Cinema Papers October-November 1984 by UOW Library

Fast Talking

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

Journey to the Dawning of the Day Produced by Michael Dillon Director Michael Dillon Executive Producers Lindsay Gazel, Judith West, Stanley Sarris Director of Photography Michael Dillon

Annie’s Coming Out Produced by Don Murray Director Gil Brealey Executive Producer Don Harley Director of Photography Mick von Bornemann A.C.S

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Articles and Interviews Ken Cameron: interview Geoff Mayer, Scott Murray Rebels, Rumbles and Motor-cycle Boys Mark Spratt Michael Pattinson and Jan Sardi: interview Debi Enker Sunday Night at the ABC John O’Hara Chris Muir: interview Helen Greenwood, Margaret Smith Robert Watts: interview Jim Schembri Bodyline John C. Murray Yoram Gross: interview . Antoinette Starkiewicz Lee Whitmore: interview Mark Stiles, Glenys Rowe

Film Reviews 302 308 314 319 324 326 330 