor.................................... Neil Thumpston Scriptwriters......................... Terry Stapleton, Cliff Frith Cast: Michael Blakemore (John Curtin), ONE SUMMER AGAIN Vincent Moran John Wood (Robert Menzies), Robert Prod, designer.........................................TonyRaes Studios........................Kingcraft (Melbourne) (THE HEIDELBERG SCHOOL) Exec, producer...................................MichaelCarson Exec, script consultant.........Barbara Bishop Post Prod.......................................... Kingcraft(Sydney) Vaughn (Douglas MacArthur), Timothy Photography.......................................... DavidConnell Prod, manager..................................... DennisKiely Mixed at...................................Sound On Film West (Winston Churchill), Ray Barrett Prod, company....................................... ABC Unit manager.............................................ValWindon Sound recordist.................................. AndrewRamage Laboratory....................................... Colorfilm Producer.....................................Keith Wilkes (General Blarney), Warren Mitchell (Franklin Prod, secretary................................. MaureenCharlton E ditor........................................................ KenSallows Length......................................... 2 x 60 mins Director................................................... MarkCallan Roosevelt), Peter Whitford (Dr Evatt), Prod, assistant...................................JenniferCouston Exec, producers..................................HectorCrawford, Gauge.................................................. 16mm Scriptwriter................................................ BillGarner Graeme Rouse (Sutherland), Max Cullen Continuity........................................... RhondaMcEvoy Ian Crawford, Shooting stock......................... Eastmancolor (Eddie Ward), Bill Hunter (Ben Chifley), Jon Based on the original idea Casting............................ ’.......Jennifer Bruty Terry Stapleton Synopsis: Two television specials about an Ewing (Bill Hughes), David Downer (Percy b y ............................................... HumphreyMcQueen Camera operator.................... Russell Bacon Assoc, producer............................. Mike Lake exchange visit between children from China Spender), Tony Llewellyn-Jones (EarleSenior cameraman.....................................IanWarburton Make-up........................................... ChristineBalfour and Australia.

Prod, co-ordinator.................... Janine Kerley Page), John Hamblin (Anthony Eden).

Sound recordist...................................... JohnBoswell Wardrobe................................Christine Fadd Prod, manager.......................................HelenWatts Synopsis: “ The Last Bastion” are the words Editor.......................................................... BillMurphy Standby props....................... Lance Mellor KINDRED SPIRITS Unit location m anager.................. Grant Hill used by John Curtin in his 1942 appeal to Prod, designers.................................. GunarsJurjans, Publicity................................................ LesleyJackson Asst location manager........................ MurrayBoyd President Roosevelt not to let Australia fall.

Prod, company........................................ ABC Max Nicolson Catering.................................................FillumCatering Prod, accountant................................... VinceSmits Australia faced a crisis as the Japanese Producer.................................................. AlanBurke Exec, producer.......................... Keith Wilkes Mixed at..............................................Forest’sStudios 1st asst director.............................John Wild moved inexorably south. Australia, already Director............................................Peter Fisk Prod, manager............................Geoff Cooke Laboratory........................................ Colorfilm 2nd asst director.................Michael McIntyre Scriptwriter........................Patricia Johnson marked 'expendable' by Britain and the Unit manager......................................... PeterTrofimovs Length..........................................................75minsBased on the original idea 3rd asst director...................................... Jack Zalkalns Prod, secretary................................... DebbieCole U.S., lay exposed. The threat of invasion Gauge....................................................16mm Continuity................................................Julie Bates by....................................Patricia Johnson 1st asst director..........................Bill Smithett was imminent.

Shooting stock...................................... Kodak Focus puller............................................ GregRyan Photography............................Julian Penney 2nd asst director........................ Ann Bartlett Synopsis: Contemporary story of a woman Clapper/Ioader......................... Bruce Phillips MATTHEW AND SON Sound recordist........................................ BenOsmo Continuity................................... Kerry Bevan solicitor whosemarriage breaks up and Sound assistant..................................... ScottRawlings Editor.......................................................... BillRusso Producer’s assistant..................Kerry Bevan Prod, company.........Television House Films who becomes a single parent.

Key g rip.................................... Ian Benallack Prod, designer................... Neave Catchpool Casting.........................................Greg Apps Producer................................ Damien Parer Asst g rip ................................... Craig Dusting Composer................................................TonyBremner Lighting cameraman................................. IanWarburton Director...................................

Gary Conway Gaffer..................................................... DavidParkinson Prod, manager........................................ JudyMurphy Camera operator......................John Hawley Script editors.......................... Marcus Cole, 3rd electrician/ Unit manager.......................................KatrinaFancsali Focus puller............................. Trevor Moore Christine Schofield genni operator....................................SteveBickerton Prod, secretary................................. MargaretGalletti Key g rip ............................ Tony Woolveridge Photography................................Ellery Ryan POST-PRODUCTION Art director..................................................TelStolfo 1st asst director....................... Ken Ambrose Electrician............................................... MickSandy Sound recordist................................Ian Ryan Asst art director....................................BernieWynack 2nd asst director..........................Kate Woods Boom operator............................. Gary Lund Editor......................................................... CliffHayes Make-up............................................ LeeanneWhite Continuity......................................... ElizabethLindley Costume designer................................ AlwynHarbott Prod, designer......................Robbie Perkins Asst make-up hairdresser............Pam Wright Casting.....................................

Jennifer Allen Make-up............................... Jurjen Zielinski, Composer...................................Ross Burton BODYLINE Wardrobe supervisor............................. ClareGriffin Camera operator................... Russell Bacon Linda Washbourne Exec, producer...........................John Young Wardrobe standby.................................... PhilEagles Prod, company................................

Kennedy Miller Clapper/Ioader............................Brett Joyce Wardrobe........................................... RhondaShallcross Post-prod, supervisor.............David Jaeger Ward, assistant................Margot McCartney Dist. company.......................... Network Ten Key g rip ................................... Alan Trevena Props buyer..........................Helen Williams Prod, manager............................. Jan Tyrrell Props buyer.......................................... Bernie Wynack Producer.......................................... KennedyMiller Asst g rip ................................ Paul Lawrence Special effects............................. Rod Clack Location manager..........Michael McGennan Directors...................................................CarlSchultz, Standby props............................... Barry Hall Gaffer....................................... Martin Perrott Scenic artists........................................... OttoBoron, Prod, accountant................... Mandy Carter Set dressers........................................ HarveyMawson, George Ogilvie, Electrician....................................Pierre Drion John Tribilco 1st asst director......................Robert Kewley Murray Kelly Lex Marinos, Boom operator...............................

Geoff Krix Asst editors......................................... StevenRobinson, 2nd asst director.................. Marcus Skipper Construction manager.......................... PeterMcNee Denny Lawrence Asst designer.............................. Col Rudder Nick Lee 3rd asst director......................Stephen Saks Asst editor......................................... WarwickCrane Scriptwriters.........................................RobertCaswell, Make-up...................................BozenaZurek, Sound editor............................................... BillMurphy Continuity........................................... JoanneMcLennan Stunts...................................................... ChrisAnderson Lex Marinos, Sandie Bushell Editing assistants................... George Moore Casting consultant....................................LeeLarner Still photography........................Sterio Stills Denny Lawrence, Wardrobe.......................................... BeverleyPowers, Title designer..........................................JudyLeech Camera operator................................... ElleryRyan (David and Lorelei Simmonds) Terry Hayes Pat Forster Publicity............... ABC Publicity Department Focus puller............................................ LeighMackenzie Best boy.............................................. RichardTummel Photography.............................

Dean Semler Props buyer...........................................Susan Glavich Catering........................Bande Aide Caterers Clapper/Ioader....................... Kattina Bowell Sound recordist........................ Peter Barker Runner.................................................... PeterNathan Standby props.............................Clint White, Length..........................................3 x 50 mins Key g rip ................................ Paul Ammitzboll 2nd unit sound recordist......... David Glasser Unit publicist.................................. Chris Day Steve Stannard, Cast: Chris Hallam (Tom Roberts), Michele G rip......................................... Peter Kershaw Editors......................Richard Francis-Bruce, Catering....................... Early Morning Risers Richard Walsh Fawdon (Jane Sutherland), Huw Williams Gaffer...................................... Tony Hoitham (Tony Lippold) David Stiven Choreography.........................Glenda Benton (Arthur Streeton), William Zappa (Billy Electrician............................... Bruce Towers Prod, designer.......................................OwenWilliams Set decorator...................Robert Hutchinson Studios.................................................. HSV7 Maloney), Phil Sumner (Fred McCubbin).

Boom operator..............................Ray Philips Composer..................................... Chris Neal Asst editor................................ Jackie Betlem Length...........................................6 x 60 mins Synopsis: A radical look at the first Austra­ Costume designer............Michael Chisholm Prod, manager...................................

Antonia Barnard Musical director.......

Werner Andreas Albert Gauge................................................... 16mm lian art movement.

Make-up.................................. Rochelle Ford Location manager...................... Tony Winley Music performed Shooting stock.............................Kodak 7291 Ward, assistant.................................. LucindaMcGuigan Unit manager.........................George Mannix by.........Queensland Symphony Orchestra Cast: Andrew McFarlane (Tom Callaghan), SINGLES Make-up/wardrobe Prod, secretary................................ ElizabethWright Sound editor....................................Bill Russo Lorna Patterson (Liz Drever), Keith Eden facilities.........Mobile Production Facilities Prod, company........................................ ABC Prod, accountant...................................LyndaCollings Mixer...........................................Peter Barber (Harry Sinclair), Vikki Hammond (Beth Props buyer...................Steven Jones-Evans Producer...............................

Martin Williams 1st asst director.....................................SteveAndrews Still photography.....................................GaryJohnston Drever), Steve Bisley (Andy McGregor), Bill Standby props.........................Jody Borland Directors............................... Ted Robinson, 2nd asst director.................................... ChrisWebb Publicity................................................ LesleyJackson Hunter (Dusty Miller), Linda Hartley (Diana Special effects.........................Brian Pearce Ric Pellizzeri, 3rd asst director.................... Richard Hobbs Catering................................................. FillumCatering Daniels).

Set dresser..............................Martin Perkins Graham Thorburn, 2nd unit 1st assistant...........Tony Wellington Mixed at........................ ABC French’s Forest Synopsis: A story of adventure and romance Sound editor............................Peter Palanky Helena Harris, Continuity........................................... PamelaWillis Laboratory........................................ Colorfilm based on the contemporary Royal Flying Stunts............................................Peter West David Goldie 2nd unit continuity.......................................Jo Weeks Length................................................ 75 mins Doctor Service.

Best boy..................................Bruce Towers Scriptwriters......................................... RobertCaswell, Casting....................Forcast (Michael Lynch) Gauge....................................................16mm Runner....................................Craig De Jong Michael Aitkens, Lighting cameraman..............................DeanSemler Shooting stock................................7291/7294 THE LAST BASTION Publicity............................... Eileen O'Shea, Linda Aronson, Camera operator.....................................DeanSemler Cast: Juiieanne Newbould (Julie), John Kerrie Theobold (Channel Ten) Prod, company.........................Classic Films Alma De Groen, Focus puller.....................Richard Merryman Ewart (Tommy), Patricia Kennedy (Miss Catering...............................Kristina Frohlich Producers................................. Brian Rosen, Anne Brooksbank Clapper/Ioader.................................... Felicity Surtees Morris), Nicholas Eadie (Ben), David Waters Mixed a t ................................................ ...AAV David Williamson, Editor..........................................

Trevor Miller 2nd unit camera assistant.............Colin Dean (Billy), Kevin Wilson (Andrew), Russell New­ Laboratory..........................................Cinevex Denis Whitburn Prod, designer............................... Roger Kirk Key g rip ........................... Merv McLaughlin man (Max), Caz Lederman (Amber), Benita Budget..............................................$800,000 Director.................................. Chris Thomson Exec, producer...................................... MartinWilliams Asst grip..................................................... PatNash Collings (Tarot reader).

Length................................................. 90mins Scriptwriters...................... David Williamson, Prod, manager.........................................JohnMoroney 2nd unit photography.............Andrew Lesnie Synopsis: Julie, a young dancer on the club Gauge....................................................16mm Denis Whitburn Prod, secretary................................. MargaretGalletti G affer.....................................................

John Morton circuit, is at the tail-end of an affair with a Cast: Paul Cronin (Matthew Caine), Paula Photography................................ Louis Irving

CINEMA PAPERS July — 173

WINNER BEST FILM 1984 BERLIN FILM FESTIVAL Gena Rowlands John Cassavettes

BRIGHTON BAY, JULY 6.

VICTIMS OF HISTORY.... GUILTY OR NOT GUILTY? A FILM BY SIDNEY LUMET

ACADEMY TWIN, JUNE 29 & SOON FOR BRIGHTON BAY.

SOON

AT BRIGHTON BAY & ACADEMY TWIN

Production Survey

1st asst directors...................... David Young, Catering..............................Janette’s Kitchen Posie Jacobs, Prod, manager..........................Frank Brown Shooting stock.......................................7247 Russell Whiteoak, Studios.................................... ABC, Gore Hill Graham Thorburn Prod, secretary......................... Debbie Cole Cast: As for Series 2.

Graham Miller, Shooting stock...............................Videotape Scriptwriters............................

Tim Gooding, 1st asst director..................... Peter Baroutis Synopsis: As for Series 2.

Stephen O’Rourke Cast: Joseph Furst (Mr Schippan), Sally Mc­ Johanna Pigott, 2nd asst director........................Mark Gibson 2nd asst directors............. Dorian Newstead, Kenzie (Mary Schippan), Dorothy Alison (Mrs Michael Cove, MAIL-ORDER BRIDE Continuity...............................Christine Lipari Stephen Deignan, S c h ip p a n ), D e s ire e S m ith (B e rth a Paul Leadon, Casting....................................................GregAppsProd, company......................................ABC Scott Feeney, Schippan), Michael Winchester (August David Poltorak, Lighting cameraman............Ian Warburton Producer.............................. Michael Carson Craig Sinclair Schippan), Yves Stenning (Willie Schippan), Forrest Redlich, Camera operator.................. Don Whitehurst Director............................. Stephen Wallace Script e dito r......................... Joanna Nicholls Arthur Dignam (Sir Josiah Symon), Brandon Bert Deling, Focus puller............................................ HansJansen Scriptwriter........................ Robyn Davidson Producer’s assistants........Rhonda McAvoy, Burke (Gustave Nitschke), Martin Vaughan Debra Oswald Key g rip ............................ Tony Woolveridge Photography......................................... JulianPenney (D etective Edward P riest), M atthew Larraine Quinnell, Based on the original idea Asst grips..................................... Tony Halls, Sound recordist............................ Ben Osmo Anthea Dean, O’Sullivan (Mr Stuart). by.......................................... Tim Gooding, Philip Oyston Editor.............................................Bill Russo Danuta Blachowicz Synopsis: In the small, drought-stricken, Johanna Pigott Underwater photography...... Ivan Johnston Prod, designer................... Neave Catchpool Casting....................................Jennifer Allen farming community of Towitta, South Aus­ Script editors......................................MichaelAitkens Electricians..............................................MikeSandy, Composer..........................Ralph Schneider Casting consultants...............Jennifer Allen, tralia, Mathias Schippan rules his family with Sound..................................................... NoelCantrill, Malcolm McLean, Prod, manager.....................Michael Collins Irene Gaskell a rod of iron. On New Year’s Eve, 1900, John Segal Les Frazier Unit manager.....................Katrina Francsali OB cameramen......................Ross Milligan, Bertha Schippan is found dead from 44 stab Prod, designer.....................................MurrayPicknett Boom operator........................................ GaryLundProd, secretary..................... Chrlsula Fillios Peter Robson wounds At the inquest, the jury brings in a Technical producers......... Dave Wightman, Art director............................................... DaleMark1st asst director................... Brian Giddens Studio cameramen................. Richard Bond, contrary verdict and Mary Schippan is Merv Manthey, Costume designer..................David Whalley 2nd asst director................................ MichaelAilwood Murray Tonkin, brought to trial in Adelaide. Is Mary a Brian Mahoney, Make-up............................Rachel Cartwright Continuity............................................AntheaDean Denis Forkin, wronged, innocent young woman or a coldly Ezio Belli, Wardrobe..................................Anne Brown Casting...............................................JenniferAllen Tony Conolly calculating murderess?

Peter Knevitt Props buyer..... ................... Brent McDonald Lighting cameraman.............. Julian Penney OB sound recordist............................ MichaelRoberts Prod, manager....................................... CarolChirlian Standby props............................ Ross Allsop Camera operator.....................Julian Penney Studio sound recordists............. John Segal, VERDICT: WHO KILLED HANNAH Prod, secretary.................

Regina Lauricella Special effects....................................... TerryBarrow Focus puller..........................Russell Bacon Wayne Kealy 1st asst directors.....................Wayne Barry, JANE? Neg. matching..................... Susanne Tyzack Clapper/loader............................ Brett Joyce Make-up.....................................Suzie Clemo Brian Shannon, Music performed Prod, company........................................ABC Key g rip .................................... Alan Trevena Wardrobe...........................................CarolineSuffield David Young, by...........Melbourne Symphony Orchestra Producer......................................Alan Burke 2nd unit photography............ Garry Johnson Props buyers........................................AdrianCannon, Graham Millar Sound editor......................... Geòrgie Moore Director...........................................Peter Fisk Gaffer.................................................... MartinPerrott Max Bartlett, 2nd asst directors....................Kate Woods, Editing assistant.........................Nicolas Lee Scriptwriter...........................................

RobertCaswell Electrician............................................. PierreDrion Mervyn Asher David McClelland, M ixer........................................ John Boswell Based on the novel b y ............................. TomMolomby Boom operator..............................Geoff Krix Dorian Newstead Special effects..........................Peter Cronow Stunts.................................. Chris Anderson, Editor..........................................John Patrick Art director.........................Neave Catchpool Musical director......................Martin Armiger Producer’s assistants....... Rhonda McAvoy, Glen Ruehland Prod, designer.................. Geoffrey Wedlock Asst art director.................... Sibella Mannix OB vision mixer...................Steve Flarrington Danuta Blachowitz, Title designer..............................Judy Leech Composer (title music) ....Warren Abeshouse Make-up............................. Robert Wasson Anthea Dean, Studio vision m ixer................... Michael Flint Mixed a t...................................................ABC Exec, producer............................ Alan Burke Wardrobe............................ Beverley Powers Elizabeth Lindley, Still photography................... Martin Webbey Laboratory.........................................Cinevex Prod, manager........................................ JohnMoroney Ward, assistant...................................... DeanPearce Publicity..................................Lesley Jackson Larraine Quinnell Length......................................................... 78minsProps.............................................Don Page Prod, secretary................................. MargaretGalletti Catering.............................. Janette^ Kitchen Casting.....................................Jennifer Allen Gauge................................................... 16mm 1st asst director..................................... BrianShannon Props buyer..................................

Bill Booth Studios.....................................ABC, Gore Hill Lighting directors.......................Barry Quick, Shooting stock................. Kodak 7247, 7293 Standby props...................... Richard Walsh, 2nd asst director..................................... ScottFeeney David Pike, Mixed a t................................................... ABC Cast: Julie Nihill (Alison), Doug Bowles Bruce Bowman Director’s assistant................................ CarolChirlian Length..........................................5 x 50 mins Jeff Brown, (Matthew), Pepe Trevor (Jackie), James Casting...............................................JenniferAlien Special effects......................Brian McClure, G auge................................................... 2-inch Roy Jeffery, Laurie (Andrew).

Peter Leggett Casting assistant....................................

IreneGaskell Shooting stock............................... Videotape Sam Chung Synopsis: A man fall obsessively in love with OB cameramen....................... Ross Milligan, Asst editor............................................... NickMeyers Cast: ElizabethAlexander(Allison Kirk), Cameras a female fellow worker. He begins to pursue Peter Robson Sound editor.................................

Bill Russo Francis Yin (Andrew Lu),Phillip Ross (Pat), (outside broadcast)............ Ross Milligan, her innocently and she responds in a Studio cameramen................... Richard Bond, Editing assistant..................................... NickMeyers Susan Leith (Jeanette), Melissa Jaffer Peter Robson courteous, but unenthusiastic way. The Murray Tonkin, Mixer.................................. Anne Cocksedge (Gloria), Julie Hamilton (Julia), Dinah Cameras (studio)................... Richard Bond, situation however quickly changes from one Tony Conolly, Publicity................................ Lesley Jackson Shearing (Edith), David Downer (Farrell), Murray Tonkin, of a casual problem to one of menace.

Denis Forkin Catering................................

Fillum Catering Sally Fraser (Kay).

Tony Connolly, Vision m ixers........................................

BruceWilson, Studios.....................................................ABC FIVE MILE CREEK Synopsis: The emergence of a woman from Denis Forkin, Steve Harrington Mixed a t.................................................. ABC Glen Traynor her past through the experience she has Series 1 Laboratory........................................Colorfilm Vision control.........................................Garth Byrne, meeting men through a ‘Singles' agency.

Costume designer..............Janet Patterson Ted Turner Length......................................................... 85mins Prod, company................................... Valstar Make-up.....................................Vicki Blaess, Music and effects..........................

Sue Segal Gauge...................................................16mm Producers........................... Henry Crawford, Sandie Bushell Script edito r........................................JoannaNicholls Scheduled release................................. June1984 Doug Netter Wardrobe............................................... ElsieEvans, Cast: Ray Meagher (Kevin), Charito Ortez OB sound recordist............................MichaelRoberts Directors................................. George Miller, Ron Dutton Studio sound recordist..................John Segal (Ampy), Paul Sonkkila (Tommo), Sheila Props.........................................Terry Bayliss Frank Arnold, AWAITING RELEASE Costume designer..............Janet Patterson Kennelly (Dorothy), Robert Noble (Donnie), Di Drew, Props buyers..........................................ColinBailey, Make-up........................................... Val Smith Justine Saunders (Iris), Frank McNamara Chris Thomson, Tony Cronin Hairdresser.......................................Val Smith (Priest), Bill Conn (John), Lorrie Cruickshank Standby props...................................... Justin Sears Michael Jenkins, Wardrobe.......................................... CarolineSuffield (Ruth), Brian Anderson (Mayor).

Kevin Dobson, Special effects.......................Brian McClure, Props................ ,.......................Roy Eagleton Synopsis: Kev, the builder from Badlgeri, Brendan Maher, CRIME OF THE CENTURY Peter Gronow Props buyer.......................................... AdrianCannon imports a Philippine bride, Ampy. Despite a Choreography........................ Adrienne Nock David Stevens, Special effects........................................

BrianMcClure Prod, company....................................... ABC few early problems the marriage has Gary Conway, Videotape editors................................TrevorMiller, Set decorator...................... Ken Muggleston Producer............................................ MichaelCarson potential. But Badigeri’s populace is both Brian Trenchard Smith John Randel, Still photography.....................................

SallySamins Director....................................Ken Cameron racist and sexist and Ampy, struggling to find Scriptwriters........................... Peter Kinloch, Geoff Chew Publicity................................................ LesleyJackson Scriptwriter..............................Michael Cove her place in the town and the marriage, finds Musical director.....................Martin Armiger Gwenda Marsh, Studios.....................................ABC, Gore Hill Based on the original idea difficulty dealing with conflicting pressures.

Sarah Crawford, Associate musical Shooting stock............................... Videotape b y ....................................................MichaelCove Denise Morgan, director...........................Graham Bidstrup Cast: Graham Rouse (Arthur Peden), June Photography..........................................JulianPenney MAN OF LETTERS Michael Joshua, Asst musical director.......Stephen O’Rourke Salter (Mrs Andrews), Judi Farr (Hannah Sound recordist........................................BenOsmo Bob Caswell, Prod, company........................................ABC Songs found by.....................Carolyn James Jane Peden), Edward Howell (Mr Andrews), Editor......................................Michael Honey Greg Millin Producer...............................Chris Thomson and Graham Thorburn, Barry Otto (James Harney), Francis Bell Prod, designer........................................ BrettMoore Script editor....................................... GrahamForeman Director................................. Chris Thomson and written by 25 of Australia’s (Archibald McDonell), John Gregg (William Exec, producer.................................. MichaelCarson Photography......................................... KevanLindScriptwriter........................... Alma de Groen leading band songwriters Coyle), Peter Whitford (James Gannon), Prod, co-ordinator.................. Cathie Garland Sound recordist....................Syd Butterworth Based on the novel by.......... Glen Tomasetti Music performed b y ............. The Takeaways Leonard Teale (Mr Justice Street), Jennifer Prod, manager.........................John Moroney Editors...................................................... TimWellburn, Photography........................... Peter Hendry Music and effects................................ RobynJudd,Hagen (Marion Andrews).

Unit m anager.................... Dorian Newstead Stuart Armstrong Sound recordist....................................... RonMoore Alan Andrewartha, Synopsis: Sixty-three years ago, Arthur Prod, secretary.................. Geraldine Collins Prod, designer....................... George Liddle Editor.................................... Tony Kavanagh Katie Noakes Bryce Peden was convicted of having 1st asst director.................. James Freeman Composer..............................................BruceSmeaton Prod, designer.................................. GeoffreyWedlock Still photography..................Martin Webbey murdered his wife, Hannah Jane. He pro­ 2nd asst director................ Katrina Francsali Prod, supervisors..................................DavidLee, Composer................................John Charles Title designer........................... Lynne Barrett tested that he was innocent, and many Continuity..........................Larraine Quinnell Jan Bladier Exec, producer.....................Michael Carson Publicity................................ Lesley Jackson people believed him. After six months, a Producer's assistant..........Larraine Quinnell Prod, co-ordinator.......................Dale Arthur Prod, manager.......................... Judy Murphy Studios................................. ABC Channel 2 Royal Commission was set up, and recom­ Casting.............................................. JenniferBruty Location manager.......................Paul Grant Unit manager...............................Val Windon Length.........................................20 x 30 mins mended his release. It is one of only four Lighting cameraman...............Julian Penney Prod, accountant....... Moneypenny Services Prod, secretary................................. MaureenCharlton Gauge....................................................2-inchvideotape cases in Australian legal history in which this Camera operator..................... Julian Penney 1st asst directors..................................AdrianPickersgill, 1st asst director........................Ken Ambrose Scheduled release.................................1984 has happened.

Focus puller.........................................RussellBacon Bob Donaldson 2nd asst director......................Scott Feeney Cast: Tracy Mann (Carol), Ric Herbert Clapper/loader........................................BrettJoyce 2nd asst director.................... Chris Williams Continuity.................................Sharon Goldie (Darrell), David Reyne (Martin), Arky Michael WHITE MAN’S LEGEND Key grip.................................................... AlanTrevina 3rd asst director...........................G. J. Carroll Casting.....................................Jennifer Allen (George), Sandra Lillingston (Christine), Asst g rip .................................Paul Lawrence Prod, company........................................ABC Continuity.............................................JackieSullivan Casting assistant...............Jennifer Couston George Spartels (Nick), Martin Vaughan Electricians............................Martin Perrott, Producer...............................Michael Carson Casting.................................................... VickiPopplewell Lighting cameraman............... Peter Hendry (Shrug), Robin Copp (Johnny).

Pierre Drion Director.............................. Geoffrey Nottage Focus puller............................... Tracy Kubler Camera operator..................... Roger Lanser Synopsis: A 20-part series about the early Boom operator...........................Geoffrey Krix Scriptwriter...................................Wal Cherry Clapper/loader....................................ConradSlack Focus puller..........................Sally Eccleston life of an inner city band. A comic look at the Art director.............................................. BrettMoore Photography............................ Peter Hendry Key grip................................................... BrettMcDowell Clapper/loader......................... Robert Foster world of the 99 per cent of bands that don’t Asst art director............Gregory Stephenson Sound recordist.......................... Ron Moore G rip .................................................. “ Nobby” Szafranek Key grip...................................................LongJohn become the next big thing.

Costume designer................................... BrettMoore Editor.................................... Neil Thumpson Gaffer.................................................GrahamRutherford Asst g rip ............................... Paul McCarthy Make-up............................... Britta Kingsbury VERDICT: THE SCHIPPAN Prod, designer................................... QuentinHole Boom operator................Graham McKinney Gaffer............................................Tim Jones Wardrobe................................................BarryLumley Prod, manager..................... Michael Collins MYSTERY Art director................................................LisaElvyElectricians....................... Robert Wickham, Ward, assistant.......................................DeanPearce Unit manager.............................. Val Windon Ken Pettigrew Prod, company........................................ABC Costume designer................................ JennyArnott Props....................................... Roy Eagleton Prod, secretary................................. MaureenCharlton Boom operator..................... David Pearson Make-up...................................... Jose Perez Producer......................................Alan Burke Props buyer...........................Adrian Cannon 1st asst director....................... Wayne Barry Make-up............................................JohanneSantry Hairdresser.................................Joan Petch Director........................................................

Di Drew Standby props........................................DavidWhite, 2nd asst director..................... Scott Feeney Wardrobe.............................Caroline Suffield Standby wardrobe.......................Viv Wilson, Scriptwriter..........................Kenneth G. Ross Peter Moroney Continuity..................................

Anthea Dean Props buyer............................................. MaxBartlett Judy-Ann Fitzgerald Based on the original idea Special effects........................Peter Leggett Casting...............................................JenniferAllen Standby props........................................ ClintWhite,b y .....................................Kenneth G. Ross Ward, assistant....................................JamesWatson Asst editor.............................. Karen Stimson Camera operator.....................

Roger Lanser Garry Geercke Props buyers....................................Ian Allen, Editor.................................................... TrevorMiller Sound editor.......................... Michael Honey Focus puller......................... Sally Eccleston Asst editor........................................ MatthewRochford Brian Edmonds Prod, designer.........................................TonyRaes Editing assistants.................. Karen Stimson Clapper/loader..................................... RobertFoster Neg. matching...................... Pamela Toose Standby props.......................................PhilipEagles, Composer (title music) ....Warren Abeshouse Mixer..................................................StephenHope Key g rip ............................. John Huntingford Sound editor......................... Tony Kavanagh Nick Reynolds Exec, producer............................ Alan Burke Still photography.................. Martin Webbey Asst g rip ............................... Paul McCarthy M ixer...................................................... PeterBarber Set dressers.....................................Ian Allen, Prod, manager........................ John Moroney Publicity.................................Lesley Jackson Gaffer........................................................ TimJones Still photography.................. Gary Johnston Brian Edmonds Prod, secretary...................

Margaret Galletti Catering.................................Fillum Catering Electricians.......................................... RobertWickham, Publicity................................ Lesley Jackson Scenic artist.................................Ray Pedler 1st asst director..................................GrahamMillar Mixed a t.................................ABN Channel 2 Ken Pettigrew Catering................................ A & B Catering Construction manager.......................... DenisDonelly 2nd asst director...............

David McClelland Laboratory....................................... Colorfilm Art director.........................................Quentin Hole Studios........................ABC, French’s Forest Asst editors............................................ VickiAmbrose, Director’s assistant........... Elizabeth Lindley Lab. liaison..............................Alan Gambier Asst art director...................................AndrewHarris Mixed at...................... ABC, French’s Forest Danielle Weissner Casting...............................................Jennifer Allen Length................................................ 75 mins Make-up.....................................................ValSmith Laboratory....................................... Colorfilm Neg. matching................................. Delaneys Casting assistant.................................... IreneGaskell Gauge...................................................16mm Wardrobe............................................ CarolynMatthews Length......................................................... 75mins Music editor........................................... GarryHardman 0 3 cameramen................... Ross Milligan, Shooting stock......Eastmancolor 7293, 7247 Props buyer............................ Mervyn Asher Gauge..................................................

16mm (Australian Screen Music) Peter Robson Cast: Mark Davis (Steve), Toni Allaylis (Elly), Special effects........................Brian McClure Shooting stock....................................... 7247,7293 Sound editors....................Stuart Armstrong, Studio cameramen.............................RichardBond, Rod Zuanic (Petey), Paul Smith (Roily), Chris Opticals............................................

Colorfilm Cast: Warren Mitchell (Sir Dorton Serry), Hugh Waddell Tony Conolly, Trusswell (Titch), Arna Hunter (Debbie), Dinah Shearing (Beth Serry), Carol Raye Publicity................................ Lesley Jackson Asst sound editor.........................Mike Jones Denis Forkin, John Goddon(Al), John Gregg (Laurie (Ursula Penhindle), Arna Maria Winchester Studios........................ABC, French’s Forest Mixer................................Julian Ellingworth Michael Walter Fletcher), John Hamblin (Ian Henderson), (Doona Douglas), Susan Leith (Drusinda OB sound........................................... MichaelRoberts Mixed at.......................ABC. French’s Forest Stunts co-ordinator....................Heath Harris John Jarratt (Terry).

Laboratory........................................ Colorfilm Highwire),Genevieve Mooy (Con), Pat Horsemaster............................. Heath Harris Studio sound..........................Wayne Keeley S y n o p sis: Steve is “ leader” of a group of Length......................................................... 90mins Bishop (Ann Turtle), Judi Conelli (Marion Vision mixers.......................... Bruce Wilson, Still photography........................Jim Townley teenagers who have too much idle time and Gauge................................................... 16mm Custom), Simon Burvill-Holmes (George Head wranglers........................................RayWinslade, Dennis Murphy few prospects. He meets Elly, who offers him Highwire), John Clayton (Bill the Chairman). Vision control............................................ RayMills, Cast: Bill Kerr (Mac), Dorothy St Heaps Danny Baldwin love and hope. She proposes a possible (Sarah), Deryck Barnes (Tunny), Michael Synopsis: Sir Dorton Serry is a Man of Wranglers............................................. LaurieNorris, Richard Hill future — escape. But the death of a friend Letters. An esteemed philosopher and lover Watson (Lance), Don Reid (Priest), Robert Gary Amos, Music and effects.................................JanineMorgan forces Steve and Elly to confront their of all women, he controls his world Noble (Mike). Frank Taylor (Benbow), Reg Brian Rourke Script edito r........................................JoannaNicholls oppressors, with devastating consequences.

Gillam (Griggs). absolutely.

So how does he react when the Best b o y ...................................... Ken Moffat Costume designer.................................. JudyAtherden women in his life step out of their allotted Synopsis: Though retired, Mac fears giving Runner........................................ Paul Grant Make-up..................................................SuzieClemo EVERY MOVE SHE MAKES roles and challenge his prejudices and life Hairdresser......................... Christine Balfour in to old age. He and Tunny buy a fishing Location nurse.....................................DeidreEagles philosophies? boat, take on an Aboriginal deckhand, Catering.......................................Ray Fowler Prod, company........................................ABC Wardrobe.......................... Carolyn Matthews Lance, and Mac rediscovers a purpose in Producer................................... Erina Rayner (Fillum Catering) Ward, assistant........................... Ron Dutton life.

Disaster strikes: the boat and Mac’s SWEET AND SOUR Director.................................Catherine Millar T utor...............................Deborah Waterman Props................................................... MervynAsher life are irretrievably grounded. Only Lance Scriptwriter........................... Catherine Millar Mixed a t.................................................. Atlab Props buyer.............................................. RoyEagleton Prod, company........................................ABC knows that, for Mac, time is running out.

Photography........................... Ian Warburton Laboratory...............................................Atlab Producer.................................Jan Chapman Standby props........................................SteveStannard Sound recordist........................John Boswell Post-production.................................. CustomVideo Directors.................................Geoff Nottage, Special effects........................................BrianMcClure Editor............................................ Bill Murphy Length........................................ 13x46 mins Helena Harris, Still photography.....................................GaryJohnson Prod, designer............... Christopher Forbes Gauge................................................... 16mm Ric Pellizzeri, Publicity................................................ LesleyJackson

Concluded on p. 197

CINEMA PAPERS July — 175

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I

Annie’s Coming Out Dave Sargent During the past few years, “ the story of Anne McDonald” , whose physical disability caused her to be misdiag­ nosed as intellectually disabled, has been publicly circulated in three major ways.

The first was through the re­ construction of the story by various news media, especially television news and current affairs programs. The second was a book written by Anne with Rosemary Crossley1, the woman responsible for discovering that Anne had a story to tell and who then became an important element in its continuation of that story. And now there is a film, Annie’s Coming Out, adapted for the screen by John Pat­ terson and Chris Borthwick (advised

by Betty Archer), and directed by Gil Brealey.

As with any film which so pointedly draws attention to its story-telling capacity, there are many ways in which it can be realized, and this often depends on why it is being told in the first place. In the case of this film, a disturbing and chilling first image, coupled with ‘Annie’s voice’ presented as a first-person narrator, sets the tone. But it is not only from Annie’s p (Tina Arhondis) position that the audience is drawn into the film; the third-person, observing camera gives the audience another means of identification. This works to merge the first-person story of Annie a n d Jessica (in “ real life” Rosemary, played by Angela Punch McGregor) and the events surrounding the development of their teacher-student, symbolic motherdaughter relationship, and their friendship.

The reason for bringing Annie’s story to the screen seems more than clear: to point out the plight of disabled people whose lives are shaped mainly by the appalling conditions of institutionalization, in a society which actively encourages and promotes such structures and activity. This worth­ while intention makes it difficult for a reviewer (who has witnessed this “ universal story” at first hand as a teacher of physically and mentally d is a b l e d c h i l d r e n ) to m a k e unfavorable comments about a film such as Annie’s Coming Out. It is doubly difficult given the obvious commitment of all those involved in the project.

However, despite the fact that the film has such a strong commitment to an important set of issues, and that it stands up to, and in some ways stretch es b ey o n d , the cu rren t standards of mainstream film produc­ tion in Australia, Annie’s Coming Out left this reviewer feeling discontented.

1.

C o m in g O u t, Rosemary Crossley and Anne McDonald, Penguin, Melbourne, 1980.

A n n i e ’s

T riu m p h in g a g a in s t a ll o d d s : J e s sic a (A n g e la P u n c h M c G r e g o r ) te a c h e s A n n ie (T in a A r h o n d is ) h o w to u se a c o m m u n ic a tio n b o a r d . G il B r e a le y ’s A n n i e ’s C o m in g O u t.

Much of this has to do with the emphasis on heroics which (over)determines the enunciation of “ Annie’s story” .

Admittedly, the highly-charged perform ance of Angela Punch McGregor, crisp photography by Mick Von Bornemann, swift editing by Lindsay Frazer, which keeps a sharp focus on the linear development of the narrative strands, and the stirringly melodramatic score by Simon Walker are all superb. And it is true that some of the incisive narration of Annie, along with several unsettling images, gives one insight into an institution.

Admittedly, the poetic, though alluring style, of “ Annie’s voice” and

the sometimes “ too-clean” images almost undermine the impact of some representations, which in real life are far more disturbing.

Yet, all of these aspects basically work to reduce the complex elements of a “ real life story” such as Annie’s to a series of screen cliches. This is dis­ appointing when one reflects that the promotional material accompanying the film can so easily — and so rightly — describe it as “ a story of triumph of human spirit against all odds” , “ the battle of the individual against society’s established bureaucracy” and “ a story of winning which could enter­ tain as well as inspire its audience” .

Other Australian films have dealt

with stories of the disabled. It might be useful to think about them (in more detail than one is able to do here) as a growing number of films which determine w h a t can be said about the disabled and h o w it can be said in Aus­ tralian film discourse. Thus far, a m ixture of fictional narrative, actuality and fictional narrative based on actuality have marked out this dis­ cursive realm in Australia. Some of these films include Captives of Care (Stephen Wallace, 1981), The First Step (Pieta Letchford, Barbara Chobocky, Barry Creece, 1976), Keep It Down To a Shout (Dasha Ross, 1978), Pins and Needles (Barbara Chobocky, Genni and Kim Batterham, 1980), Where’s the Give and Take (Genni and Kim Batterham, 1981) and Stepping Out (Chris Noonan, 1980).

Annie’s Coming Out occupies a central position in this field but does little to push the boundaries outward.

Instead, at times, it seems to want to safeguard the audience by not presenting sights that are too shocking, while, at other times, it seems to want to leave things glaringly unsaid. This may relate also to not wanting to cause further controversy among the story’s real life participants; in the film, the conflict of Annie, her parents and Jessica’s intervention is delicately side­ stepped. But, more important, this cautiousness seems to have to do with certain assumptions in the film about the way in which films change people’s attitudes.

Films can be, and often are, a source of inspiration, and sometimes may help to change people. One wishes that this might happen because of Anne McDonald and all the other Anne McDonalds of the world.

But the question must also be asked: why is there a tendency in film narrative to reduce the stories of the disabled to “ individual against society” , “ triumph against all odds” and “ winning” , especially when in “ real life” the difficulties and conflicts that disabled people have to contend with are rarely resolved so neatly or so triumphantly? This should not be read as a demand for realism in films, but rather as a demand for filmmakers to interpret complex stories in complex ways.

Annie’s Coming Out: Directed by: Gil Brealey. Producer: Don Murray. Executive producer: Don Harley. Screenplay: John Patterson, Chris Borthwick. Director of photography: Mick Von Bornemann.

Editor: Lindsay Frazer. Production designer: Robbie Perkins. Music: Simon Walker. Sound recordist: Rodney Simmons. Cast: Angela Punch McGregor (Jessica), Tina Arhondis (Annie), Drew Forsythe (David), Wallas Eaton (Dr Rowell), Simon Chilvers (Warren Met­ calfe), Monica Maughan (Vera Peters), Mark Butler (Dr Munroe), Liddy Clark (Sally), Phillipa Baker (Sister Waterman), Alistair Duncan (Hopgood). Production company: Film Australia. Distributor: Hoyts. 35mm. 96 mins. Australia. 1984.

CINEMA PAPERS July — 177

Razorback

Razorback

extremely well-edited sequence), and then by attempting to rape her. When, however, the razorback turned up Jim Schembri looking for lunch, they drove off, leaving her behind.

At first, Dicko and Benny are a joy to watch. They are a pair of outrage­ Routine as it sounds, the premise of ously-dressed, slimy, cackling ocker R ussell M u lc a h y ’s R a z o r b a c k caricatures and the ‘over-the-top’ promises to be a lot of fun. The idea of performances by Argue and Haywood a ferocious, rhino-sized boar — or provide some amusement. They have, razorback — roaming the outback however, little to do with the razoreating people is a variation on a back. Their story, like the other digres­ successful formula (Jaws, A lien), and sions in the film, is not a parallel the film’s publicity blitz assures the development of a central narrative viewer some solid entertainment. force or tension, but a tangential However, R azorback has trouble emphasis that offsets it. focusing the viewer’s attention on any Trying to befriend Dicko and Benny one narrative thread. By virtue of its to get information, Winters joins them opening, one assumes the hunt for the on a kangaroo hunt. When he becomes rampaging boar is going to be the main nauseated at their violence, he is left in interest of the film. But subsequent the wilderness by the brothers who tell narrative digressions leave the viewer him to wait and not go “ walkabout” . wondering what on earth R azorback is He has a nightmare and runs off, about. delirious, into the night. At a water­ The film begins conventionally by hole he climbs a windmill for safety. In establishing the ever-reliable revenge the morning, a herd of boars, motive. Jake Cullen (Bill Kerr) loses including the razorback, topples the his grandson to the ferocious razor- windmill and Winters goes a little mad. back, and then an American, Carl In another digression, he then goes Winters (Gregory Harrison), loses his walkabout in the film’s dullest pregnant wife, Beth (Judy Morris), segment, as he staggers for minutes on while she is doing a documentary on end through surreal landscapes and Australia’s kangaroo slaughter. some singularly unimpressive special­ When Carl Winters visits the locality effects imagery. He ends up at the of Gamulla to investigate, he tracks homestead of Sarah Cameron (Arkie down Jake, who tells him to visit Whiteley), who tells Jake that Winters Dicko and Benny Baker (David Argue has seen the razorback. But while Jake and Chris Haywood). Jake suspects goes off in search of the beast at the they were with Beth before she died. waterhole, Mulcahy digresses again by Dicko and Benny hunt kangaroos for establishing a sexual tension between the Pet Pak pet food cannery. They Winters and Sarah. In fact, the point had, as Jake suspects, terrorized Beth, that Sarah is an absolutely ravishing first by running her off the road (in an young woman living all alone miles

Sarah Cameron (Arkie Whiteley) enlists support for a boar hunt at the Gamulla pub.

Razorback.

R u s s e ll M u lc a h y ’s

178 — July CINEMA PAPERS

One Night Stand

from anyone and that Winters is a handsome, young and, by now, single man is stressed more than Jake’s quest for the razorback. A shot which makes this intention painfully obvious has Winters sleeping in a bed in the background while Sarah lies sighing on her bed, behind a partition. But, like most of the digressions, it is dropped as suddenly as it is taken up. By the end of the film one is no closer to knowing how or if that sexual tension is going to be resolved.

Suspense-wise, things do pick up slightly when Dicko and Benny break Jake’s kneecaps and he is killed by the razorback. A hunting party sets out to track the razorback by transmitter, but its enthusiasm for hunting the boar and injecting some pace into the film unfortunately wanes when the group tracks down a considerably smaller quarry.

When Winters identifies some blade marks at the waterhole as Dicko and Benny’s, he seeks vengeance for his wife’s mistreatment and this digressive plot is fired again. In fact, it is only by chance that Winters faces the razorback in the film’s moderately exciting finale at the Pet Pak cannery while exacting revenge on Dicko for molest­ ing Beth.

The film’s failure to establish a firm, central story development is exacer­ bated by its reluctance to exploit one of its chief resources: Bill Kerr. Kerr’s physical presence and his tightly controlled delivery of dialogue (what little he has) gives a power and texture to a brief and sporadic role that should have had much more bearing in the film.

Another problem is that the razorback does not ultimately make a convincing monster. Its enigmatic presence works well for most of the film, and some splendid editing and camerawork establish the ferocity of the razorback without actually showing it. This, along with some sil­ houette and close-up shots, creates a genuine desire in the viewer to see what the thing looks like. That desire is not fulfilled in the denouement at the Pet Pak cannery, where technical limitations keep the viewer from seeing the razorback in full flight. All one gets are some unsatisfyingly brief glimpses of its snarling face and a few nebulous wide-shots.

However, despite these narrative and technical problems, Razorback must be credited for being one of the most technically accomplished and visually exciting Australian films yet made. Most of the landscape com­ positions are stunning to look at and the skilful combination of editing, stereo sound, lighting and camerawork create some powerful atmosphere pieces which evoke the opposite of the physical setting.

The kangaroo hunt sequence, for instance, has shafts of light bursting from behind trees, and the shifting spotlight of the truck as it moves against a black backdrop gives the impression of claustrophobia in an open landscape.

Similarly, from the outside, the Pet Pak cannery looks a typical, enclosed factory, but inside it is a vast, cold-blue expanse of jostling carcasses and groaning machinery, intermeshed with Iva Davies’ atmospheric score.

Unfortunately, most of the images in Razorback, immediately striking as they are, wash off very quickly as the story meanders along and viewer interest fluctuates. Images and visual impact are certainly important in an

action-thriller, but only when matched with a concern for suspense and pace.

In Razorback, these elements are, for the most part, out of synch.

Razorback: Directed by: Russell Mulcahy.

Producer: Hal McElroy. Associate pro­ ducer: Tim Sanders. Screenplay: Everett de Roche. Director of photography: Dean Semler. Editor: Bill Anderson. Production designer: Bryce Walmsley. Music: Iva Davies. Sound recordist: Tim Lloyd. Cast: Gregory Harrison (Carl Winters), Arkie Whiteley (Sarah Cameron), Bill Kerr (Jake Cullen), Chris Haywood (Benny Baker), David Argue (Dicko Baker), Judy Morris (Beth Winters), John Ewart (Barman), John Howard (Cameraman). Production company: McElroy and McElroy. Dis­ tributor: Greater Union. 35mm. 95 mins.

Australia. 1984.

One Night Stand Geoff Mayer

Recently, director John Duigan told radio film critics, John Flaus and Paul Harris, that he expected the conser­ vative critics in Australia to savage his latest film, One N ight Stand. Well, he has not been disappointed.

Duigan has argued that his intention in making One N ight Stand was to try to show how people might behave in the face of a nuclear attack and to explore the sense of powerlessness experienced by many people in the shadow of this threat. The aim, according to Duigan, was both to inform and educate the mainstream audience, particularly a “ target” audience in the 13 to 30 age group.

In attempting to fulfil these aims, Duigan has adopted an episodic structure which largely eschews a more traditional, linear narrative with its strong emphasis on the cause and effect elements building to a powerful conclusion. However, in rejecting this narrative structure, Duigan sacrifices tension and suspense, and one is left mostly watching for transformation in the characters and for any insights gen­ erated through them.

It is in this area that the film falters.

After a somewhat interesting, albeit conventional, opening which estab­ lishes the naivety and innocence of the four teenagers who are more interested in the Tattslotto results than the impending nuclear confrontation, the film grinds to a narrative halt in the Sydney Opera House. What do you do with four inexperienced actors (Tyler Coppin, Cassandra Delaney, Jay Hackett and Saskia Post) in a huge shell for more than an hour of screen running time? There is little tension and the dialogue lacks enough wit or even insight into the nuclear debate to retain one’s attention. This becomes apparent when the outcome of a strip­ poker game takes on greater signifi­ cance than the seemingly endless exchange of dialogue about the nuclear attack.

Duigan attempts to alter the aud­ ience’s perception of the reactions to a nuclear confrontation by initially e s ta b lis h in g the s te re o ty p ic a l characteristics of three of the teen­ agers, excluding Sam (Tyler Coppin), who are primarily interested in the

One Night Stand

Labour o f Love

The start of the striptease: Sam (Tyler Coppin), Eva (Saskia Post), Sharon (Cassandra Delaney) and Brendan (Jay Hackett). John Duigan’s One Night Stand.

opposite sex and having fun. The regeneration and (perhaps) growth in their reactions comes about slowly and it is probably hoped that the target audience will also change its attitude accordingly.

Consistent with this aim, and a recurrent aspect of social problemcum-message-cum-propaganda films, is the basic polarization of the film into Innocence struggling against Evil: the intention is to align audience support solidly behind the teenagers and in opposition to those promoting the mining of uranium, proliferation of nuclear weapons and military expenditure by the superpowers. It should be mentioned that Evil is never specified to this extent in the film — the closest is when both the U.S. and Russia are blamed for the holocaust whilst adults in general are condemned for the current catastrophe — although the implications are fairly clear.

Once the film moves into the Opera House, Duigan adopts two seemingly contradictory approaches to the drama. First, the Opera House is used as a theatrical metaphor in which the four characters perform a play within a play, unaware of the significance of the events of this drama and without any control over what is taking place around them. The irony of this is heightened by the use of the innocent resonance of the early 1960s song, “ It Might As Well Rain Until Sep­ tember” , near the beginning of the film and as the bomb drops at the end.

D uigan’s som ewhat absurdist approach in the Opera House is height­ ened by the use of Fritz Lang’s 1926 German film Metropolis throughout and at the end of the film. Yet, among these distancing devices, the film uses a series of sentimental and banal flashback sequences: to Sam and his American girlfriend on a Manhattan ferry looking at the Statue of Liberty; Sharon (Cassandra Delaney) back in the shelter sheds at her school; Eva (Saskia Post) learning from a biology

lesson that “ men and women have different plumbing” ; Sam taking photos in Paris; etc.

Most of these flashbacks seem rather pointless except to sentimental­ ize the characters and support one of their cries in the Opera House that, “ I dunno what you’re supposed to do in life but whatever it is I don’t reckon I’ve done it.” Perhaps they are also important in establishing audience identification with the 13-year-old end of Duigan’s target audience, but this reviewer became very nervous every time the camera lingered on an object and a flashback sequence seemed possible.

The confusion in the aims of the approaches adopted by Duigan is readily apparent at the conclusion of the film. Surely the purpose of this film is to mark its social discourse as existing outside the film text — hence, the possibility of audience discussion and, hopefully, action in accordance with the film’s social message. To achieve this, the film should not be viewed as a fiction nor the activities of the teenagers as a game. Yet the cross­ cutting from the scenes of chaos in Metropolis to the Australians running to an underground railway station only heightens the fictionality of One Night Stand and indicates that, like Metro­ polis, it is only a movie, a science­ fiction fantasy.

Directed by: John Duigan. Producer: Richard Mason.

Associate producer: Julia Overton.

Screenplay: John Duigan. Director of photography: Tom Cowan. Editor: John Scott. Production designer: Ross Major.

Music: William Motzing. Sound recordist: Peter Barker. Cast: Tyler Coppin (Sam), Cassandra Delaney (Sharon), Jay Hackett (Brendan), Saskia Post (Eva). Production company: Astra Film Prods. Distributor: Hoyts-Edgley International. 35mm. 94 mins. Australia. 1984.

One Night Stand:

Labour of Love Vikki Riley

In the context of mainstream German cinema, the films of Margarethe Von Trotta present themselves primarily as portraits of the post-war German middle class. Her characters are usually budding professionals who acquire a standard of comfort which inevitably clashes with their political behaviour, and who strive to maintain a sense of personal ideology. Her position in the German new wave cinema is phenomenologically deter­ mined by the desire to depict Germany as a nation of people misguided by their view of history and by the reassessment of the fear and neurosis which is so glaringly present.

Von Trotta’s two most successful and celebrated films in Australia,

Schwestern oder die balance des glucks (Sisters or The Balance of Happiness, 1979) and Die bleierne zeit (Dark Times, 1981), deal with these problems in a careful and complex fashion, harking back stylistically to Ingmar Bergman’s studied portrayal of women. However, her directional traits of austerity and distance, inter­ woven with the power of the close-up, is nowhere near as rigorous in Heller wahn (Labour of Love) as it is in her earlier work. Although she continues to be obsessed by the problems of private and public life, style here is sacrificed for her more paramount concerns with feminist dogma and emotional angst.

Labour of Love is very much an actors’ film; the two female leads have been given a heavy weight to bear in transforming the characters into credible archetypes of strength and weakness. As Olga, Hanna Schygulla is, as always, beautifully reticent and at ease with her male counterparts: her former husband Dieter (Franz Buch-

rieser) and her new lover Alexej (W ladim ir Y o rd a n o ff). A ngela Winkler plays Ruth, a house-bound wife who, until she meets Olga, has no friends of her own. It is here that Von Trotta takes questionable liberties in representing the women as problematic in their personal conception of them­ selves, living in what she defines from the outset as a male-dominated culture.

Von Trotta’s mid-1970s, feminist rhetoric is essentially textual (the ideal of sexual liberation being an academic process), reinforcing notions of exclusive female knowledge, female comradeship and female art. Olga and Ruth’s friendship is grounded in a mutual understanding of the female psyche, but one which acknowledges acute and unrealistic sexual differ­ ences. The men in their lives cannot penetrate their private rapport and, as a result, Von Trotta paints them as jealous, weak and doting. Franz (Peter Striebeck), Ruth’s husband, and Dieter figure here as props to enhance the studied visual attention accorded to women. The interplay of eye glances, gestures and behavioural idiosyncracies between Ruth and Olga is orchestrated and codified, perfected in the way they are respectively lit, dressed and framed. Ruth is painted as dark, with an austere and childlike inno­ cence, while Olga is bathed in light, fashionably and seductively dressed, displaying a self-willed independence in her private and professional lives.

But their attraction as opposite person­ alities, introvert and extrovert, is forced by the film and not inherent in the characters.

Their almost sisterly expression of affection and respect is, of course, a recurring preoccupation in Von Trotta’s work. In Dark Times, the sisters are united, despite their dis­ parate political activity, by the sharing of personal history. Their recollection of childhood events, authoritarian upbringing and differences of personality seem excessive but logical foundations for the representation of the broader, far more interesting aspects of old and new Germany, and the political extremism which is still present. But, in Labour of Love, the bond of female friendship is forced and shown as something unexplain­ able, unquestioned, but necessary.

In the opening scenes in Provence, Olga meets Ruth at a friend’s house where Ruth runs away into the dark, wanting to kill herself. Olga is the one to find her in time and from here on relations between the two women begin. Olga’s altruism and Ruth’s persistence in making their friendship w ork d eterm in e m ost o f the behavioural patterns in the film. Ruth believes Olga will help her to gain personal confidence and overcome her fears, resulting in the exclusion of her husband. Franz’s reaction to Olga eventually turns into aggression.

The importance the film gives to Ruth’s problems is crucial to the psychological-feminist argument set up by Von Trotta. Ruth’s weakness and social ineptness is shown as stemming from her husband’s over­ protective and dominating stance.

Another reason is offered: her brother hanged himself five years earlier; but this is more or less discarded as the real one and upheld only by Franz, who believes that she will follow her brother’s actions. Ruth paints in black and white, says she dreams in black and white, and the film frequently depicts Ruth’s dreams in black and CINEMA PAPERS July — 179

Labour o f Love

Stanley

product concept to the international board of directors. Stanley’s research has shown that people eat pet food so he proposes a new pet food for man and beast to share. The presentation is not a success. Sir Stanley, exasperated by his son’s lack of normality, feels it is time he was institutionalized.

Stanley jumps out the skyscraper window to freedom — a gag slyly set up (the audience has seen the window cleaners’ elevator pass by earlier) but clumsy in its pay-off.

Stanley wishes to achieve normality by osmosis and uses a computer to find the most normal family in Australia (with a room to rent). This proves to be in the home of Norm and Doris Norris (Graham Kennedy and Susan Walker) and their teenage children Morris and Patty (David Argue and Joy Smithers) in the heart of garden­ gnome suburbia. This family’s proc­ livities are lightly sketched: Doris spends inordinate amounts of time at her tennis club; Morris and Patty are involved in sports and acting respec­ tively; and Norm keeps ambiguously broaching the subject of sex with Stanley.

At a job finders agency Stanley meets Amy (Nell Campbell), a girl with a colorful past trying to lead a quiet life despite the matchmaking efforts of her sister Sheryl (Lorna Lesley).

Stanley sees Amy as the ideal normal girlfriend and sets about an oldfashioned, chocolates and flowers Olga (Hanna Schygulla) and Ruth (Angela Winkler) in Margarethe Von Trotta’s Labour of Love: “a one-dimensional, discursively dull wooing, despite numerous rebuffs. and finally outdated view of sexual politics”.

Their outings are continually plagued

by Detective Berger (Max Cullen) and white as the projection of her psycho­ on a trip to Cairo, where she assists her dorf. Screenplay: Margarethe Von Trotta. his spotters, employed by Sir Stanley logical state. These black and white teaching women’s history.

Director of photography: Michael Ball­ to track down his son; the subsequences are in every sense, but most The trip relieves Ruth from her haus. Editor: Dagmar Hirtz. Production Clouseau-like antics that result are a of all stylistically, used in a sloppy and isolation and she regains her designer: Jorgen Henze. Music: Nicolas slightly tiresome sub-plot. ineffective fashion. Their place, too, in confidence, but it is again reduced to Economou. Sound recordist: Vladimir Soon the Norris family’s secrets the narrative is often arbitrary and thematic significance. Olga remarks Vizner. Cast: Hanna Schygulla (Olga), come out of the closet. Doris is having unjustified, and in no way provides an that the women are easy to teach, Angela Winkler (Ruth), Peter Striebeck an affair with the secretary of the easy explanation for Ruth’s intro­ talented and committed; they clearly (Franz), Christine Fersen (Erika), Franz tennis club, who has embezzled the verted behaviour. are model students who are there to Buchrieser (Dieter), Wladimir Yordanoff funds; Norm is having a homosexual As an artist, she is shown as con­ reinforce the critique and not question (Alexej), Agnes Fink (Mutter), Felix affair with Harry (Harold Hopkins) stricted by her repressive tendencies it. The scenes in Cairo represent a Moeller (Christof), Jochen Striebeck who wants Norm to leave the family; (Bruno), Therese Affolter (Renate), Werner and by her gender. She can only copy Utopian view of women which Eichhorn Morris is in debt to some teenage drug (Schlesinger), Helga Ballhaus originals from the gallery, and it is summons to mind missionary methods (G aleristin). P ro d u ctio n com pany: pushers; and Patty is pregnant to her here that Von Trotta’s brand of of doctrine, to which the film Bioskop-Film (Munich)-Les Films du Aboriginal boyfriend. feminism secures its own short­ constantly alludes but rarely puts into Losange (Paris)-WDR (Köln). Distributor: In the neatly-set-up climax, Stanley, comings. Art is classified according to any perspective (other than creating a Newvision Film Dists. 35mm. 105 mins. in a single day, evades his father’s fire­ gender; male art is recognizable as situation in which these positions can West Germany. 1983. power and buys everyone out of their structured, colorful and, most impor­ function favorably). predicaments, giving them a chance at tant, reflective of the dominant ideo­ When they return to Provence, a new life, before he himself dresses as logies of representation that have to do where the film began, Franz is waiting a knight on a white charger to finally with a kind of naturalism, realism and to greet Ruth and take her home, but sweep Amy off her feet. rationalism which, in the film, symbol­ she wants to stay longer with Olga. An Stanley Esben Storm’s admirable record as ically stand for patriarchal hierarchy. argument erupts between Franz and writer, director and actor has scarcely Against this, female art is shown as the Olga, and Ruth learns the truth about touched on genre comedy, and the antithesis of any kind of ordered the cancellation of her exhibition. Mark Spratt pace and tone of Stanley is erratic. It reconstruction of life.

Here, at the end of the film, problems wavers between the juvenile (Stanley In the basement of her house, Ruth quickly and somewhat melodram­ firing a rubber dart at his father’s paints different kinds of pictures for atically come to a crisis point. Ruth voice issuing from a tape recorder) and herself: colorful, free-form arrange­ shoots her husband mercilessly, but One’s initial fears and impressions at the sophisticated (the shoe salesman ments of constellations and the apparently only subconsciously, as the beginning of Esben Storm’s who discusses everything in terms of universe. Olga encourages the curator these scenes are in black and white. Stanley are that a weak attempt has his foot fetish). of a local gallery to inspect the Olga returns home to find her lover been made to create a modern, screw­ It is a decade or so since the Alvins paintings and, when she does, she gone and must shake off her guilt ball comedy based on an eccentric, and Bazzas represented the state of the assures Ruth that they will make her a feelings about Ruth and Franz and rich, young man — a ‘rip-off’ of Aussie comic art — celebrations of success. The criterion of her success is continue living.

Arthur (1981), which is not especially how Australians believed the world not the artistic quality of the work, The film ends on a comfortably worth ripping-off. These expectations perceived them. The invitation was to but its free-spirited, profoundly ambiguous and pessimistic note, are pleasantly subverted, however, as laugh at ourselves while cringing. A abstract, fertile and organic com­ resonating in the futility of not just it becomes apparent that the titular few steps forward have been made in position which labels them as male-female relationships but possibly hero’s quest for ‘normality’ among the satirizing Australia, its politicians and essentially female and liberated from all relationships. In Labour of L ove, Australian middle class will lead him institutions, but one still has some the male constraints of order and there is no resolution for sexual along a more polymorphously perverse doubts whether a nation that can sit narrative. division, and little possibility for the path, more akin to Som ething For through The Man from Snow y River Even if this differentiation of male articulation of a credible female Everyone (1970), even if Stanley’s (1982) or Norman May’s sports broad­ and female aesthetic were plausible, it ae s t he t i c o t he r t ha n a o n e ­ involvement with his adoptive family casts without guffawing actually does only exists as an illustrative tactic. dimensional, discursively dull and remains chaste and monetary. have a reflective sense of humor.

When Franz hears of the possibility of finally outdated view of sexual The audience is introduced to Stan­ Stanley, then, in satirizing a differ­ Ruth’s exhibition, he predictably politics. ley Dunstan (Peter Bensley) jet-biking ent stereotype, the normal suburban prevents it by telling Ruth that it had and skating from his yacht on Sydney family, is breaking new ground for a to be postponed due to organizational Harbour to his work in his father’s, Sir cinema feature; further, the care taken problems. Ruth suppresses her dis­ L a b o u r o f L ove: Directed by: Margarethe Stanley Dunstan’s (Michael Craig), with the bright and modern decor and appointment and decides to join Olga Von Trotta. Producer: Eberhard Junkers­ business. He is to present a new color schemes has given the film a J80 — July CINEMA PAPERS

Future Schlock

Stanley

visual cohesion. Disappointment sets in when the material seems to run out in places. Nell Campbell, for instance, underplays the girl-on-rebound role nicely and relishes some of the film’s best lines: for example, “ If we don’t hurry we’ll miss them setting the table” as Stanley takes her out at an absurdly early hour to dine. Too often, though, she is not given the witty ripost and is reduced to inane reaction shots.

Ultimately, the knockabout slap­ stick of the final chase scenes pre­ dominates where a more endearing film might have stayed with its charac­ ters and satirized more sharply the attempts of society to define and appear normal. Storm has pinpointed the targets most held in fear and loath­ ing by ‘pre-multicultural’ Australians — homosexuality, drugs and what used to be called miscegenation — but they exist in a social vacuum. All the characters are dotty to some extent, so the Norris’ deviations seem neither surprising nor something to celebrate.

In fact, Stanley’s “ Eureka!” discovery that normality does not really exist is somewhat redundant. His naive belief that it might is initially charming but one wonders what he was doing during the previous decade when wandering the globe. Was he lobotomized in the Thai prison?

Norm’s and Patty’s affairs need more substance beyond a statement of their existence to be meaningful. Patty’s lover remains a shadowy figure and Harry is unfortunately characterized as yet another primping, selfish gay.

There seems no.reasons for Norm to have already loved him for seven years, let alone to be devoting the future to him. The filmmakers evidently felt a light touch was needed for this material, resulting in a film more trivial tljan it need be.

One should not make comparisons with current American hit comedies as American filmmakers have practised the art of screwball comedy for more than half a century and can plunge into the boisterously eccentric with full confidence where Stanley merely paddles. However, it is to be hoped more light comedy will be attempted in this country to prove that Australia and Australians can be funny, and to break the stranglehold that locally pro­ duced costume melodramas and horse operas have on the imaginations of the film-going public.

The most disarming moments in Stanley occur between Stanley and Amy. In one, a dance floor is cleared for them to dance elegantly to Irving Berlin’s “ Cheek to Cheek” ; another, the final sequence with Stanley and Amy as knight and damsel riding into the sunset to the strains of Jeanette MacDonald and Nelson Eddy’s “ Indian Love Call” , suggests a vein of romantic fantasy that could have been or could be mined more profitably.

(Maryanne Fahey) and Bear (Michael Bishop), performers at Alvin’s Hole nightclub by night. Posing as the Cisco Kid and Pancho by day, they sneak Mark Sprait into suburbia disguised as “ sub’oies” to perform acts of sabotage. Voice­ over narration by Alvin (Tiriel Mora) From a starting point of announcing and inter-titles smooth over the cracks.

A tolerance, indeed love, of Z-grade the “ first A ustralian new-wave comedy” , Barry Peak and Chris Kiely filmmaking is necessary to appreciate of the Valhalla cinema have produced, Future Schlock. The budgetary restric­ on a shoestring ($80,000) budget, a tions call for much invention and film tailor-rpade for that cinema’s imagination in location work, and devices such as bricks being placed on audience.

Such conceptual exploitation is a map to represent the ghetto. (This fraught with danger. Look at Jim sort of thing is turned into a virtue by Sharman’s Shock Treatm ent (1981), a the narrator referring to “ policemen spin-off from his The R ocky Horror placing bricks on maps” .) However, Picture Show (1975) and its participat­ the claustrophobic shooting style gives ing audience phenomenon, which little real sense of the geography of the featured an audience participation film. The ghetto doesn’t exist as a game show as its plot device. With place beyond a few exteriors and the such competition from the screen, the fact that most of its inhabitants are perpetually doped saves having to R ocky Horror audience felt betrayed by this attempt to goad them into make them do anything, unlike the denizens of Mortville in D esperate doing it again.

Living. This perhaps is the major Future Schlock is built around dozens of passing references to films weakness of the film. Cisco and familiar to Valhalla patrons, notably Pancho are folk heroes, according to John Carpenter’s Escape From New the narrator, but nobody appears to S ta n ley : Directed by Esben Storm. Pro­ York (1981) and John Waters’ D es­ notice or celebrate their activities, ducer: Andrew Gaty. Associate producer: perate Living (1977), though Mike many of which are merely mildly Warwick Ross. Screenplay: Esben Storm.

Nichols’ The Graduate (1967) may be amusing (Bear posing as the Housing Director of photography: Russell Boyd. harking back a bit far. A barrage of Minister who tells the suburban E ditor: Bill A nderson. Production designer: Owen Williams. Music: Bill Mot- visual and verbal information estab­ populace brick veneer houses are zing. Sound recordist: Mark Lewis. Cast: lishes that Melbourne has been the site dangerous).

Graham Kennedy (Norm Norris), Nell of a middle-class revolt in 1990. (First On stage at Alvin’s, though, Sarah Campbell (Amy Benton), Peter Bensley On the Beach, now this!) Freaks, and Bear have an engaging act, (Stanley), Michael Craig (Sir Stanley perverts, dope fiends and the like have pouncing on suburbanites surrep­ Dunstan), Max Cullen (Berger), David been walled into an inner-city ghetto, titiously slumming as raw material. In Argue (Morris Norris), Lorna Lesley while the suburban bourgeoisie carries a couple of sequences reminiscent of (Sheryl Benton), Betty Lucas (Lady on outside to the words of a revised the “ Be Black Baby” episode in Brian Dunstan), Susan Walker (Doris Norris), national anthem extolling the joys of De Palma’s Hi, Mom! (1971), Sarah Jon Ewing (Reg), Joy Smithers (Patty Australian middle-class life. and Bear reduce these smug tourists to Norris). Production company: Seven Keys.

The ghetto dwellers are kept snivelling wrecks by forcing them to Distributor: Seven Keys. 35 mm. 103 mins. passively drugged via their water confess to a litany of “ normal living” Australia. 1984. supply, except for a few with a private cliches and death threats. These supply of wine, including Sarah sequences are the most potent amongst a scattershot collection of sketches and best achieve what one presumes is an intentional tone of loathing and contempt for ordinary people. The film lives up to its publicity in one sequence in which Sarah and Bear gatecrash a suburban party and horrify the guests with a demonstration of “ crotching” . Here they pick up a convert, Ronnie (Tracey Callander), who completes a m e n a g e a t r o i s .

The law is represented by a bunch of thuggish cops, trained to beat up 10 or 12 people a day, and a special Squad to capture the two bandits. These two officers, Captain Fruitcake (Peter Cox) and Sergeant Tatts (Keith Walker), perpetually dream of trans­ vestism, etc., in the voice-over. (Their dialogue scenes lack synchronized sound, requiring many furious cut­ aways).

The most disappointing aspect is the film’s failure to pinpoint its comic vision which runs a gamut of styles from cheap satire and self-mockery through gross effects and goonish sur­ realism (Ronnie is mistaken by the Squad first for a budgerigar, then for both Cisco and Pancho in disguise).

This lack of unity in the material, coupled with performances ranging from spirited in the leads to downright amateur, results in a fairly benign film, against all intentions. Sarah and Bear’s final coup, springing a ludicrous “ Revised Standard of Guidelines” on the gullible middle class, seems more a good-natured prank than an angry blow for freedom for the underdogs, w ho remain unliberated while the hero and heroine venture forth to infiltrate the Vatican and the White House.

Stanley (Peter Bensley), centre, presents his brain-wave concept to the board: pet food that can be eaten by man. Esben Storm’s Stanley.

One hopes the producers will not

Future Schlock

CINEMA PAPERS July — 181

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Future Schlock

The Ploughman's Lunch

It is against the background of such duplicity that the p e r s o n a l l y deceitful story of the principal trio of characters unfolds; the two spheres of activity, public and private, become not simply parallel but in ter­ dependent. As McEwan has said, In a sense it’s a fairly obvious point that if you have a politics that is dis­ honest, if you conduct a foreign policy that is deceitful, it must either be a symptom or a cause of personal dishonesty, that you can’t operate one without the other. If we have national delusions about what we are, that must have ramifications for the way people see themselves indivi­ dually and privately.1 James Penfield is a self-seeking BBC radio news editor who, tired of the routine preparation of meticulouslytimed bulletins, decides to better his professional lot by breaking into the book market with a revised (and con­ servative) assessment of the British intervention in Suez. At the same time, he has an eye to the social ladder and the possible seduction of Susie Barrington (Charlie Dore), a television Bear (Michael Bishop), one o f the performers at A lvin’s Hole nightclub. Barry Peak and researcher and daughter of prominent Chris Kiely’s Future Schlock. socialist historian Ann Barrington (Rosemary Harris). To this end, and lose their T-shirts with this production tical ramifications become inextricably callously ignoring the needs of his and will have another go at getting it (and deftly) linked as the film pro­ chronically-sick mother, he exploits right. Exhibiting it in the ghettos of gresses. The true subject of the film is the friendship of journalist friend Richmond and Glebe will not be historical deception or, rather, the Jeremy Hancock (Tim Curry), a con­ enough and is scarcely subverting the wilful restructuring of past realities to temporary of Susie’s at Oxford, and, image of Australian cinema. Perhaps suit and comfort participants in a on the pretence of drawing on Suez they should recall Cisco and Pancho to bland and malleable political present. material previously collated by Susie’s do some print substitution in the The twin textual poles between mother, gets himself invited to the suburbs: Future Schlock for, say, which screenwriter Ian McEwan has Barringtons’ Norfolk house. As Yentl in Malvern or Terms o f Endear­ chosen to pitch the action of the film Jeremy flippantly but pointedly sug­ ment in Doncaster? symbolize admirably the mendacity to gests, “ The way into the daughter’s which post-war British politics has pants is through the mother — right up been all too prone. The shameful the Suez Canal.” realities of the Suez crisis of 1956 and It is on the occasion of his second F utu re S c h lo c k : Directed by Barry Peak, Chris Kiely. Producers: Barry Peak, Chris the Falklands war of 1982 were com­ visit to Norfolk that James’ plans go pletely rewritten, not as examples of horribly awry. Not only does he fail to Kiely. Screenplay: Barry Peak, Chris Kiely. imperialist intervention which they make progress in his pursuit of Susie, D irector of photography: Malcolm have since been proven to be, but as but he also succeeds, unintentionally, Richards. Editors: Ray Pond, Barry Peak. incidents which redounded solidly to in engaging the affections of her Production designer: Ian McWha. Music: British credit, thereby satisfying the mother, who mistakenly sees in James John McCubbery. Sound recordists: Murray Tregonning, Lindsay Wray, Don nationalistic appetites of a fervently one of a new breed of banner-waving, Borden. Cast: Maryanne Fahey (Sarah conscious minority on the one hand, Pink), Michael Bishop (Bear), Tracey and, on the other, capitalizing on the 1. Interview with John Wyver, printed in Callander (Ronnie), Tiriel Mora (Alvin), gullibility of the British masses.

Stills, July-August 1983, p. 67. n a tio n a l

Simon Thorpe (Sammy), Gary Adams (Bob), Deborah Force (Trish), Jason Van de Velde (Simon), Tracey Harvey (Lois), Mitchell Faircloth (Dr Allen). Production company: Ultimate Show. Distributor: Valhalla Films. 16mm. 85 mins. Australia.

1984.

left-wing historians determined to rectify historical misconceptions in the public memory.

Later, after watching Jeremy and Susie kiss at the Tory Party Confer­ ence in Brighton, Penfield realizes that he has been the unwitting victim of their concerted deceit: Jeremy and Susie, as Jeremy himself now makes painfully clear to James, have been not only friends but a l l i e s for a long time.

James now throws himself into his research project and successfully com­ pletes his account of Suez, clinching the deal with his satisfied publisher. As his mother is lowered into her grave at the end of the film, James glances at his watch, conscious of the precious minutes he is wasting at the funeral.

Throughout T he P lo u g h m a n ’s Lunch, the two worlds of public and private probity (or lack thereof) are counterpointed, either implicitly (James witnesses Susie and Jeremy’s petting against the background of Michael Heseltine’s speech on the putative economic recovery of Tory Britain), or explicitly (a history lec­ turer’s interpretation of international conflict, such as Suez, in interpersonal terms). Adverse critics have failed to appreciate the dexterity with which this counterpoint is brought about; they have also chosen to see little in the film which might redeem the unmitigated bleakness to which such an unrelieved study in nastiness and political oppor­ tunism could well point. The fact that the gutless and ultimately grey pro­ tagonist is gutless and grey is of little artistic consequence; and it says much for the balance of Pryce’s performance that one is allowed to smile, but not to gloat, when he eventually receives his come-uppance at the hands of sup­ posed friends. James has been taken for a ride in much the same way as the British public was over Suez and the Falklands, and the quiet inevitability of the lesson learned (a lesson which confers an exquisitely projected irony on Margaret Thatcher’s hubris-laden invitation: “ We will tell the people the truth, and the people will be our judge” ) is food for the mind rather than the heart.

The Ploughman’s Lunch Dave Watson Towards the end of Richard Eyre’s The P loughm an’s Lunch, the woman­ izing arch-deceiver and successful maker of television commercials, Matthew Fox (Frank Finlay), en­ lightens the protagonist, James Penfield (Jonathan Pryce), as to the true nature and history of the apparently time-honored counter-snack of the title. It is, he says, nothing more than the invention of an advertising cam­ paign they ran in the early ’60s to encourage people to eat in pubs. A little taste of Olde England. A com­ pletely successful fabrication of the past.

This rewriting of history is part of the central metaphor of the film, a meta­ James Penfield (Jonathan Pryce), the self-seeking radio news editor, and the mother (Rosemary Harris) o f the girl he plans to seduce fo r phor in which the personal and poli­ social prestige. Richard Eyre’s The Ploughman's Lunch.

CINEMA PAPERS July — 183

The Ploughman's Lunch

The Wild Duck

play, written in 1883. It starts with a Harold met and married Gina as part beautifully filmed sequence: the of Wardle’s plan to have her within his shooting of a wild duck, its fall into reach.

Being a strict believer in truth as the the lake and a dog’s dive to the bottom to retrieve the wounded duck. After basis of existence (or “ suffering from she begs that the duck be spared, it is an acute inflam m ation of the given to 13-year-old Henrietta (played scruples” , as Dr Roland puts it), Gregory feels compelled to tell his old by newcomer Lucinda Jones). friend Harold all he knows: he does so H e n rie tta ’s p a re n ts, H aro ld Ackland (Jeremy Irons) and Gina (Liv with fanatical zeal and with a devas­ Ullman), run a photographic business tating effect on Harold’s family. in a small industrial town in 1913. Harold cannot cope with the truth Together with their daughter and and, confronting Gina, cannot under­ Harold’s father, Major Ackland (John stand that her refusal to give explana­ Meillon), they lead what seems to be a tions is because she trusts the reality of reasonably happy and quiet life, in their 15 years together. Harold is too spite of their being poor and shocked to grasp that and even Henrietta’s slowly losing her sight Henrietta assumes for him the due to an hereditary illness. meaning of living a lie and he cannot Harold is a frustrated man who, bear to have her near him. Tragedy with the support of his neighbor and unfolds when Gregory, trying yet friend, Dr Roland (Rhys McConno- again to bring back harmony to the chie), has deluded himself that one day Acklands’ home, suggests to Henrietta he will create a great invention which that she should sacrifice the thing she will make them rich. loves most, the wild duck, in order to Tennis coach (Australian actor Ken Shorter), Jeremy Hancock (Tim Curry), a friend of Gina is a quiet and gentle wife, but is prove her love for her father.

James, and James. The Ploughman’s Lunch. also the real head of the family: she As this production refers strongly to runs the photographic studio, keeps its being based on Ibsen’s play, a most But then, is the film so unrelieved, downey. Sound recordist: Desmond the books, takes care of everybody and important evaluation is whether so bleak a depiction anyway? Tim Edwards. Cast: Jonathan Pryce (James maintains an orderly household. Gina Ibsen’s main message — that truth by Curry’s brilliantly-articulated Jeremy Penfield), Tim Curry (Jeremy Hancock), is practically the only one with her feet itself, without love and understanding, — constantly jovial, constantly self­ Charlie Dore (Susie Barrington), Rosemary on the ground. may be tragically detrimental and that interested, but with an ironic and play­ Harris (Ann Barrington), Frank Finlay Henrietta, a clever and sensitive girl, some “ necessary lies” do exist — is (Matthew Fox), Nat Jackley (Mr Penfield), ful c o n s c i o u s n e s s of that self-interest loves her father above all else and kept intact throughout. In this case it — provides a source of humor which is Pearl Hackney (Mrs Penfield), Orlando believes in his fantasies. She finds h e r is. But while the central narrative is Wells (Tom Fox), Peter Walmsley (Bob readily accessible at more than the Tuckett). Production company: Greenpoint fantasy world in the forest-attic, straightforward, the film has trouble simply cerebral level (the squash-court in maintaining a sense of unity. It is an Distributor: AZ Associated Film where Major Ackland lives in a dream smoking scene and the over-serious Films. unsettling film of many parts and Distributors. 35 mm. 105 mins. Britain. world with his collection of rabbits and poetry reading are comic gems by any 1983. birds. Harold often keeps Henrietta influences. standard), while Penfield’s expression company there, but, significantly, According to the producers, the film of devastated post-coital bewilderment Gina never does. was set in 1913 to free the dialogue as Ann Barrington slips quietly out of This world of contentment is from the Victorian era, which is his room would not be out of place in a shattered by the return, after 16 years evidently thought to be a positive script which had more overtly comic The Wild Duck absence, of Gregory Wardle (Arthur point. But is not the Victorian era, pretensions.

Dignam), Harold’s old school friend. with its language as an image of the Moreover (and humor apart), if a He is an honest and idealistic man who strict and repressive morals of the film can be construed as saying as Paulo Weinberger realizes his father, George (Michael time, exactly what gives support and much by what it keeps silent as by what Pate), set Harold up as a photographer credibility to such a story? Equally, it articulates, then the converse of the and that Gina is none other than a Gregory’s mentality and behaviour, film’s statement, of the values it former servant of his family, who was when shifted out of context, become actively portrays, is far from nega­ The W ild Duck is an Australian film suspected of having had an affair with difficult to accept. In spite of tive: as the director has been at pains adaptation of Henrik Ibsen’s classic his father. There are indications that Dignam’s excellent performance, with

to point out, The obverse of the behaviour de­ picted — virtues of humanity and compassion — are there as a corol­ lary. I would be very unhappy if people didn’t see that.2 Both writer and director, however, acknowledge that the film offers no pat solutions or alternative panacea for Britain in the 1980s: its commit­ ment is quiet, understated. At the same time, the collaboration of McEwan and Eyre (who in 1980 worked together on another reworking of history for television, The Imitation Game) is clearly an artistically happy one. The P loughm an’s Lunch, winner of the 1983 Standard British Film Award for Best Film, Best Screenplay and Best Director, leaves room for hope that the much-touted but, as yet, not readily apparent rebirth of British cinema may, after all, be on the way.

P lo u g h m a n ’s L unch: Directed by: Richard Eyre. Producers: Simon Relph, Ann Scott. Screenplay: Ian McEwan.

Director of photography: Clive Tickner.

Editor: David Martin. Production designer: Luciana Arrighi. Music: Dominic MulThe

2. Wyver’s interview, p. 67. Many films (such as Nagisa Oshima’s E m p ire o f the S en ses, or Nikita Mikhalkov’s W ith o u t W itn e sse s) have their textual centre, as it were, in a framework of images which lies almost exclusively outside the one actually projected, actually offered to us on the screen.

184 - July CINEMA PAPERS

Harold Ackland (Jeremy Irons) is faced with disturbing news from an old school friend, Gregory Wardle (Arthur Dignam). Harold’s daughter Henrietta (Lucinda Jones) looks on. Henri Safran’s The Wild Duck.

Undercover

The Wild Duck

his somewhat frightened eyes and Roland), Marion Edward (Mrs Summers), genuine self-righteousness, one cannot Peter de Salis (Peters). Production help feeling that Gregory is a fish out company: Tinzu. Distributor: Roadshow. of water — something Ibsen’s Gregory 35mm. 90 mins. Australia. 1984. is not.

Another questionable decision was to set the film in a “ small industrial town” , a deliberately indeterminate place. This was perhaps unavoidable Undercover given the different nationalities of the actors and actresses, and the mixture of accents. However, it only exacer­ Susan Tate bates the film’s incohesiveness.

The two major film adaptations of The W ild D u c k (apart from the probable Scandinavian productions) Frustrated by the confines of life in are a silent film made in the 1920s by Mudgee during the 1920s, where things Lupu Pick, and Hans W. Geissen- are anything but roaring, and her dorfer’s German version made in 1976 bleak employment prospects as a fitter (the last appearance of Jean Seberg, with the local firm of corsetiers, a playing Gina, and a great performance plucky Libby McKenzie (Genevieve

by Peter Kern in the role of Hjalmar, Picot) sets off to Sydney. On the train the original equivalent of Harold). voyage she flings her corset, the Geissendorfer’s film, in contrast to the sy m b o l o f h e r ow n fo r m e r Australian production, is strong, employment and some of the con­ heavy and cohesive; set during the end ventions of her age, out the window. of last century, it is quite faithful to Once in Sydney, it is not long before Ibsen’s play. she is knocking on the door of Unique Despite this, there is much to admire Corsets, to find work in the only field in The Wild Duck: Henri Safran’s she knows. A further display of staging; the music score by Simon pluckiness, when she discovers that the Walker; and the production and company only wants to interview costum e design. Perhaps most males, impresses the young Fred impressive of all is Peter James’ Burley (John Walton) and secures her beautiful photography, which uses the a position as a trainee designer.

Light-Flex system, a technique Libby and a fellow apprentice Alice previously used in The French Lieuten­ (Susan Leith) are taken under the ant’s Woman (1981), making it awesome but ever-so-stylish wing of possible to change the colors of the Nina (Sandy Gore) and trained in the film to an effective sepia brown. finer points of corsetry (“ Remember, There is also some fine acting in the displaced flesh must go somewhere” ), film. Meillon is perfect in his portrayal and life itself (“ It doesn’t matter what of a disillusioned old man, deceived you do as long as you do it because of his good and warm-hearted b r i l l i a n t l y ” ). nature; all the nuances of the Along with Nina and the young, character’s ambiguously resolute and impractical Fred, who dreams of a hesitant personality are conveyed time when people overseas will effectively and sensitively. Pate’s demand to be able to buy AustralianWardle achieves the subtle balance made, the driving force of the between an unscrupulous businessman company is the American marketing and a proud but lonely and ageing man strategist, Max Wylde (Michael Pare). who would like to have his son’s Finding his swagger and confidence friendship and support. Jones is lively abrasive, Libby becomes quite hostile and confident as Henrietta and towards him. She has a tentative and McConnochie is excellent as Dr seemingly experimental relationship Roland, the only one who confronts with a sales representative to the Gregory from the start but cannot company, Theo Finch (Peter Phelps), succeed in preventing tragedy; his which evaporates as soon as her career acting convincingly portrays a man becom es m ore in v o lv in g and convinced that self-deception is part of demanding, and her interest in and admiration for Fred increase. life.

Croft gives a good performance as To satisfy notions of the excellence his friend Mollison, a defrocked priest of imports, Unique Corsets undergoes who enjoys getting drunk with Roland, a name change and, emulating the and Ullman’s low-key Gina is wonder­ French, becomes the House of Berlei. fully expressive. And Irons’ perfor­ Ironically, at the same time, Fred mance as Harold, in his usual nervous launches a campaign to “ buy Aus­ acting style, is strong, with some tralian” which culminates in the moments of lightness and fun. Along voyage of the Great White Train, with director Henri Safran, Irons sees transporting an exhibition of Aus­ and conveys the comedy in Harold’s tralian-made goods across the country­ character: by portraying Harold with side.

The film takes full advantage of the intensity and, at the same time, stressing the ridiculous aspects of his cultural and historical curiosities personality. Given the quality of which surround the Berlei story and individual performances, it is a pity the era in which it is set, such as the that they, like the film itself, don’t jell ■ Train and the Great Anthropometric Survey, when thousands of women into an integrated whole. presented themselves to be measured for the statistics necessary to design the new range of Berlei underwear. There The Wild Duck: Directed by: Henri Safran. is also a nice touch when the manuallyProducer: Phillip Emanuel. Co-producer: operated wooden shark warning sign Basil Appleby. Screenplay: Henri Safran. on the beach is changed once danger Director of photography: Peter James.

E ditor: Don Saunders. Production has passed.

These details are woven well into the designer: Darrell Lass. Music: Simon Walker. Sound recordist: Syd Butterworth. texture of the film which on the whole Cast: Liv Ullman (Gina), Jeremy Irons works on an intimate and compas­ (Harold), Lucinda Jones (Henrietta), John sionate level, created by using closeMeillon (Old Ackland), Arthur Dignam ups and avoiding wide shots. There are (Gregory), Michael Pate (Wardle), Colin no geographically descriptive shots, Croft (Mollison), Rhys McConnochie (Dr and it would be difficult to tell exactly

where in Australia the film is set without previous knowledge of the Berlei story.

The intimacy of the film is enhanced by the fact that, initially at least, it looks at the solitary paths the characters must follow in order to achieve some sort of personal satis­ faction: Libby cannot stay in Mudgee with the ever-obliging Frank (Nicholas Eadie), nor can she even consider his marriage offer when her life is at a low point; Nina has shaped her destiny and created her own persona. Because of the tone and approach of the film — a quiet moodiness and a consideration of characters as individuals — the final scene of the film, a musical extrava­ ganza at the end of which Libby is paired off with Max, creates a frightful imbalance and offers a resolution that is not at all in keeping with Libby’s little odyssey. Her career success is guaranteed, but her involvement with Max becomes the dominant note at the end of the film whereas previously it had been only one of the strands of her life.

The resolution of the film with this coupling process is reinforced when the stalwart and ever-independent Nina receives and accepts a gratuitous pat on the behind from the obsequious Professor Henckel (Barry Otto). Alice, who in the course of the film has drifted into a life with Theo, misses her finale as she prevents a drunken Theo from staggering on to the stage to con­ gratulate Libby. Alice has resigned herself to what she knows will be a life with a drunken philanderer, a con­ clusion that is in keeping with what has been revealed about her in the rest of the film, but which somehow serves to complete the unacceptable symmetry of the end of the film.

Another imbalance in the film, and once again one which is created by the finale of the film, is its approach to the fashion and underwear industry.

A lth o u g h p erh ap s tak in g too whimsical a look at an industry which has served as a stern master to countless women, it does not glamorize it in any way. The opening credits are backed by shining satin, but the camp side of fashion is not really introduced again until the Busby Berkeley-like finale where the

costumes of the dancers and their routines dominate the stage. As well, the outcome of the Great Anthro­ pometric Survey is not properly resolved because the indefinite, corseted figures in the background are overwhelmed by the dozens of colorful figures waving floral hoops on stage.

This extravaganza does include a compassionate note, in the faces of the hundreds of women in the audience.

They are delighted by the excitement of the evening, what the viewer knows are undergarments more suited to their individual needs (even if the film does not make us understand it) and a jolly camaraderie, even if it is in response to a rather tyrannical source. The same sort of feeling is created in the sequence during the Great Anthro­ pometric Survey, held at the end of a pier on a city beach.

But the film does not look further to the outcome of the Survey or even how the success of the night was measured.

Approximately five minutes of the film have been cut from scenes which may have added to the description of Libby’s character and given more motivation to her failure to pursue her relationship with Theo. It is a pity that some of these cuts did not come from the final scene of the film and redressed the balance in what is otherwise an entertaining, compas­ sionate and sensitive film with fine performances from its characters, in particular Sandy Gore as the irrepres­ sible siren of style, Nina.

Directed by David Stevens.

Producer: David Elfick. Executive producer: Richard H. Toltz. Screenplay: Miranda Downes. Director of Photo­ graphy: Dean Semler. Editor: Tim Wellburn. Production designer: Herb Pinter. Sound recordist: Peter Barker.

Cast: Genevieve Picot (Libby), John Walton (Fred), Michael Pare (Max), Sandy Gore (Nina), Peter Phelps (Theo), Andrew Sharp (Arthur), Caz Lederman (May), Wallas Eaton (Mr Breedlove), Sue Leith (A lice), N ich o las E adie (F ra n k ).

P ro d u ctio n com pany: Palm Beach Pictures. Distributor: Roadshow. 35mm.

100 mins. Australia. 1984. ★ U n d erco v er :

CINEMA PAPERS July — 185

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McFarlane’s understanding is con­ veyed to the reader. Not all readers and viewers can be expected to be equally literate in words and images.

McFarlane’s argument is that “ a film — whether adapted from a novel Brian McFarlane or not — is essentially a new act of Heinemann, Melbourne, 1984 creativity.” There is no obligation on Paperback, 210 pp., A$12.95 the filmmaker to be faithful to the ISBN 0 85859 316 5 original text in letter or in spirit. The only response to a film should be: “ Does this make for a coherent and Gilbert Coats persuasive narrative in its own right?”

It follows that McFarlane is concerned with understanding how each text — novel and film — “ works to create its Brian McFarlane’s W o r d s a n d I m a g e s own meaning, its own impact” rather is a perceptive, analytical and spirited than “ finding one superior to the discussion of a selection of popular other” aesthetically. and interesting Australian films of the But is it possible to say that a film is “ New Wave” period, and later, which improved or loses something in have been adapted from Australian adaptation?

In the popular sense, both novel novels. It is a comparative and critical study of the texts in two languages, and film convey a narrative with words and images, as presented in the characterization, story, plot and theme. A more sophisticated way in media of novel and film.

The selection of films includes the which these elements can be compared, historical drama of Picnic at Hanging with each form creating its own Rock (1975), The Getting of Wisdom “ illusion of reality” , is the substance (1977) , The Mango Tree (1977), The of this book. The point of view of each Chant of Jimmie Blacksmith (1978) narrative is comparable in terms of the and My Brilliant Career (1979). There devices uniquely available to each is the contemporary drama of Wake in medium. Attitude, tone and style, and Fright (1971), The Night the Prowler the definition of individual authorship (1978) , Monkey Grip (1982) and The are discussed in a similar fashion.

This approach, which is pheno­ Year of Living Dangerously (1983).

And two television dramatizations, set menological, can be understood by the in the past, Lucinda Brayford (1980) word-literate. Therefore, it is possible and Outbreak of Love (1981), are to say that, by means of these elements, the meaning and impact of discussed.

Readers are introduced to the things and ideas are better or worse “ inherent strangeness of the idea” of expressed in each medium. McFarlane adaptations, with reference to its says, “ it is likely that my personal prevalence in the development of the evaluation of each in relation to the arts. But this hint at its possible social other will emerge.” And it does. But, functions is not pursued. Instead, the what do these views mean to those who practical and theoretical problems of are relatively image-illiterate or wordfilm adaptations are discussed, in illiterate?

McFarlane’s views are never in which audience expectations, narrative techniques and commercial pressures doubt: for example, on Wake in Fright: “ . . . not really part of the are the main constraints.

On theory, M cFarlane treads Australian revival of the 1970s . . . it carefully but surely. In preparing the has a narrative control and visual ground for the comparisons of authority which few, if any, Australian medium, the theory is placed in the films have matched since” ; on The perspective of filmmaking as a col­ Getting of Wisdom: “ . . . the film laborative enterprise. Semiotic theory cannot ultimately succeed either as an is noted in a “ brutally simplified adaptation of a fine novel or as a new account” and its implications only piece of art in its own right” ; on Picnic acknowledged. This may disappoint at Hanging Rock: “. . . [it] creates some but McFarlane’s purpose is im agistically a coherence both clearly to lead readers towards an thematic and tonal that the novel never understanding of adaptations which begins to find.”

Readers of W o r d s a n d I m a g e s may complements a popular appreciation wonder if the solutions to the problems of the two media.

Taking this broad approach, Mc­ of adaptation are crucial to the commercial success of the films.

Farlane’s declared purpose is to draw attention to some of the main Perhaps to some it is the same thing changes the original text has but, obviously, it is not to McFarlane. undergone and speculate on the Australian filmmakers for many reasons and effects of those reasons still prefer adaptations to original screenplays. But, to the extent changes.

McFarlane’s considerations of both that Australian films depend on texts, the changes in them and the another art form for inspiration, it is reasons for these changes will be sad. McFarlane takes a wider view that intelligible to anyone literate in words Australian films are “ characterized by and images. But each medium is a a pervading sense of carefulness” . different experience and, while the What is required, he says, is not a literary cinema . . . but, author can discuss the differences rather, a literate cinema. By this I fluently, a doubt remains that

Words and Images: Australian Novels into Film

mean films which sound, whether based on novels or not, true to the lives they present and this involves . . . creation of a new experi­ ence . . .

Is there a success story in Australian film adaptations?

In respect of The Chant of Jimmie Blacksmith, the author says, there is arguably a closer qualitative correspondence between Thomas Keneally’s novel and Fred Schepisi’s film version than between any other Australian novel and the film made from it.

This argument is supported with reference to literary qualities and cinematic techniques. McFarlane’s conclusion is that, Jimmie Blacksmith . . ., at the end and throughout, belongs nowhere.

By their different routes, one through an austere choice of words, one through a passionate arrange­ ment of images, novel and film make this painfully clear.

In other words, the narrative and theme of this successful novel has remained intact, fortuitously. This was the filmmaker’s choice as an artist.

Schepisi produced, scripted and directed The Chant of Jimmie Blacksmith; he did not collaborate with Keneally on the script. Rather, he read the book again and again and then tried to find his own meaning in the story. He said, after filming was complete but before its release, in 1978, I think it is a great story . . . extremely relevant. . . [it] can reach people on a mass level and also say something . . .

In 1979, after its commercial failure, he said (quoted in T h e L a s t N e w W a v e

by David Stratton), I really thought it would work . . . I really set out to make a picture for a lot of people . . . [with] enough excitement to capture the imagina­ tion of a wide public, especially at this time . . . And I was wrong, totally wrong.

This reassessment, after publicity and marketing problems with the film, raises questions about what is a successful adaptation from novel to film and, also, about authorship in filmmaking.

In W o r d s a n d I m a g e s , the problems of authorship and creativity in film­ making are discussed in terms of collaboration. McFarlane concludes, The idea of a co-operative author­ ships’ achieving results comparable in tone and meaning to those achieved by a single author ought not, then, be lightly held.

Collaboration here means shared responsibility in production and, conventionally, it is considered in­ compatible with the expression of an individual sensibility. Artistic control is the answer to this problem.

But McFarlane does not explicitly recognize that there is a group consciousness which can result in a shared view with respect to tone and meaning. And it may be suggested that this is a more appropriate model for

the film industry than an attempt to achieve artistic control by one individual or the assumption that it exists. Schepisi has been producer, writer and director of his features to date. And, not surprisingly, his films are the most distinctive in the “ New Wave” period in terms of personal style. On the other hand, My Brilliant Career was made by Margaret Fink [p ro d u cer], G illian A rm strong [director] and Eleanor Witcombe [scriptwriter] with a unique feminist tone and meaning: in McFarlane’s words, “ th at tone blended of poignancy and resilience which is part of the film’s meaning” .

Thus, the question is whether an adaptation retains intact the novelist’s individual point of view, tone and meaning or whether it is replaced with a coherent, and therefore comparable, one. The answer lies in the sensibilities of the audience and the critics.

The Film Year Book: volume two Edited by Al Clark Australian edition: Currey O’Neil Ross, Melbourne, 1984 Large format paperback, 192 pp., qc;

ISBN 0 85902 377 x

International Film Guide 1984 Edited by Peter Cowie The Tantivy Press, London, 1984 Paperback, 496 pp., A$16.95 ISBN 0 900730 15 3

Paul Harris

Al Clark, who edits T h e F i l m Y e a r is head of production at Virgin Films and also responsible for assembling a rock counterpart of T h e F i l m Y e a r B o o k . Possibly because of this background, Clark seems willing to enlist the aid of some contributors from his own milieu: David Ehren­ stein, co-editor of R o c k o n F i l m ; Dave Marsh, ex-associate editor of R o l l i n g S t o n e ; and the ubiquitous Mike Same, who gave the world the ‘cockney’ pop hit, “ With a Bird up on my Bike” , the Carnaby-chic movie, Joanna (1968), and the mega-budget bore, Myra Breckinridge (1970).

This gives the yearbook a cross­ cultural charm of its own. Marsh con­ tributes a review of John Sayles’ Baby It’s You (1983), which manages to analyze how Sayles delves beneath the superficial American Graffiti-like set­ tings overlaid with appropriate period pop music on which the story is based, and arrives at a critique which explores the class barriers which conspire against Sayles’ eccentric idealists (as in Return of the Secaucus Seven, 1981, B ook,

CINEMA PAPERS July — 187

Book Reviews

and Lianna, 1983). By the way, Para­ mount has no plans to release Baby It’s You in Australia.

Tony Crawley seems to enjoy him­ self immensely with a cruel lambaste of Francis Coppola’s career, disguised as a review of One From The Heart (1983) in the “ Turkeys of the Year’’ section which, hopefully, will be dropped next year. Crawley plays it cute, picking over the bones of Coppola’s troubled career while having the temerity to claim that “ call­ ing one Coppola film a turkey does not come easy” .

A pleasing innovation is the “ Aus­ tralian Section” , edited by Tom Ryan, which is a lively round up of local releases with thumbnail sketches, reviews and synopses, as well as feature articles on a select few films. It includes a provocative piece on the largely unloved N orm an Loves Rose (1982) and a sympathetic review of The Clinic (1983) which ties in nicely with Debi Enker’s recent interview in C i n e m a P a p e r s with director David Stevens.1 Other features include a series of quotes which should be the next item to disappear with “ Turkeys” , a necro­ logy, complete with biographical details, and an entertaining article which translates that peculiarly Ameri­ can show-biz phenomenon, V a r i e t y s p e a k , which would even baffle Noam Chomsky with its linguistic hype.

Apart from all this, feature films from the U.S. and Britain are reviewed; there is a feature on the selling of E .T . (ho hum), a section on “ Faces of the Year” , a history of various wide-screen processes, which is itself suitably wide-ranging in scope, and a somewhat unnecessary round-up of film-related books. Clark straddles the lines between fan material (of the Maurice Speed variety) and critical analysis with admirable finesse.

It is also, dare I confess it, more fun to flick through than the I n t e r n a t i o n a l F ilm G u i d e 1 9 8 4 , which reminds me of publications from the Government Printing Office. Although it is encour­ aging to note the 21st birthday of Tantivy’s I n t e r n a t i o n a l F i l m G u i d e , one can’t help but be bemused by its corpulent complacence and wonder just how effective it is as a referenceresource tool these days among the plethora of other, similar material jamming specialist publication lists and remainder bins.

The crux of the I F G traditionally has been its “ World Survey” , which now comprises reports from 58 countries, as opposed to a mere 19 territories in the 1967 edition. (New entries include Mali, Panama, Singa­ pore and Upper Volta!)

The depth of coverage varies dramatically, presumably according to input from the various contributors.

This results in often eccentric im­ balances: e.g., the section on Hong Kong, a highly productive outpost of Asian Cinema, runs to only four pages, dominated by contrasting reviews of Ann Hui’s The Boat People (1983). Ironically, the Singapore sec­ tion, written by the same contributor, Derek Elley, who is also associate editor, runs to five pages.

These would be minor quibbles except for the stated intent of the I F G to provide a comprehensive global overview. Try watching Network 0-28 for a fortnight then looking up reviews

Indecent Exposure David McClintock Columbus/Imp., S32.95 (HC) A true story of Hollywood and Wall Street.

The Universal Story Clive Hirschorn Octopus/Gordon & Gotch, S29.95 (HC) From the publishers of The MGM Story, The RKO Story and The Warner Brothers Story, a new volume on Universal Studios.

Picture Palaces and Flea-Pits Simon Brand Dreamweaver Books/Gordon & Gotch, S26.95 (HC) The story of the Australian movie theatres and the screening of films in this country which developed in the 1920s.

A History o f Movie Musicals John Kobal Hamlyn/Gordon & Gotch, $24.95 (HC)

1. “ Voyages of Discovery’’, Cinema Papers, No. 44-45, March-April 1984, pp. 10-15, 106.

2. Excluding the Channel 4-British Film Institute-BBC sub-industry, if it can be thus labelled.

188 — July CINEMA PAPERS

and credits of a film on a country by country basis. “ Directors of the Year” , an annual feature since the I F G 's inception, has been dispensed with and replaced by what seems a random selection of “ notables” : Steven Spielberg, Alan J. Pakula, and Harold Pinter; plus, for multicultural respectability, Ugo Tognazzi and Bulle Ogier. The Tognazzi entry is supplemented with a splendid filmography; Ogier, however, misses out.

A timely feature article, “ British Cinema: The Historical Imperative”

by Lindsay Anderson, attempts to analyze the decline of indigenous cinema in that country and arrives at the conclusion that the British film industry, replete with talent usually siphoned off to Hollywood and beyond, lacks “ a proper understand­ ing of our own traditions, a proper pride in our own achievement” .

This is a generational malaise and one that is not peculiar to the present; Anderson says as much himself when he refers to the cosy, genteel con­ formity of the 1930s which always managed to steer clear of themes depicting class or personal conflict.

The most British of all entrepreneurs in that era was a Hungarian, Alex­ ander Korda, who popularized royalty (The Private Life o f Henry VIII, 1932) and the myth of Empire in its more jingoistic manifestations (Sanders of the River, 1935, Four Feathers, 1939).

Anderson seems to see little hope for the future and readily admits the failure of the “ Free Cinema” move­ ment in the 1950s to revitalize the British cinema. His short essay is the most stimulating and worthy of atten­ tion at a time when feature filmmaking in Britain is lucky to yield a dozen features.2

Recent Releases Mervyn Binns This column lists a selection of books on sale in Australia during the past six months, which deal with the cinema and related topics.

The publishers and the local distributors are listed below the author in each entry. If no distributor is indicated, the book is imported (Imp.). The recommended prices listed are for paperbacks, unless otherwise indicated, and are subject to variations between bookshops and states.

The list was compiled by Mervyn R. Binns of the Space Age Bookstore, Melbourne.

Popular and General Interest

Elstree: The British Hollywood Patricia Warren Elm Tree Press/Thomas Nelson, S25.00 (HC) A well illustrated history of the top British film studio.

Great Hollywood Movies Ted Sennett Abrahams/Macmillan Co., $70.00 (HC) A very big, coffee-table type book, profusely illustrated, covering all the famous Hollywood films from the silent days to the 1970s.

History o f the Movies Edward F. Dolan jun.

Bison Books/Gordon & Gotch, $24.95 (HC) An illustrated, up-to-date history of the cinema, covering westerns, fantasy, science fiction, musicals, comedy and other genres.

Movies o f the Sixties Ann Lloyd Orbis/Trident, $19.95 (PB) The fourth book in this series in the same format as Movie magazine.

Biographies, Memoirs, Filmographies

Burt Reynolds Sylvia Resnick W. H. Allen/Hutchinson Group Australia, $23.95 (HC) An unauthorized biography of the Hollywood dare-devil womanizer and one-man, million dollar industry.

Clint Eastwood Gerald Cole and Peter Williams W. H. Allen/Hutchinson Group Australia, $26.95 (HC) A large-format, profusely illustrated biography of the box-office giant.

Confessions o f an Actor Sir Laurence Olivier Coronet/Hodder & Stoughton, $6.95 (PB) The autobiography of Laurence Olivier: his eventful public and private life, and more.

Eddie: My Life and Loves Eddie Fisher Star/Gordon & Gotch, $6.95 (PB) New in paperback, the autobiography which reveals Fisher’s side of the story: his much publicized marriages, drugs, money problems and the rest.

Elsa Lanchester, Herself Elsa Lanchester Michael Joseph/Thomas Nelson, $25.00 (HC) The autobiography of the actress, who is best known for her role as Bride of Frankenstein.

Married to Charles Laughton for 38 years until his death.

Fonda: My Life Henry Fonda, as told to Howard Teichman Coronet/Gordon & Gotch, $14.95 (PB) Golden Boy Bob Thomas Wiedenfeld & Nicolson/Hodder & Stoughton, $24.95 (HC) The untold story of William Holden. The life of Hollywood’s “ Golden Boy” , his real-life adven­ tures and a life-time drinking, disappointment and self-doubt.

Judy and Liza James Spada Sidewick & Jackson/Hutchinson Group Aus­ tralia, $22.95 (HC) The joint biography of mother and daughter, each a star in her own right — well illustrated.

My Fabulous Brothers Rita Grade Freeman Star/Gordon & Gotch, $5.95 (PB) The story of the Grade family. The three brothers’ empire as seen from the inside by their sister.

An Orderly Man Dirk Bogarde Chatto & W'indus/Australasian Publishing Com­ pany, $19.95 (HC) The third volume in Bogarde’s autobiography.

Marilyn Monroe Janice Anderson Col Porter Press/Trident, $17.95 (HC) A profusely illustrated biography, including many color photographs.

Merle: The Romantic Life o f Merle Oberon Charles Higham and Roy Mosely NEL/Hodder & Stoughton, $24.95 (HC) The real life story of Merle Oberon, her passion­ ate affairs with Leslie Howard and David Niven, her marriage to Sir Alexander Korda, and her life­ long feud with Marlene Dietrich.

Charles Boyer Larry Swindell Doubleday/Doubleday Australia, $23.95 (HC) A biography of the French actor who became the epitome of screen lovers but who wore the title with reluctance.

Richard Burton Paul Ferris NEL/Hodder & Stoughton, $5.95 (PB) A new biography of Burton, who has come in for more than his share of media coverage over the years, but one which endeavors to generate more respect for his acting career.

Rita: The Life o f Rita Hayworth Edward Z. Epstein and Joseph Morelia W. H. Allen/Hutchinson Group Australia, $23.95 (HC) The biography of a Hollywood goddess.

Roger Moore Paul Donavon W. H. Allen/Hutchinson Group Australia, $26.95 (HC) The popular star of television’s The Saint and the later James Bond films.

In My M ind’s Eye Michael Redgrave Wiedenfeld & Nicolson/Hodder & Stoughton, $24.95 (HC) An autobiography.

A Touch o f the Memoirs Donald Sinden .

Coronet/Hodder & Stoughton, $6.95 (PB) The biography of one of Britain’s most versatile and popular actors.

The Warner Brothers Michael Freedland Harrap/Australasian Publishing Company, $24.95 (HC) The story of the men who built one of Holly­ wood’s greatest film studios.

Warren Beatty Suzanne Munshower W. H. Allen/Hutchinson Group Australia, $22.95 (HC) The meteoric career of Shirley MacLaine’s little brother, star of Bonnie and Clyde, Heaven Can Wait and the Academy award-winning Reds, which he also directed.

Cary Grant: A Celebration Richard Schickel Pavilion-MJ/Thomas Nelson, $25.00 (HC) A definitive portrayal of Grant, presented in a serious but at the same time witty style. A largeformat, well-illustrated volume.

Ingrid Bergman John Russell Taylor Elm Tree Press/Thomas Nelson, $25.00 (HC) A large-format, illustrated biography of one of cinema’s legends.

Jack Nicholson David Downing W. H. Allen/Hutchinson Group Australia, $22.95 (HC) The career of the enigmatic American actor, star of more than 40 films.

Liza Liza!

Alan W. Petrucelli Columbus/Dymock’s Publishing, $19.95 (TPB) An unauthorized biography of Liza Minnelli, which traces her life story.

Little Caesar: A Biography o f Edward G. Robin­ son Alan L. Gansberg NEL/Hodder & Stoughton, $24.95 (HC) A comprehensive biography of one of Holly­ wood’s most celebrated stars.

Alec Guinness on Screen Allan Hunter Polygon Books/Imp., $8.75 A complete filmography with scenes from each of his films.

Intermission Anne Baxter Angus & Robertson/Aneus & Robertson Pub­ lishers, $4.95 (PB) An autobiography.

British Film Characters: Great Names and Memorable Moments Terence Pettigrew David & Charles/ANZ Book Co., $32.50 (HC) The careers in minor detail, of Britain’s leading film actors. Illustrated, with complete filmo­ graphies.

Jerry Lewis: In Person Jerry Lewis and Herb Gluck Pinnacle Publishers/Imp., $22.95 (HC) $5 45 (PB) An autobiography of the comedian filmmaker.

Monroe: Her Life in Pictures James Spada and George Zeno Hutchinson/Hutchinson Group Australia, $13.95 (TPB) A new paperback edition of this illustrated bio­ graphy of Marilyn Monroe.

Olivier: The Life o f Sir Laurence Olivier Thomas Kiernan New English Library/Hodder & Stoughton, $6.95 (PB) A biography.

Raising Caine: The Authorised Biography o f Michael Caine William Wall Arrow/Hodder & Stoughton, $6.95 (PB) Streisand Through the Lens Frank Teti with Karen Moline Hutchinson/Hutchinson Group Australia, $12.95 (TPB) Traces the career of Barbra Streisand through photographs and interviews.

Tony Hancock ‘Artiste’ Roger Wilmut

Book Reviews

Methuen/Methuen Australia, $12.95 (TPB) An illustrated career biography of the late British comedian.

Woody Allen: Joking Aside Gerald McKnight Star/Gordon & Gotch, $4.95 (PB) The many faces of Woody Allen as seen by his friends and co-workers.

Paul Newman: An Illustrated Biography J. C. Landry Sidgwick & Jackson/Hutchinson Group Aus­ tralia, $17.95 (HC) A large format publication with numerous illus­ trations. A comprehensive coverage of his career and private life.

The Legend o f Brigitte Bardot Peter Haining W. H. Allen/Hutchinson Group Australia, $25.95 (HC) .

The complete illustrated life and career of the famous French film star.

Lana Lana Turner Pocket/Imp., $6.15 (PB) The lady, the legend and the truth. Miss Turner’s own story of her life and career.

Judy Holliday: An Intimate Life Story Gary Carey Robson/Hutchinson Group Australia, $22.95 (HC) The life story of the award-winning actress, star of Born Yesterday and The Bells are Ringing.

Peter O'Toole Michael Freedland W. H. Allen/Hutchinson Group Australia, $19.95 (HC) The triumphs and tragedies of the very successful British actor.

Sean Connery Kenneth Passingham Sidgwick & Jackson/Hutchinson Group Aus­ tralia, $17.95 (HC) A biography of the star of James Bond films and many other outstanding roles.

Filmmaking

Local Hero: The Making o f the Film Allan Hunter and Mark Astaire Polygon Books/Imp., $8.75 (TPB) The background to the making of this current film.

Making Tootsie David Dworkin Newmarket Press/Edward Arnold, $12.95 (TPB) The behind-the-scenes story of the film starring Dustin Hoffmann.

A consideration of the narrative films of the 1930s and ’40s — the tearjerkers.

Indelible Shadows: Films o f the Holocaust Annette Insdorf Random House/Doubleday Australia, $16.95 (TPB) A survey of the films depicting the Nazi persecu­ tion of the Jews.

Sight and Sound: A Fiftieth Anniversary Selec­ tion Edited by David Wilson Faber/Penguin Books Australia, $35.95 (HC) A selection of articles from Sight and Sound magazine.

Cinema History

Film on the Left William Alexander Princeton University Press/ANZ Book Co., $72.50 (HC) A critical survey of the American documentary film from 1931 to 1942.

The Art o f Hollywood Methuen/Methuen Australia, $12.95 (TPB) A Thames Television Exhibition at the Victoria and Albert Museum. A collection of set design art work and movie scene photographs, including work by William Cameron Menzies and many others.

A ustralian Cinema: The First 80 Years Graham Shirley and Brian Adams Angus & Robertson/Currency Press/Angus & Robertson Publishers, $24.95 (HC) A comprehensive history of the development of film production in Australia.

British Cinema History Edited by James Curren and Vincent Porter Wiedenfeld & Nicolson/Hodder & Stoughton Australia, $29.95 (TPB) An academic history with statistics and biblio­ graphy.

Kino: History o f Russian and Soviet Film Jan Leyda Allen & Unwin/Allen & Unwin Australia, $19.95 (TPB) A new printing.

Napoleon Kevin Brownlow Jonathon Cape/Australasian Publishing Com­ pany, $25.00 (HC) The story of the remarkable silent film classic, produced by Abel Ganz in 1927 and recently revived to high acclaim.

Italian Cinema Peter Bondarella Ungar/Ruth Walls Books, $10.95 (PB) A history of the cinema in Italy since 1914.

More than 1800 critical entries. The first of nine volumes of a comprehensive series on all aspects of the film, which will include science fiction, horror, comedy, etc.

Movie Star: The Women Who Made Hollywood E. Mordden Macmillan/Macmillan Co., $29.95 (HC) A critical review of women in films, from the silents to the present day, by an entertaining writer who pulls no punches.

Screenplays

A ir Force Edited by Lawrence Howard Suid Wisconsin University Press/Imp., $10.50 (TPB) A title in the Wisconsin University Press series of film scripts.

Gandhi The Screenplay by John Briley Duckworth/Cambridge University Press, $16.50 (TPB) The complete script of the Academy award­ winning film.

Four Films o f Woody Allen Woody Allen Faber/Penguin Australia, $16.95 (TPB) The screenplays of Manhattan, Annie Hall, Interiors and Stardust Memories.

Media and Education

The Mass Media in Australia J. S. Western and Colin A. Hughes University of Queensland Press/University of Queensland Press, $11.50 (TPB) An assessment of the changes in the media scene in Australia and the strong influence of television in relation to the press.

The BBC Radiophonic Workshop Briscoe Curtis-Bramwell BBC/Imp., $23.95 (TPB) The story of the production of music and sound effects for such well known shows as Dr Who. Out o f the Bakelite Box Jacqueline Kent Angus & Robertson/Angus & Robertson Pub­ lishers, $19.95 (HC) A nostalgic look at Australian radio. Photo­ graphs and anecdotes of personalities over the years.

Tomorrow’s TV: Cable Television and the Arts A conference organized by the Victorian Ministry for the Arts.

Cable Press/Victorian Ministry for the Arts, $7.95 (PB) Speeches by Phillip Adams, Trevor Barr, Kate Harrison, Brian Walsh, Judi Stack and Dr Patricia Edgar, on the pros and cons of cable tele­ vision in Australia.

Television

Novels and Other Film Tie-ins

The Earth Beneath Me Dick Smith Angus & Robertson/Angus & Robertson Pub­ lishers, $24.95 (HC) The story of Smith’s around the world helicopter flight, as depicted in the special television pro­ gram.

Making a TV Series: The Bellamy Project Albert Moran Currency Press/Cambridge University Press, $14.95 (TPB) The story of the making of the television series Bellamy. The origin and development of the script, and advance reaction to the series.

Sixty Minutes — The Book Compiled by John Burney Angus & Robertson/Angus & Robertson Pub­ lishers, $39.95 (HC) A large-format, hardcover book featuring illus­ trated selected episodes from the television series.

Moving Out Helen Garner and Jennifer Giles Sphere/William Collins Australia, $3.95 (PB) The Seed and the Sower Laurens Van der Post Penguin/Penguin Australia, $4.95 (PB) The novel on which Merry Christmas Mr Lawrence is based.

Careful, He Might Hear You Sumner Locke Elliot Pan/William Collins Australia, $4.95 (PB) Gregory’s Girl Gerald Cole Lions/William Collins Australia, $2.95 (PB) The Film Makers Kenneth Cook and Kerry Cook Rigby/Rigby Publishers, $5.95 (PB) A novel which gives an insight into the business of filmmaking in Australia.

Directors

The Life o f Alfred Hitchcock Donald Spotto William Coilins/William Collins Australia, $27.95 (HC) ' The definitive biography of Hitchcock, the man and the filmmaker.

Fassbinder in Review Edited by Paul Foss Australian Film Institute, $4.00 (PB) An Australian Film Institute publication. An appreciation of the work of the German director with reference, biography, filmography, etc.

Kubrick Michael Ciment William Coilins/William Collins Australia, $19.95 (TPB) A critical study covering all of Kubrick’s films.

Very well illustrated, revised and updated edition.

Something Like an Autobiography Akira Kurosawa Vintage Press/Imp., $10.80 (PB) The life and film philosophy of Japan’s leading director.

Criticism

Cinema Examined Dutton/Doubleday Australia, $17.95 (TPB) Selections from cinema journal articles on auteur studies.

5001 Nights at the Movies Pauline Kael Hamish Hamilton/Thomas Nelson Australia, $37.50 (HC) Thousands of brief assessments of films covering more than 50 years.

Words and Images Brian McFarlane Heinemann/Heinemann Publishers Australia, $12.95 (HC) A discussion of the translation of books into films. Ten Australian novels are covered in detail.

The Altering Eye: Contemporary International Cinema Robert Kilker Oxford University Press/Oxford University Press, $18.50 (TPB) An examination of international cinema over the past 20 years.

Cinema and Sentiment Charles Affron University of Chicago/Imp., $30.00 (HC) •

Reference

Australian Films fo r Children Australian Council for Children’s Films Australian Film Council/Australian Film Coun­ cil, $4.95 (PB) A list of films giving credits and brief plot outlines of each.

Women in A ustralian Film Production R. Ryan, M. Eliot and G. Appleton Australian Film and Television School/AFTS, $5.00 (PB) A survey of the Australian film industry and the outlook for the involvement of women in it.

Australian Film Industry and Key Films o f the 1920s Compiled by Ken Berryman Australian Film Institute/Australian Film Insti­ tute, $8.50 (PB) An annotated bibliography.

The Illustrated Who's Who o f the Cinema Edited by Ann Lloyd, Graham Fuller and Arnold Desser Orbis/Trident Books, $25.00 (HC) A large-format, illustrated volume giving brief biographies and filmographies of hundreds of film stars.

HalliwelTs Television Companion Leslie Halliwell with Philip Purser Granada/William Collins Australia, $35.95 (HC) A new edition, with more than 9000 entries.

The Oscar Movies from A to Z Roy Pickard Hamlyn/Thomas Nelson Australia, $5.95 (PB) New edition.

The TV Movie Guide Edited by Ian Horner for the Australian Women’s Weekly Australian Consolidated Press/Australian Con­ solidated Press, $3.95 (PB) Large-format paperback listing films with brief critical comments.

The Illustrated Guide to Film Directors David Quinlan Batsford/Oxford University Press, $28.95 (HC) An illustrated encyclopedia list of film directors.

A companion volume to The Illustrated Directory o f Film Stars.

The Aurum Film Encyclopedia. Volume I: The Western Phil Hardy Aurum/J. M. Dent, $39.95 (HC)

CINEMA PAPERS July — 189

B o d ylin e In the summer o f 1933, three men o f Empire, from vastly different backgrounds, met on a cricket field in Adelaide and almost tore that Empire apart.

They were the central figures in one of the most controversial sporting events o f this century: the infamous “bodyline” test cricket series o f 1932-33. It was a series which was to threaten the traditional ties between England and Australia, rewrite the rules of cricket and give Australia a new national identity. B o d ylin e , the new television mini-series from Kennedy Miller, is the story of those three men and the “war” which rocked the foundations of Empire.

is directed by Carl Schultz, George Ogilvie, Denny Lawrence and Lex Marinos, from screenplays by Robert Caswell, Lex Marinos, Denny Lawrence and Terry Hayes, for producers Terry Hayes and George Miller. The director of photography is Dean Semler, the editors Richard Francis-Bruce and David Stiven.

The program stars Gary Sweet, Hugo Weaving, Jim Holt, Rhys McConnochie, Julie Nihill, John Walton, Max Cullen, John Gregg, Arthur Dignam, Frank Thring and Heather Mitchell.

B o d y lin e

Opposite top left: Gary Sweet as Don Bradman. Opposite top right: Bradman at the crease; to his left, Douglas Jardine (Hugo Weaving); the bowler is Harold Larwood (Jim Holt).

Opposite below: MCC Treasurer Lord Harris (Frank Thring) and Jardine. Right: Bradman and Jessie (Julie Nihill). Below: Bradman, Larwood and Jardine.

Box-office Grosses

192 — July CINEMA PAPERS

T h e Y e a r o f L iv in g D a n g e r o u s ly

U IP

(2/1) 18,662

T h e C lin ic

RS

35,064

M o lly

(4/5/1) 33,696

(1) 1,949

(4)

(2/2) 32,949

GUO

F ig h tin g B a c k

RS

(2) 11,199

21,713

U n d e rc o v e r

RS

(4/2) 18,932

(2) 6,037

N o w an d F o re v e r

RS

(3/2) 21,527

(1) 3,929

T h e W ild D u c k

RS

(1‘ ) 24,103

G o o d b y e P a r a d is e

FW

W e o f th e N e v e r N ever

H TS

Far East

L o n e ly H e a r ts

(3)

(1) 780

(3)

17,132 (1) 3,432

(1) 3,812

(1) 5,718 (5)

RS

12,649

(2) 2,282

OTH

(5)

7,765

54,307

16

35,064

17

32,949

18

32,912

19

25,749

20

25,456

21

24,103

22

17,132

23

12,962

24

12,649

25

10,047

26

M id n ite S p a r e s

RS

(2) 9,772

9,772

27

G a llip o li

RS

(2) 7,629

7,629

28

M ad M ax

RS

5,299

29

3,618

30

T u rk e y S h o o t

GUO

(1) 5,299 (1) 3,618

N/A

803,051

N/A

21,414,804 18,611,640

10,618,313

N/A

8,136,381

N/A

20,635,398

11,598,415

N/A

8,939,432

N/A

2,216,980

Foreign Total0 Grand Total

23,631,784

2,023,758

t Not (or publication, but ra iking correct. w Figures exclude N/A figrires. ed to Cinema Papers by the Australian Film Commission • Box-office grosses of ind vidual films ave been suppli oreign films shown during the period in the area specified o This figure represents th total box-of ice gross of all f * Continuing into next perio d eeks in release If more than one figure appears, the film has NB: Figures in parenthesis above the gro sses represent w been released in more than one cinema d uring the period

(1) Australian

theatrical distributor only. RS - Roadshow; GUO - Greater Union Organization Film Distributors; HTS - Hoyts Theatres; FOX — 20th Century Fox; UA — United Artists, CIC — Cinema International Corporation. FW — Filmways Australasian Distributors; 7K —7 Keys Film Distributors; COL — Columbia Pictures; REG — Regent Film Distributors; CCG — Cinema Centre Group; AFC — Australian Film Commission; SAFC — South Australian Film Corporation; MCA — Music Corporation of America; S — Sharmill Films; OTH — Other. (21 Figures are drawn from capital city and inner suburban first release hardtops only. (3) Split figures indicate a multiple cinema release.

Box-office Grosses

CINEMA PAPERS July

980,102

Australian Total

W ilh e lm

miuR

A lb r e c h t G m b H

C A PS T A N DRIVE - Far less stress on film.

HIGH S H U T T L I N G S P EE DS - 16mm - up to 30 times 35mm - up to 12 times. Fully variable.

Top speed r eac he d in less than 3 seconds. 0 to s t a b i l iz e d sync, speed in less than 1 second.

E X CE L L EN T R E S O L U T I O N - 16mm p r o j e c to r scree ns c o nt i n ua l l y from stop to 30 times sync with clear steady picture.

NO DOUBLE SP LI C I NG - handl es or din ary splices ea sily even at top speed.

ALL FO RM A T S - single, dual or triple guage dubbers, plus optical sound r e pro duc ti on.

P L UG - I N H E A D B L OC K S - to ch ange guages or do optical lifts.

No rollers need r e mo vi ng to change guages.

FOUR EQ and BIAS se tti ngs per channel, c h ang ed a u t o m a ti c a l ly with each he ad b l oc k or by external switch (optional).

SI MPLE C O U P L I NG - to any other type of eg uipment, i n clu din g VCRs, VTRs, co mp u t er and bus-sy ste ms .

EASY AC CE S S - to all c irc ui t bo ards for ad ju s t me n t or s e rv i c in g if ne cessary.

Electronic Looping System available — AP50.

PB 51 16 X 35mm Version and Telecine Models Available

MB 51 REPRESENTED BY

MB 52

Studio Sound Systems FOR FURTHER INFORMATION RING JOHN FARMER (02) 888 1746 13 KEPPEL RD RYDE 2112

NEW FROM INTERCINE! UPDATE YOUR OLD INTERCINE EDITING TABLE BY FITTING THE NEW CMC-1 DIGITAL COUNTER: #

U n i v e r s a l c o u n t i n g w i t h u n l i m i t e d tim e memory - no n e e d f or s t a n d - b y b a t t e r y .

#

P rogressive counting,

#

The CMC-1 c o u n t e r c a n s e l e c t o r c o m p a r e t h e f o l l o w i n g m e a s u r e m e n t s :

forw ards

and reverse.

FRAMES

TIMES - 24 f r a m e s p e r s e c o n d , METRES FEET -

16mm,

16mm,

25 f r a m e s p e r

second.

35mm - f r a c t i o n a l m e a s u r e m e n t i n mm.

35mm - f r a c t i o n a l m e a s u r e m e n t i n f r a m e s .

MWA and INTERCINE

available from

STUDIO SOUND SYSTEMS

sole A ustralian agents

Film Censorship Listings

Film Censorship Listings

X

Continued from p. 165

A m a te u r

N ile:

R.

Williams, U.S., 70 mins, Venus

Video, Sff-h-g) B aby Cakes: Essex Pictures, U.S., 87 mins, Luhaze, Gail Films, France, 82 mins, Show Time Video, Sff-h-g) B a ng B a ng Y o u G o t It: C. Vincent, U.S., 81 mins, Show Time Video, Sff-h-g) B lack S ilk S to c k in g s : Essex Pictures, U.S., 90 mins, Luhaze, Sff-h-g) T h e B o a rd in g H o use: R. Williams, U.S., 64 mins, Venus Video, Sff-h-g) C a lifo rn ia V a lle y Girls: H. Freeman, U.S., 89 mins, Aust. Heritage Series, Sff-h-g) C a ndi Girl: Essex Pictures, U.S., 60 mins, Luhaze, Sff-h-g) C a u g h t in th e Act: D. Christian, U.S., 82 mins, Show Time Video, Sff-h-g) C e n tre fo ld N ym p h: Not shown, U.S., 96 mins, Show Time Video, Sff-h-g) C o nfe ssions: Essex Pictures, U.S., 70 mins, Luhaze, Sff-h-g) C o n fe s s io n s o f a T a x M an: G. Grant, U.S., 83 mins, Show Time Video, Sff-h-g) D e e p P e n e tra tio n : Freeway Films, U.S., 68 mins, Show Time Video, Sff-h-g) D e licio us: B. Eagle, U.S., 84 mins, Show Time Video, Sff-h-g) D irty Looks: C. Vincent, U.S., 90 mins, Show Time Video, Sff-h-g) E rotic D e lights: Not shown, Italy, 84 mins, Show Time Video, Sff-h-g) Ex posure: A. Western, U.S., 94 mins, Show Time Video, Sff-h-g) F a s cina tion: Platinum Pictures, U.S., 80 mins, Show Time Video, Sff-h-g) T h e F irst T im e : Essex Pictures, U.S., 73 mins, Luhaze, Sff-h-g) Fren c h Blue: Select-a-Tape, U.S., 80 mins, Luhaze, Sff-h-g) Liq u id Lips: D. Christian, U.S., 75 mins, 14th Mando­ lin, Sff-h-g) M an h a tta n M istress: Cine Vogue, U.S., 74 mins, Luhaze, Sff-h-g) M ile H igh Club: Cindy Lou Sutters, U.S., 62 mins, Show Time Video, Sff-h-g) O ld T im e B lue M o v ie , V o l. 1: I.F.C. Entertainment, U.S., 53 mins, Show Time Video, Sff-h-g) O ld T im e Blue M o v ie , V o l. 2: I.F.C. Entertainment, U.S., 58 mins, Show Time Video, Sff-h-g) Ring o f D e sire: Cindy Lou Sutters, U.S., 54 mins, Show Time Video, Sff-h-g) S e k a ’s F an tas ies: Caballero, U.S., 81 mins, Luhaze, Sff-h-g) T a lk D irty T o M e , P a rt II: Caballero, U.S., 80 mins, Luhaze, Sff-h-g) Tax i C a b fo r L ad ies: A. Simeone-C. Simeone, Italy, 88 mins, Show Time Video, Sff-h-g) Visions: C. Vincent, U.S., 70 mins, Show Time Video, Sff-h-g) V o y e u rs Fan tas y: Cindy Lou Sutters, U.S., 101 mins, Show Time Video, Sff-h-g) Bad Girl:

E. Frenke-P. Yordan, U.S., 112 mins, CBS-Fox Video T h e y Fo u n d A C a ve: Visatone Island Pictures, Aus­ tralia, 63 mins, Aust. Council for Children’s Film and Television V a le n tin e M ag ic O n L o v e Islan d: Dick Clark Cinema Prods, U.S., 96 mins, Syme Home Video

PG M. Robson, U.S., 85 mins, CBSFox Video, V(i-l-g) Bees: A. Zacharias, U.S., 90 mins, Filmways A’asian Dist., O(horror) B lo o d a nd S a nd: D. Zanuck, U.S., 120 mins, CBS-Fox Video, 0(adult theme) T h e B u nker: G. Schaefer, France, 146 mins, Syme Home Video, Ofadult theme) B u tc h C a ssid y a n d th e S u n d a n c e Kid: J. Foreman, U.S., 106 mins, CBS-Fox Video, V(i-l-g) D a m n a tio n A lley: J. Zeitman-P. Maslansky, US., 87 mins, CBS-Fox Video, V(i-m-g) D iv o rc e H is -D iv o rc e Hers: World Film Services, Britain, 148 mins, VCL Communications, Ofadult theme) Fatso: Brooksfilms, U.S., 94 mins, CBS-Fox Video, L(i-i-g) F re n c h C o n s p ira c y : Y. Guezel, France, 94 mins, Filmways A’asian Dist., V(i-l-g) G uns an d th e Fury: T. Zarindast, Britain, 98 mins, VCL Communications, V(i-l-g) I fig li s o ’ p e zzi e ’core: Panda, Italy, 94 mins, Italvideo, 0(emotional stress) II b is b e tic o d o m a to : Capital Films, Italy, 99 mins, Ital­ video, Ofsexual allusions) L o n e ly H e arts: Adams Packer, Australia, 95 mins, Filmways A’asian Dist., Ofadult theme) Sfi-m-j) M y B o dygua rd : Melvin Simons, U.S., 94 mins, CBSFox Video, V(i-l-j) N o rth e a s t o f S e o u l: P Ross-P. Hazelton, U.S., 81 mins, Syme Home Video, V(i-l-g) T h e O rd e a l o f B ill C a rn ey: J. London, U.S., 120 mins, Syme Home Video, 0(adult theme) S u ic id e C o m m a n d o : Corn-United Corp., Italy, 100 mins, Filmways A'asian Dist., V(i-m-g) T a b le fo r Five: R. Schaffel, U.S., 116 mins, CBS-Fox Video, Ofemotional stress) T o u g h En ough: American Cinema Prods., U.S., 102 mins, CBS-Fox Video, 0(adult concepts) T ry s ta n a n d Isolt: Clar Productions, Ireland, 120 mins, Syme Home Video, Ofadult concepts) W h ite C o m m a n c h e : International Prods., Britain, 98 mins, VCL Communications, Vfi-m-g) A v a la n c h e E x press: The

W h o is K illin g all th e G re a t C h e fs o f E u ro pe: W

Aldrich, U.S., 108 mins, CBS-Fox Video, V(i-l-g) Ofsexual allusions) Y o u an d M e: B. Record, Britain, 82 mins, VCL Com­ munications, V(i-l-g)

M

24 February 1984

G. Carrol, D. Giler-W. Hill, U.S., 111 mins, CBSFox Video, Vfi-m-g) B e in g T h e re : J. Schwartzman, U.S., 121 mins, CBCFox Video, Sfi-m-j) T h e Big R e d O ne: G. Corman, U.S., 109 mins, CBSFox Video, V(f-m-j) B lo o d Feud: H. Colombo, Britain, 94 mins, CBS-Fox Video, V(i-m-j) Lfi-m-j) B o sto n S tra n g le r: R. Fryer, U.S., 113 mins, CBS-Fox Video, Ofadult concepts) V(i-m-g) C h a n e l S o litaire: L. Spangler, Britain, 118 mins, VCL Communications, S(i-m-j) C o n tro l Fac tor: S. Norman, U.S., 90 mins, Filmways A’asian Dist., V(f-m-g) T h e Entity: American Cinema Prods, U.S., 114 mins, CBS-Fox Video, Lfi-m-j) Vfi-m-j) E y e w itn e s s : P. Yates, U.S., 99 mins, Syme Home Video, Sfi-m-j) Vfi-m-j) Final Cut: M. Williams, Australia, 82 mins, Syme Home Video, Sfi-m-j Vfi-m-j) F iv e fo r H e ll (Fern till h e lv e te t): P. Moffa-A. Addobbati, Italy, 90 mins, Filmways A’asian Dist., Vff-m-g) Sfi-m-g) G e t M ean: A. Anthony, Britain, 87 mins, VCL Communi­ cations, Vfi-m-g) Inn o f th e D a m n ed : T. Bourke-R. Hay, Australia, 113 mins, Syme Home Video, Vff-m-g) Sfi-m-j) Lianna: J. Nelson-M.Renzi, Canada, 110 mins, Filmways A ’asian Dist., Ofadult concepts) Sfi-m-j) M a c h in e Gun M cC ain : C. Vicario, U.S., 91 mins, Filmways A'asian Dist., V(i-m-g) S h o c k in g Asia: W. Schiber, W. Germany, 94 mins, Filmways A’asian Dist., Ofadult concepts, surgical procedures) V a m p ira: J. Weiner, Britain, 89 mins, VCL Communica­ tions, Vfi-m-g) T h e V e rd ic t: R. Zanuck-D. Brown, U.S., 129 mins, CBSFox Video, Lfi-m-g) Ofadult concepts) Y o u r T h re e M in u te s a re Up: J. Gershwin-M. Levy, Britain, 92 mins, VCL Communications, Vfi-m-g) Ofsexual allusions) A lien:

R A n y tim e

A n y p la c e :

H. Terrie, U.S., 90 mins, Tag

Video, Sff-m-g) M. Redbourn, Britain, 92 mins, VCL Communications, Vff-m-g) Ofhorror) E le c tric B lue: T h e M ovie: A. Cole, Britain, 96 mins, Thorn EMI Video, Sff-m-g) E m m a n u e lle in S o ho: Tigon Productions, Britain, 72 mins, Thorn EMI Video, Sff-m-g) T h e Final C o n flic t: H. Bernhard, U.S., 108 mins, CBSFox Video, Vff-m-g) Sfi-m-g) J o u rn e y A m o n g W o m e n : J. Weiley, Australia, 89 mins, Syme Home Video, Sfi-m-g) T h e La s t A m e ric a n V irg in : Golan & Globus, U.S., 92 mins, VCL Communications, Sfi-m-g) Lfi-m-g) T h e M ack: H. Bernhard, Britain, 88 mins, VCL Com­ munications, Vff-m-g) Lff-m-g) P la y b o y V id e o V o lu m e 2: Playboy, U.S., 81 mins, CBSFox Video, Sff-m-g) S ie g e : M. Donovan-M. O'Connell, Canada, 81 mins, Filmways A’asian Dist., Vff-m-g) S in n e rs Blood: W. Robles, U.S., 76 mins, Filmways A’asian Dist., Sff-m-g) Vfi-m-g) 10 to M id n ig h t: Cannon Group, U.S., 102 mins, Syme Home Video, Vff-m-g) V is itin g Hours: C. Heroux, U.S., 105 mins, CBS-Fox Video, Vff-m-g) T h e C re e p in g Flesh:

G A e ro b ic D ance:

Video, Vfi-l-j) P. Lazarus III, U.S., 119 mins, CBS-Fox Video, Vfi-l-g) Lfi-l-g) T h e C h osen: The Chosen Film Company, U.S., 109 mins, Filmways A’asian Dist., Ofemotional conflict) D o g p o u n d S h u ffle: J. Bloom, U.S., 94 mins, CBS-Fox Video, Vfi-l-g) Lfi-l-g) G one in 60 S e co n d s: H. Halicki, U.S., 105 mins, Filmways A’asian, Ofadult concepts) Vfi-l-g) II sole n ella pelle: CI.D.I.F., Italy, 88 mins, Italvideo, Sfi-l-j) Vfi-l-j) K agem usha: Toho Kurosawa, Japan, 151 mins, CBSFox Video, Vfi-l-j) Les m is erable s: N. Rosemont, U.S., 143 mins, CBSFox Video, Vfi-m-j) C a prico rn O ne:

Sff-h-g) R o yal H u n t o f th e Sun:

B u tch C a s s id y an d th e S u n d a n c e Kid: T h e Early Days: 20th C entury-Fox, U .S ., 108 mins, CB S-Fox Video, Vfi-l-j) Lfi-l-g) C a n n o n b a ll Run: A. Ruddy, U.S., 95 mins, CBS-Fox

Pier Quinta Cariaggi, Italy, 48 mins,

Italvideo T he A g ony and th e E c sta sy

C Reed, U.S., 132 mins,

CBS-Fox Video B ia n c a n e v e e i s e tte nani: Y a n k e e Do odle:

Bass

Prods, Italy, 50 mins, Italvideo Not shown, U S., 119 mins, CBS-Fox Video ■ A Boy N a m e d C h a rlie Brow n: L. Mendelson-B. Melendez, U.S., 80 mins, CBS-Fox Video C a rtoon C a rn iv a l N o. 1: Not shown, U.S., 85 mins, CBS-Fox Video C a rtoon C a rn iva l No. 2: Not shown, U.S., 83 mins, CBS-Fox Video C h a rio ts o f Fire: D. Puttnam, Britain, 120 mins, CBSFox Video C razy Sky: Studio Mare Biassoni, Italy, 40 mins, Italvideo D rea m e r: M. Lobell, U.S., 84 mins, CBS-Fox Video Dudu il m ag g ilin o sc a te m a to : Apollo Films, Italy, 86 mins, Italvideo Fes tival M ag ic In te rn a tio n a l: M. Mayerhoflen, Italy, 62 mins, Italvideo G illes co m e era: Lancellieni and Schmidt, Italy, 48 mins, Italvideo T h e G re a t M u p p e t C aper: Universal-Afd, U.S., 92 mins, CBS-Fox Video I G ra ndi Raids: Videobox, Italy, 90 mins, Italvideo Ja n e F o n d a 's W o rk o u t II C h a lle n g e : Karl Video, U.S., 90 mins, Warner Home Video Ju le s V e rn e ’s M y s te ry on M o n s te r Islan d: J. P. Simon, U.S., 102 mins, CBS-Fox Video M iss P e ach o f th e K e lly S c hool: J. Davis, U S., 97 mins, CBS-Fox Video Mr M en V o lu m e 3: Warner Bros-Mr Films Ltd, Britain, 60 mins, Warner Home Video Mr M en V o lu m e 4: Warner Bros-Mr Films Ltd, Britain, 60 mins, Warner Home Video T h e M u p p e t M ovie: J. Henson, U.S., 92 mins, CBS-Fox Video T h e N e p tu n e Factor: S. Howard, U.S., 95 mins, CBSFox Video No N ukes: J. Schlossberg-D. Goldberg, U.S., 99 mins, CBS-Fox Video O w ain P rin c e o f W ales: Opix Films, Britain, 94 mins, Syme Home Video R aise th e T ita n ic : W. Frye, U.S., 119 mins, CBS-Fox Video S n o o p y C o m e H o m e : L. Mendelson-B. Melendez, U.S., 80 mins, CBS-Fox Video T o rn a cas a salty: V. Lundin, Italy, 76 mins, Italvideo W h ite W in g D ove: M. Callner, U.S., 58 mins, CBS-Fox Video W h ite W in te r S u n s h in e : R. Knop, U.S., 78 mins, CBSFox Video Billie Jean K ing: T e n n is E v e ry o n e :

PG All O u ie t on th e W e s te rn Front: N. Rosemont, U.S., 124 mins, CBS-Fox Video, Vfi-m-j) T h e A p ril Fools: G. Carroll, U S., 90 mins, CBS-Fox Video, Ofadult concepts) B affled: P. Leacock, U.S., 93 mins, CBS-Fox Video, Vfi-m-g) B re a k in g A w ay: P. Yates, U S., 97 mins, CBS-Fox Video, Lfi-l-g) Vfi-l-g)

M *A *S *H :

G oodbye,

F a re w e ll

a nd

Am en:

T.

Mumford-D. Wilcox, U.S., 121 mins, CBS-Fox Video, Ofadult concepts) M ovie M ovie: S. Donen, U.S., 102 mins, CBS-Fox Video, Vfi-l-j) Ofsexual innuendo) 9 to 5: B. Gilbert, U.S., 116 mins, CBS-Fox Video, Lfi-l-j) N o rm a Rae: T. Asseyev-A. Rose, U.S., 119 mins, CBSFox Video, Lfi-l-j) Vfi-m-j) N o sfe ra tu : T h e V a m p yre: W. Herzog, U.S., 96 mins, CBS-Fox Video, Vfi-l-g) O ur M an Flint: S. David, U.S., 104 mins, CBS-Fox Video T h e P a p e r C hase: R. F. Thompson-R. Paul, U.S., 106 mins, CBS-Fox Video, Ofadult concepts) Lfi-l-g) Pe eper: I. Winkler-R. Chartoff, U.S., 85 mins, CBS-Fox Video, Vfi-l-g) T h e P ira te M ovie: D. Joseph, U.S., 95 mins, CBS-Fox Video, Ofsexual innuendo) T h e P riv a te L ife of S h e rlo c k H o lm es: United Artists, Britain, 125 mins, Warner Home Video, Ofadult con­ cepts) R ascals and R o b b ers (T h e S e c re t A d v e n tu re s o f Tom S a w y e r and H u ck Finn): H. Lowry, 96 mins, CBS-Fox

Video, Vfi-l-g) Ofsexual allusions) P. Maslansky, U.S., 97 mins, CBSFox Video, Vfi-m-g) S h e rlo c k H o lm e s ’ S m a rte r B rother: R Roth, U.S., 90 mins, CBS-Fox Video, Lfi-l-g) Ofsexual allusions) S h o ck T re a tm e n t: J. Goldstone. U.S., 91 mins, CBSFox Video, Ofsexual innuendo) S ta rd u s t M em ories : United Artists, U.S., 88 mins, Warner Home Video, Ofsexual innuendo) Thin Ice: M. Sokolow, U.S., 100 mins, CBS-Fox Video, Ofadult concepts) T w o o f a Kind: R. Rothstein, J. Wizan. U.S., 87 mins, Fox Columbia Film Dist., Sfi-l-j) W ar G am es: H. Schneidel, U.S., 116 mins, Warner Home Video, Lfi-l-g) T h e S a lam an d er:

M R. Arthur, U.S., 123 mins, CBS-Fox Video, Ofadult concepts) A m a te u r: J. Michaels-G. Dracinsky, U.S., 107 mins, CBS-Fox Video, Vfi-m-j) A u tu m n S onata: L. Grade-M. Starger, Sweden, 90 mins, CBS-Fox Video, Ofemotional stress) Barbarosa: P. Lazarus III, U.S., 86 mins, CBS-Fox Video, Vff-m-g) T h e Big Sleep: E. Kaster-M. Winner, Britain, 95 mins, CBS-Fox Video, Vfi-m-g) T he Boys fro m Brazil: M. Richards, U.S., 119 mins, CBS-Fox Video, Vfi-m-g) B rief E n counter: C. Clarke, U.S., 99 mins, CBS-Fox Video, Ofadult concepts) B rub aker: R. Silverman, U.S., 125 mins, CBS-Fox Video, Vfi-m-j) Lff-m-j) T h e C a ssan d ra C rossing: C. Ponti, U.S., 123 mins, CBS-Fox Video, Vff-m-g) Ofsexual allusions) Cat in th e Cage: T. Zarindast, Britain, 101 mins. VCL Communications, Sfi-m-g) C razy H orse of Paris: Crazy Horse Productions, France, 60 mins, Electric Blue, Ofnudity) D a m ien O m e n II: H. Bernhard, U.S., 103 mins, CBSFox Video, Vff-m-g) D e ath M achine: R. Marchini, U.S., 90 mins, Filmways A'asian Dist., Vff-m-g) T h e D e tec tive: A. Rosenberg, U.S., 110 mins, CBS-Fox Video, Ofadult concepts) Vfi-m-j) D irty M ary C razy Larry: N. Herman. U.S., 89 mins, CBS-Fox Video, Vff-m-g) T h e D o m ino Principle : S. Kramer, U.S., 93 mins, CBSFox Video, Vff-m-g) Lfi-m-g) T h e D u chess an d T h e D irtw a te r Fox: M. Frank, U S., 100 mins, CBS-Fox Video, Lff-l-g) Ofsexual allusions) E m p e ro r o f the N orth: S. Hough, U.S., 120 mins, CBSFox Video, Vff-m-g) F a re w e ll, My Lov ely: Papas & Bruckheimer, U S , 91 mins, CBS-Fox Video, Vff-m-g) Ofsexual allusions) Friday 13th: T h e O rphan: S. Mackenzie, U.S., 78 mins, Filmways A'asian Dist., Vfi-m-g) H a rry T racy: Sid & Marty Krafft Productions, U.S., 100 mins, Filmways A'asian Dist., Vff-m-g) H avoc 1: Videovision, Britain, 43 mins, Electric Blue, Vff-m-g) H avoc 3: Videovision, Britain, 39 mins, Electric Blue, Vfi-m-g) H istory of th e W o rld P a rt 1: M. Brooks, U.S.. 88 mins, CBS-Fox Video, Lfi-m-g) Ofadult concepts) H o tw ire: D. Ford, U S., 95 mins, Filmways A’asian Dist., Sfi-m-g) I Am S a rta n a Y o u r A n g e l o f D eath: Addobbati & Moffa.

Italy, 106 mins, Filmways A'asian Dist., Vfi-m-g) I t ’s L izzie to T h o s e Close: G. McLean, New Zealand, 70 mins, Syme Home Video, Vfi-m-j) K rem lin Letter: C. DeHaven-S. Wiesenthal, U.S., 117 mins, CBS-Fox Video, Vff-m-g) Ofsexual allusions) Long W e e k e n d : R. Brennan-C. Eggleston, Australia, 92 mins, CBS-Fox Video, Vfi-m-g) Lfi-m-g) Sfi-m-g) M odern P rob lem s: 20th Century Fox, U.S.. 88 mins, CBS-Fox Video, Lfi-m-g) Ofsexual allusions) M o n d o cane: G. Jacopetti, U.S., 93 mins, CBS-Fox Video, Ofadult concepts) N ig h tm a re City: Dialchi Films, U.S., 88 mins, Filmways A’asian Dist., Vff-m-g) N u tcrac ker: P. Nicolaou, Britain, 98 mins, Filmways A’asian Dist., Sfi-m-g) Vfi-m-g) T he Pom Pom Girls: J. Ruben, U.S., 90 mins, Filmways A’asian Dist., Vff-m-g) Sfi-l-g) T h e R e ven g e rs : M. Rackin, U.S., 93 mins, CBS-Fox Video, Vfi-m-g) T h e R ooster: T. Watbick, U.S., 98 mins, Filmways A’asian Dist., Vfi-m-g) S .O .B .: Lorimar, U.S., 116 mins, CBS-Fox Video, Sfi-m-g) Ofadult concepts) S o p h ie ’s C h oic e: A. Pakula-K. Barish, U.S., 144 mins, CBS-Fox Video, Ofadult concepts) Lfi-m-j) T h e V io la tio n of S a ra h M cD av id : J. Moxey, U.S., 95 mins, CBS-Fox Video, Ofadult concepts) All T h a t Jazz:

The

A W ed d in g : R. Altman, U.S., 120 mins, CBS-Fox Video, Sff-l-g) Ofsexual references)

R 1: K. Tosner, Britain, 75 mins, Variety Video, Sff-m-g) Lff-m-g) B e hin d th e D o o r II: J. Vasile, Not shown, 90 mins, Syme Home Video, Vff-m-g) T h e Big Bird C a ge: New World Pictures, U.S., 88 mins, Warner Home Video, Sff-m-g) Vff-m-g) B lue S u n sh in e: G. Manasse, U.S., 97 mins, Filmways A’asian Dist., Vff-m-g) D e ath Hunt: M. Shostak, U.S., 96 mins, CBS-Fox Video, Vff-mg) T he D e c a m e ro n : United Artists, Italy-France-West Ger­ many, 111 mins, Warner Home Video, Sfi-m-j) Ofsexual references) D es p e tite s s a in te s y to u c h e n t: Les Production Du Davnov, 90 mins, Akturk Video, Sff-m-g) E le c tric B lue 003: Adam Cole Productions, Britain, 59 mins, Electric Blue, Sff-m-g) E lectric B lue 004: Scripglow, Britain, 60 mins, Electric Blue, Sff-m-g) E le c tric B lue 007: Scripglow. Britain, 60 mins, Electric Blue, Sff-m-g) E lectric B lue 002: Adam Cole Productions, Britain, 57 mins, Electric Blue, Sff-m-g) E lectric Blue 10: Adam Cole Productions, Britain, 60 mins, Electric Blue, Sff-m-g) E le c tric Blue 11: Adam Cole Productions, Britain, 60 mins, Electric Blue, Sff-m-g) E lectric B lue 12: Adam Cole Productions, Britain, 60 mins, Electric Blue, Sff-m-g) E lectric Blue 13: Scripglow, Britain, 60 mins, Electric Blue, Sff-m-g) Equus: United Artists, Britain, 137 mins, Warner Home Video, Sfi-m-j) Vfi-m-j) Ofadult concepts) E xpose: Norfolk Film International, Britain, 80 mins, Electric Blue, Sff-m-g) Vfi-m-g) Force d E n tr y J. Sotos-H. Scareell, U.S., 82 mins, Syme Home Video, Vff-m-g) Hard Core: Norfolk Films International, Britain, 80 mins.

Electric Blue, Sff-m-g) Il vizo di fam iglia : Flora Films, Italy, 88 mins. Italvideo.

Sff-l-g) Infern o: C. Argento. U.S., 102 mins, CBS-Fox Video, Vff-m-g) In Love: C. Vincent, U.S., Show Time Video. Sff-m-g) I t ’s C a lled M u rd e r, Baby: C. Warfield, U.S., 91 mins, Filmways A'asian Dist., S(i-m-g) Ofadult concepts) J e llo W restlin g : Scripglow, Britain, 60 mins, Electric Blue, Sfi-m-g) Lu x u re (L ew dness): M. Pecas, France, 84 mins, Syme Home Video, Sff-m-g) A N ight at th e R e vie w Bar: Scripglow, Britain, 56 mins, Electric Blue, Sff-m-g) N u de W iv e s E x tra v a g a n za : Electric Blue, Britain, 57 mins, Electric Blue, Sff-m-g) T h e P arty: Sin Flix, Britain, 51 mins, Electric Blue, Sff-m-g) P laybo y P la y m a te R e vie w : M Tukilis, U.S.. 81 mins, CBS-Fox Video, Ofexploitive nudity) Playbo y V id e o V o lu m e 1: Playboy. U S., 66 mins, CBS-Fox Video, Ofnudity) Sfi-m-g) P laybo y V id eo V o lu m e 3: Playboy, U.S., 74 mins.

CBS-Fox Video, Sfi-m-g) Q u est fo r Fire: J. Kemeny, U.S., 95 mins, CBS-Fox Video, Vfi-m-j) Sfi-m-j) Red T a p e 3: Red Tape Productions, Britain, 58 mins, Electric Blue, Sff-m-g) Sex M an iacs G u id e to th e U .S .A .: R Vanderbes, U.S., 99 mins, Electric Blue, Sff-m-g) T ru e Blue: Fourfold Productions, Australia, 60 mins.

Electric Blue, Sff-m-g) Ugly G eorge: Electric Blue, Britain, 57 mins. Electric Blue, Ofnudity) Sfi-m-g) Ultra Flesh: Svetlana, Britain, 64 mins, Thorn EMI Video, Sff-m-g) Bad T a s te M o vie No.

X Film Jean Desvilles, Italy, 65 mins, Ital­

Blue Extasi:

video, Sfi-h-g) Cry fo r Cindy: H. Locke, U.S., 85 mins, Luhaze, Sff-h-g) D e b b ie D o es D a llas P art II: J. Clarke, U.S.. 80 mins,

Luhaze, Sff-h-g) J. Blackthorn. U S .. 88 mins, Luhaze.

D e via tions:

Sff-h-g) E rotic In te rlu d e s :

J. Reeves-W. Reeves, U.S., 84 mins,

Luhaze, S(f-h-g) Cabellcro Control, U.S., 80 mins, Luhaze, Sff-h-g) J. Jewel, U.S., 90 mins, Video Classics, Sff-g-h) For th e L o v e of P leasu re : Essex Productions, U.S., 90 mins, Luhaze, Sff-h-g) Hot Lun ch. R. Thornberg, U S.. 81 mins, Blake Films, Sff-h-g) I Like to W atch: P. Vatelli, U.S., 90 mins, Luhaze Sff-h-g) In s a tia b le E m m a n u e lle : R. Tatti, U.S., 96 mins, Show Time Video, Sff-h-g) In tim a te Illusions: J. Sloane. U.S., 74 mins, Luhaze, Sff-h-g) Jac k and Jill: Felix Miquel Arroyo, U.S., 71 mins, Blake Films, Sff-h-g) La b ete (T h e Beast): W. Borowczyk, France, 92 mins, Publishing and Broadcasting Video. Sff-h-g) Lips: P. Vatelli, U.S.. 76 mins. Luhaze, Sff-h-g) T he M a s te r an d M s Jo h n s o n : Belladonna Films, U.S., 79 mins, Luhaze, Sff-h-g) M ystiqu e: R. Norman, U S.. 80 mins, Luhaze, Sff-h-g) O rien tal Baby S itte r L. Burke. U.S., 71 mins, Luhaze, Sff-h-g) P hysical: J. Blackthorne. U.S., 80 mins. Luhaze, Sff-h-g) P lease M r P o s tm a n B. Lewis. U.S., 74 mins, Luhaze.

Sff-h-g) P o rtra it of S e d u c tio n : Essex Productions, U.S., 84 mins, Luhaze. Sff-h-g) S o m e tim e s S w e e t S usan: C. Baumgarten-J. Scott, U.S.. 80 mins, Luhaze, Sff-h-g) S w e d is h E ro tica V o lu m e 42: Caballero, U.S., 58 mins, Luhaze, Sff-h-g) S w e d is h E ro tica V o lu m e 43: Caballero. U.S., 58 mins.

Luhaze, Sff-h-g) S w e d is h E ro tic a V o lu m e 44: Caballero, U S., 58 mins, Luhaze, Sff-h-g) S w e d is h E ro tica V o lu m e 45: Caballero. U.S.. 63 mins, Luhaze, Sff-h-g) S w e d is h E ro tic a V o lu m e 46: Caballero, U.S., 54 mins, Luhaze, Sff-h-g) T h e T e m p tre s s : W. Hunt. U S.. 77 mins. Luhaze, Sff-h-g) Up ’N C o m ing: Key International, U.S., 85 mins, Blake Films, Sff-h-g) V e lv e t H igh: Limelight, U.S., 80 mins, Luhaze, Sff-h-g) T ?

The

Filth y

Rich:

F leshda nce:

CiNEMA PAPERS July — 195

The Woman Suffers

The Quarter

The Woman Suffers

Selection (1920) and R udd’s New Selection

Continued from p. 160

(1921). E. J. and Dan Carroll then proceeded to join forces with the quiescent Southern Cross Feature Film Com pany. For this new firm, Southern Cross Picture Productions, Longford and Lottie Lyell co-directed The Blue Moun­ tains Mystery, released by Carrolls in Novem­ ber, 1921, at the Sydney Lyric, a combine theatre.

Although the Carrolls had commercial suc­ cess with all of these films in A ustralia, and even secured releases in Britain and the U.S. for The Blue Mountains Mystery, they gave up the increasingly doubtful field o f production for more certain returns under the com bine’s exhibition umbrella. The nam e Southern Cross disappeared from the dwindling list of A us­ tralian producers.

This would certainly have happened even if The Woman Suffers had not been banned in A ustralia’s most populous State. That film ’s unexplained prohibition nevertheless under­ scores the historical difficulties A ustralian p ro ­ ducers have faced — not merely from distri­ butors, but sometimes from governments — in securing adequate exhibition.

It should be noted here that there never has been any secret about the detailed content of The Woman Suffers. L ongford’s 11-page, typed and signed treatm ent was lodged with the Commonwealth Patents Office in 1917. It has been available for the studious or the merely interested to peruse ever since. The mystery of why the film was prohibited in New South Wales is yet to be solved. Despite inform ed guesswork, it may never be.

All of the other films of the period subm itted for censoring have properly docum ented files in the NSW State Archive. Not so The Woman

Commission on this item on June 16, 1927, in a fashion that added irony to resignation: The combine raised no protest. I appealed to Mr Musgrave of the combine, and was told that I was up against a brick wall, and that as I had cost them a deal of money in securing the duty on American film3, I could not expect any considera­ tion from them. I appealed in vain to Sir George Fuller, then State Premier.

Southern Cross had been encouraged enough by the popularity of The Woman Suffers not to dissipate its slim resources in legal tussles in only one State, but to get on with its next production. This, as the premiere program brochure for its first star photo-play had prom ised, was to be The Sentimental Bloke.

Raym ond Longford and Lottie Lyell had already returned to Sydney and immersed themselves in creating what was to become the acknowledged classic of A ustralia’s silent era.

The Sentimental Bloke, on com pletion in 1918, was turned down by A ustralasian Films for the Union Theatres network; it was distri­ buted by the prom inent Queensland exhibitors, E. J. and Dan Carroll. The Carrolls financed and also released the next film that Longford made for the South A ustralian firm , Ginger Mick (1920).

Carrolls engaged Longford to direct two more films, the comic but sympathetic O n O ur 3.

Presumably

to

replace the banned film,

S u ffe r s.

The Quarter Continued from p. 121 The conference will probably run for four or five days in a country centre in Vic­ toria. Information can be obtained from Margaret McClusky at the AFC in Sydney.

Telephone: (008) 22 6615.

BflflBBBBBBBBBBBBBfl

Appointments AFTS Bryon Quigley has been appointed as the new head of the Open Program at the Australian Film and Television School.

Quigley has extensive professional experience in broadcasting and television.

A former news editor of 2GB Macquarie News, Bryon joined the BBC in 1970 writing features and documentaries for programs such as “ 24 Hours” and “ The Lively Arts” . Returning to Australia in 1975, he launched the highly successful “ City Extra” program for ABC Radio. He has also made television documentaries for ATN7 and ABC Education.

Since 1980, Quigley has been head of the Radio Division of the Open Program.

AFC The AFC chief executive, Kim Williams, announced the appointment of two marketing executives: a new director of marketing, based in Sydney, and a new North American representative, based in Los Angeles.

Clive Turner took up his appointment as director of marketing on May 7 this year.

Turner is a graduate in Business Studies and a qualified accountant. Formerly the public affairs manager of Mobil Australia, he has held a number of senior marketing positions with Mobil, both in Australia and

196 — July CINEMA PAPERS

T he W om an

on assignment overseas. In his previous position, he was responsible for Mobil’s sponsorship and marketing of the “ En­ tombed Warrior” exhibition, which toured Australia last year.

Commenting on the appointment, Wil­ liams said, Mr Turner brings a great deal of prac­ tical marketing experience to the AFC. His work has involved him in every facet of marketing from research and plan­ ning through to the design and creativity associated with major promotions.

Describing himself as a “ film nut, with a passionate interest in the arts” , Turner said, I see the need to develop an information bank for the industry, primarily directed towards enhancing the opportunities for marketing Australian programs both domestically and overseas. Knowing the market for our programs is para­ mount to the development of effective and co-ordinated marketing strategies.

Richard Guardian has been appointed to the position of North American repre­ sentative. Guardian has worked in distri­ bution since 1978, when he joined the United Artists Corporation as a manage­ ment trainee in Columbia. He was then a manager for the Dominican Republic and the French West Indies, and for Panama, Central America and Jamaica.

In 1981, Guardian was transferred to Sydney as managing director for Australia and New Zealand, leaving United Artists upon the formation of UIP in 1982. He joined Hoyts as National Marketing manager and in 1984 was reassigned to Melbourne as film and marketing manager for the Southern Division, as part of the Hoyts organization’s restructure.

Guardian, who joins the AFC in June, will be working several months in the Sydney office before going to Los Angeles later in the year to spend some months with Mike Harris, the out-going AFC repre­ sentative who departs in November.

Murray Brown, formerly senior project

Suffers. Its censorship file or other official docum entation cannot be located there. Does this critical inform ation still exist elsewhere, or was it destroyed in 1918?

Now, at least, one can view The Woman Suffers and make judgm ents about its fitness for public screening. T hat is, unless one happens to live in New South Wales where, pre­ sumably, the film is still banned. Or was the ban lifted, as mysteriously as it was imposed?

W ho knows?

S e le c t R e fe re n c e s

A. Pike and R. Cooper, Australian Film, 1 9 0 0 - 1 9 7 7 , O U P, M elbourne, 1980.

NSW Legislative Assembly, Vol. 73, November 14, 1918, pp. 2721-22, November 26, 1918, p. 2970.

Longford typescript, M arch 1958, N ational Film Library.

Longford in Evidence, Royal Commission, June 16, 1927, and November 28, 1927.

E. J. Carroll in evidence, Royal Commission, November 21, 1927.

Program brochures, Theatre Royal, Adelaide, March 23, 1918.

Program brochure, Lyric Theatre, Sydney, August 26, 1918.

Australian Variety and Show World, February 1, August 30, October 25 and November 8, 1918.

Advertiser (Adelaide), M arch 23, 1918.

R egister (Adelaide), M arch 25, 1918.

The Bulletin (Sydney), October 31,’ 1918.

The Worker (Sydney), October 31, 1918.

Longford p apers,’ State Archive, NSW, date unknown. ★

officer in the Creative Development Branch (CDB) of the AFC, has been appointed to the newly created position of cultural activities co-ordinator.

Brown will be involved in liaising with film organizations and publications funded through the CDB. He will also be initiating activities relating to the promo­ tion of film as an art form and film culture in Australia. He will be responsible to the managing director of the CDB, Vicki Molloy.

Brown was acting director of the CDB in 1983 after the previous director, Lachlan Shaw, left the AFC. He joined the AFC in 1979 as administrator of the Melbourne office, then moved to Sydney becoming senior project officer in the CDB.

AFI Kathleen Norris, executive director of the Australian Film Institute, has announced her resignation so as to take up the posi­ tion of general manager of the Eliza­ bethan Theatre Trust.

Norris was appointed as executive director in 1981 after her arrival in Aus­ tralia from New York with her husband, Patrick Veitch, who is general manager of the Australian Opera.

Norris’ resignation will take effect in a few months, after the Australian Film Awards, which will be held in Melbourne in early October.

B1BRIIBBBBIBBBBBI

New Documentary Fellowship Plan The chairman of the Australian Film Com­ mission, Phillip Adams, announced in April a new funding scheme to “ encour­ age documentary filmmakers in [the] pur­ suit of innovation and excellence” .

The AFC’s Documentary Fellowships, with a budget of $300,000 during the first

18 months, are designed to release Aus­ tralia’s filmmakers from conventional financing restraints and allow those chosen to explore the possibilities of actuality filming. Four Fellowships will be available in 1984 and 1985, each worth $75,000, with an option to use Film Aus­ tralia facilities.

The Fellowships will be awarded on per­ sonal merit, rather than project, basis, encouraging the filmmaker to be the author of a film in much the same way a writer creates a novel.

The Documentary Fellowships are the idea of Malcolm Smith, the AFC’s general manager of Film Development. Tom Haydon, one of Australia’s leading documen­ tary makers, has been commissioned to supervise the scheme. Haydon was appointed earlier in the year to explore and discuss ways to achieve a consensus on the scheme within the industry.

The Documentary Division of the Film and Television Production Association of Australia was closely involved with the formulation.

A five-person advisory panel will be established to interview candidates for the Fellowships, viewing and discussing their past work. The panel is to be chaired by Tom Haydon and will consist of two docu­ mentary filmmakers, a non-filmmaker with a respected knowledge of film and a person who has a reputation for a concern with ideas.

According to Adams, Present funding methods in Australia are predisposed to favour documen­ taries which are conventional and safe in their ambition and style. Most docu­ mentaries now need a pre-sale in order to get financed and this generally forces the documentary film to be fully con­ ceived in advance.

The Fellowships, which will really sup­ port ‘auteur’ filmmakers rather than rigidly defined projects, will, we hope, lead to experimentation, innovation and the pursuit of excellence. ★

Production Survey

P ro d u c tio n S u rv e y

Continued fro m p. 175

THE WINDS OF JARRAH Prod, company....................Film Corporation of Western Australia Producers................................ Mark Egerton, Marj Pearson Director.....................................Mark Egerton Scriptwriters.....................................Bob Ellis, Anne Brooksbank Director of photography........... Geoff Burton Sound recordist........................ Gary Wilkins Editor........................................ Sara Bennett Prod, designer..................... Graham Walker Composer.............................Bruce Smeaton Assoc, producer......................... Cara Fames Prod, supervisor......................Su Armstrong Loc. manager....................................Phil Rich Unit manager............. •................Peter Gailey Prod, secretary........................Carol Hughes

Lighting cameraman............Ian Warburton Camera operator.................. Gus Whitehurst Camera assistant................................... HansJansen Key g rip ............................ Tony Woolveridge Electrician................................... Les Frasier Boom operator.............................. Gary Lund Costume designer.................................. PaulCleveland Make-up.................................................LindaHamilton, Ian Laughnan Wardrobe.....................................Eva Unger, Norma Londregan Props buyer............................ Helen Williams Sound editor............................ Andrew Barry Editing assistant...................................... NolaStewart Stunts co-ordinator................................ ChrisAnderson Stunts..................................................... GlenReuhland Dialogue coach..................................... HelenNoonan Tech, adviser.........................................HarryShiamaris Publicity............... ABC Publicity Department Catering........................Bande Aide Caterers Cast: Nick Lathouris (Yannis), Peter Katsaitis (Criton), Christine Totos (Anna), Olivia Hamnett (Patricia Barwing), Simon Chilvers (Peter Barwing).

Synopsis: A young Greek Cypriot woman comes to Melbourne in the 1950s for her arranged marriage and is caught in a web of tragedy.

Alison, Steven Grives, Emil Minty, Nikki Carpenters.............................................. John Rann, Prod, accountant..................... Peter Sjoquist Keron Stevens, Gemmell, Mark Kounnas.

1st asst director.................. Michael Falloon Bob McLeod, Synopsis: A young Englishwoman finds 2nd asst director...................................... PhilRich Brian Childs herself in Australia at the end of World War 3rd asst director....................Mark Lamprell 2. A romantic drama unfolds as she takes Set construction..................................DennisSmith, Continuity................................ Daphne Paris Bill Howe work as a governess to the children of a Extras casting..........................Klay Lamprell timber baron in NSW. Asst editor............................................. LynneWilliams Casting consultants.................Alison Barrett Edge numberer..................................... KathyCook Camera operator............... David Williamson THE YOUNG WIFE Musical director....................Bruce Smeaton Focus puller..........................David Foreman Prod, company.......... ........................ABC Sound editor.............................................PaulMaxwell Clapper/loader......................... Gillian Leahy ....Oscar Whitbread Producer...................

Film school attachment/ Dubbing editor....................................... PeterFoster Director...................... ....Oscar Whitbread camera assistant............ Nick McPherson Editing assistants...................................AnneBreslin, Key grip....................................... Rob Morgan Emma Hay Scriptwriter................. ....... Linda Aronson Based on the novel by. ..........David Martin Asst grip................................Graham Shelton Stunts co-ordinator................................PeterWest ........Ian Warburton Senior cameraman....

Still photography..................................... ChicStringer Underwater photography..........David Burr & Animal wrangler.................................... StevePhillips Sound recordist.......... ................Bill Doyle Production Divers ................Ted Lowe Best b o y ...................................................

Ken Moffatt Editor.........................

Gaffer............................. Graham Rutherford Runners.................................................PeterBrown, Prod, designers......... ..... Paul Cleveland, Boom operator...................... Mark Wasiutak Des White Art director......................... Steve Amezdroz Shane Walker Exec, producer.......... ....Oscar Whitbread Costume designer......................David Rowe Catering...................Take One Film Catering Mixed a t ........................................... Colorfilm Prod, manager............ .Lorraine Alexander Make-up......................Lesley Lamont-Fisher Standby wardrobe................................JennyMiles Laboratory........................................Colorfilm Unit manager............. ........Peter Baroutis Lab. liaison................................................ BillGooley Prod, secretary.......... ...........Debbie Cole Ward, assistant......................Penny Gordon Length....................................................... 100mins.

1st asst director.......... ............Jim Oastler Props buyer........................... Anni Browning Standby props........................................TonyHuntGauge............................. 35mm anamorphic 2nd asst director........ ............Ann Bartlett ...........Kerry Bevan Shooting stock......................................Kodak Continuity..................

Special effects.......................... Chris Murray, Cast: Terence Donovan, Susan Lyons, Producer’s assistant.. ...........Kerry Bevan David Hardie Harold Hopkins, Steve Bisley, Martin Casting....................... ..............Greg Apps Painter................................... Len Armstrong Vaughan, Isabelle Anderson, Dorothy

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As part of the celebration of Earth W eek the writer, d ire cto r or origin ator of a feature on the physical environm ent (natural or artificial) will be elig ib le for The Sir W illiam M cKell Award. This award will be presented by the New South Wales G overnm ent in three categories: • PRINT MEDIA • RADIO • FILM AND TELEVISION

Entries m ust incorporate an environm ental them e of d ire ct relevance to New South Wales and must co n trib u te to general com m unity awareness and understanding of environm ental quality, problems, issues and projects and th e ir im pact on the com m unity.

If a particula r entry in any category is considered outstanding, an overall w inn er will be declared.

In m aking its decision, the Governm ent will be advised by a d istinguished panel of judges.

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Entries must reach the Commission by 5.00 p.m. on 31 July, 1984.

Winners will be announced during Earth Week 1984 (22-29 September 1984).

CINEMA PAPERS July — 197

Robert Duvall

Robert Duvall Continued from p. 154 Which seems to have totally dis­ appeared . . .

Well, it opened in a theatre for three days. My form er wife was the producer, but we were breaking up then, so I kind of got side-tracked.

Still it went to the London Film Festival and won a nice award. It was turned down by the New York Film Festival, although John Cassavetes, who eventually won an award there, flipped over it. He sent me a script to direct which I didn’t know how to do.

What is “Pentecostal Preacher” about?

There was another project that d idn’t come together: a Sidney Lumet film called “ Kingdom ” . It was to be an accurate account of two preachers, one of whom becomes really big, like Jerry Falwell but with more charisma.

He mixes politics with the church, which you are not supposed to do, while the other guy stays on the straight and narrow. I had done my homework and gotten into it, so I was very disappointed when it collapsed. I decided I was going to do my own and that it was going to be better than theirs.

What exactly is the Pentecostal religion?

Well, it is part of the charismatic movement in America. Both the B ap tist and th e P e n te c o sta l religions accept the “ Lord Jesus C hrist” as their personal Saviour, so that life comes out of death literally. To be saved, you have to accept Jesus Christ into your heart as your personal Saviour. I disagree in that it seems to have nothing to do with your works or his works. It is just a question of believing.

The Pentecostal religion believes in the fundam ental interpretation of the Bible, concentrating on that portion of the Bible which deals with the day of Pentecost, when we shall speak in other tongues and we shall lay on hands and heal. The sect version of that is, “ Lift up serpents and drink any deadly thing and it shall not hurt you.”

And these people lift up rattle­ snakes and drink strychnine, and some of them die. It is a very small sect and frowned upon. The blacks from whom this religion came do not participate in that. Either they are too sm art or they are too scared or both.

It is the fastest growing religion in America. Even the Roman Catholic Church has a charismatic movement, though it is less intense that the Pentecostal one. It is better than Broadway musicals; I can’t believe the energy. I went to a 2000-member black church in 198 — July CINEMA PAPERS

Dallas where they start speaking in tongues — it is like rattle-snakes and twitches — and then the guy would preach. This is an exciting, fascinating world that hasn’t been put on film.

It is interesting; you could almost have been talking about the Gipsy world in “Angelo, My Love” . . .

In a way these people are worse than Gipsies; Gipsies are taught to steal. These people, Christians, do unto others as you would have them do unto you — but they still do deals.

Duvall and Evans: “I feel almost like a father who has watched his kid grow up and leave. ”

There is a fascination in “Angelo” with the rituals of Gipsy life, like the use of the cane in the court­ room, the communal singing, the therapy of the “ dried witches’ vomit” . Does all of this represent your interest in alternative cultures and beliefs?

I am just trying to put them on the screen, hopefully as entertain­ ment. I want to hold a m irror up to life, to make it real, to show how complex it is and to make it life­ like even if it is more structured.

But it is not a documentary. It is similar to what I found with Kes (1969), the Kenneth Loach film that I like so much.

In an interview you did for A m erican Film you said: “Most

films refer to other films. That’s their ‘reality’, and that’s what makes them artificial.” 2 What strategies did you employ with “We’re Not the Jet Set” and “Angelo, My Love” to avoid that sense of artificiality?

It was a battle trying to find the balance between filming accidents and filming set-ups. During the first set-up I did, I thought, “ Will it work? Can I trust the makebelieve to happen?” With the set­ ups, I tried, rather than filming accid en ts, to have accidents happen legitimately within the set­ ups. For instance, the death scenes with Brando in The Godfather (1971): the kid thought Brando was still playing when he was dead and he started squirting him. It was the way it would happen in life. I tried to make those things more the norm than the exception by accom m odating the Gipsies. I tried not to use the word “ action” and said, “ No acting” . I tried to get them to be themselves so that when a camera rolled no one would perform ; everyone would just do it.

the movie in which he called Patalay to see if he were still alive.

You have to leave things open.

What are your basic concerns in “Angelo” ? What did you want the film to be about?

I did not set out to deliver a message. For me the challenge was to get a story about hum anity and hum an behaviour as purely as I could up there on the screen and find out something about the Gipsy culture. In no way do I see the film as an indictment of the Gipsies. Some of them thought so.

They said to me, “ Hey, Mr Duvall, what are you having us stealing chickens for? This is the 20th C entury.” I told them I never twisted anyone’s arm for the film.

And although I never got a thank you from the kids’ parents, and they never said they liked the movie, I sensed that they did.

As you present them, the Gipsies seem to be a collection, a hybrid, that devours the culture that is around them . . .

T h at’s right. If they steal — if they steal! — they take words from languages, they take other people’s religions, they collect everything.

A n g e lo ’s p e o p le are G reek O rthodox, but they go to the Catholic festival.

I think there is a reai poignancy about Angelo. He doesn’t know who he is. He chases American girls, not Gipsy girls; he is after the ring for Patricia, not because it is a family heirloom. Do you have that sense of him?

It was all scripted. But I never brought the script to work. In fact, Angelo thought up the last scene in

I d o n ’t know. He has a lot of confidence about himself. He may be uncertain underneath, but he does have a good sense of himself in a way. And unlike the boy in Pixote (1982), he can always rush back to his m other. She indulges him so m uch it is alm o st unhealthy. Although they yell and scream at each other and use the worst sort of language, it is all love and loyalty.

2. Lynde McCormick, “ Robert Duvall: A m erica’s Hard-Boiled Olivier” , American Film, September 1981, p.42.

Much of their language is pidgin English, combined with another, unfamiliar language . . .

To what extent was the film scripted?

They said to me, “ M r Duvall, you want Gipsy or English?” I said, “ Give me 50-50.” So they go in and out. But it is more like 60-40.

So it was their choice to go back and forth? You didn’t direct that?

Sometimes I did. I said give me some of both because then we won’t need sub-titles. But they do that themselves anyway. And the way things worked out it was so right sometimes. For instance, in the scene at the trial, Frankie was terrific. He started screaming, “ I want justice” , and that is hard for an actor to do without going over the top. It was 106° Fahrenheit and I said to Frankie, “ How did you arrive at th a t? ” He said, “ You talk ed ab o u t th in k in g ab o u t something that made you mad. I wanted to go home and I knew I couldn’t go home and it made me m ad .”

The cost of the film was $1 million.

How long was the shoot?

T en weeks plus s ome preliminary and post shooting.

About 95 per cent was filmed in a 10-week period in the summer of 1983, when Angelo was 10 years old.

The second day on the set, he said, “ I ’m fucked!” , and stormed off. I thought, “ W hat do I do?

How do I deal with him ?” And I ’d go and talk to him and he’d come in crying and late. He wanted to do the movie, but when he got in the middle of the pressures of a 10-week shoot, he went nuts. It was too regimented. Then when we had two weeks left, he got sad. He got into a bottle of liquor, got drunk at the cast party and went home. His m other threw him into the shower and sobered him up.

You seem to have a strong empathy with Angelo, almost as if he was young Robert Duvall for you . . .

Yeah! Well, I d o n ’t see him so much any more. And I really miss him, you know. H e’s been making a film in Italy. I feel alm ost like a father who has watched his kid grow up and leave. *

Ermanno Olmi's

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(Keep Walking, Keep Walking)

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Peggy Nicholls: Melbourne 830 1097 or 329 5983

27 Stonnington Place, Toorak, Victoria. 3142.

Telephone: (03)205329. Cables: "Sharfilms" Melbourne.

★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★

FILM W O R K S POST PRODUCTION PTY LTD

FREELANCE AGENCY • Comfortable 16mm editing rooms • Latest m odel Steen becks c • Double-head projection • Transfers •T y p in g service • O ut of house rentals SALLY MEIKLEUOHN, CHRISTINE MACKRILL. P.O. SOX 2988. AUCKLAN D . N.Z. TEL: 779*033. 793*138.

Telephone: (02) 699 1866 28 Pine Street, Chippendale NSW 2008

FILMTRONICS

FRANCIS LORD

Supporting the Film and Television Industry as Sole Agents, with the supply of

Supporting the Film and Television Industry with

CHRISTIE Battery Packs and Chargers ANGENIEUX Lenses RDS Studio Lighting, Portable Location Kits, Effects Projectors, Globes DOEL Edge Numbering Machines

Service of all equipment sold by the Group. Work carried out by factory trained engineers.

Special Service for Cine, T.V. and ENG Zoom Lenses.

Sole authorised Angenieux Service Centre.

MARUSHO Splicers and Tape

Service to all types of lens systems (since 1945) including high vacuum coating, ultrasonic cleaning, lens polishing and cementing.

NIETHAMMER Follow Spots

Front surface mirrors, beam splitters made to order.

SCHMID Editing Machines, Recorders

NEILSON HORDELL Animation Stands FREZZOLINI Battery Packs and Chargers MEOPTA 16mm Projectors Other supplies include SMPTE test film, Filmlab split spools, Easton editing equipment, Maier Hancock hot splicers.

33 HIGGINBOTHAM ROAD, GLADESVILLE 2111 PHONE: 807 1444 TELEX: 25629 (MEOPT)

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Congratulations to Paul Cox, Jane Ballantyne and crew fo r an outstanding performance in Cannes.

Australian Film and Television School

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THANKS To all those film, television and radio professionals who've shared their valuable knowledge with our students on recent Open Program courses all over Australia: Erika Addis Don Anderson Basil Appleby Steve A rnold Shirley Ballard M ichael Balson Maureen Barron Kim Batterham Sara Bennett Shan Benson Graeme Bent Roz Berrystone Neal Bethune Phillip Bird Ron Blair Ros Bowden Russell Boyd A nthony Buckley.

Peter Burgess Geoff Burton Penny Carl Penny Chapman Graham Chase Colleen Clarke Brett Cottle Michael Cove Tom Cowan James Davern Robert Dean Ross Denby Tracy Denby Steven Dobson Di Drew Anne Dunn

Mark Egerton Lewis Fitz-Gerald Pat Fiske Lyn Gailey Alan Harkness Geoffrey Hart Tom Haydon Hans Heidrich Frank Heimans Ray Henman Bernard Hides John Honey Tom Jeffrey Peter Johnston Kevin Kearney Bill Kennedy Jan Kenny Sue Kerr Robert Kitts Michael Lake Bruce Lamshed Terry Lane Peter Leonard Braun Laurie Levy Michael Lynch Tara McCarthy Neil McEwin Brendan McKenna Arch M cK irdy A ndrew McLean Bill Marshall Andrew M artin Brian May Ian M eldrum Bill M illar M ike M inehan

Ross Napier Steve Newman Geoffrey Nottage Barry Oakley Vincent O ’Donnell Damien Parer M ario Petri Steven Priest Peter Rawlings Kay Roberts Terry Rodman Graeme Rowland M ike Rubbo UI la Ryghe Don Saunders Roger Savage Oscar Scherl Dinah Shields Mandy Smith John Sturman Greg Tepper David Tiley Col Thompson Mark Turnbull Claire Verm ont Stephen Wallace Peter West A ntoinette Wheatley Maggie W hite Russ W riter Jurgen Zielinski

AND . . . Our gratitude to you many other professionals who lectured on previous courses!

For information on Open Program teaching materials and our short courses conducted throughout Australia for those working in film, television and radio, contact: Carmen Coutts, Open Program Australian Film and Television School PO Box 126, North Ryde NSW 2113 Telephone: (02) 887 1666

FUJICOLOR

The complete range of Motion Picture Film for all occasions

O fficial Film o f the Los Angeles 1984 Olympics

FUJICOLOR HIGH SPEED NEGATIVE FILM

FUJICOLOR HIGH SPEED NEGATIVE FILM, ¡'■SoaTHEt 3i?o

FUJICOLOR NEGATIVE FILM

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FUJICOLOR HIGH SPEED NEGATIVE FILM

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E ra FUJICOLOR REVERSAL FILM

Open only in total darkness

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FUJICOLOR REVERSAL FILM

R T 500 FUJICOLOR REVERSAL FILM

RT125

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MOTION PICTURE SAFETY FILM • SOCRHETTS * KINOFILM FILM DE SECURITE POUR CINEMA

| f i mm x 122m (400) ON CORE I Open only m total darkntM KERN Ni» in absolute* Dunkelheit c SUR NOYAU I Nouvfir Que dans f cfcscunte

Natural color reproduction is yours with Fujicolor. T o n e s c o m e alive. Luxuriate in the rich skin to n e s and ex q u isite su b le tie s of th e grays.

In situ a tio n s w hich call for very fine grain p ictu res, Fujicolor A allow s you to s h o o t at a lower ex p o su re ind ex (e .g . EL 5 0 ) and th en fine-grain p r o c e ss to obtain ou tstan d in g results.

Fujicolor AX h as an ex p o su re ind ex rating of 3 2 0 in tu n g ste n light and 2 0 0 in d a y lig h t W hen sh o o tin g under ad verse lighting co n d itio n s th e E l. rating of Fujicolor AX can be d ou b led by force p r o c e ssin g w hich virtually resu lts in no ch a n g e in color b alance.

D is tr ib u te d in A u s tra lia by

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SYDNEY •

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BRISBANE •

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Rank Film Laboratories A cadem y A w ard 1983

(U.K.) North Orbital Road,Denham,Uxbridge, M iddlesex UB9 5HQ, Tel.0895 832323,T elex934704.

(U.S. A.) Technical S erv ices, 1015 NorthCahuenga, Hollywood.C.A.90038 Telex 691600, Tel.213 469 9094,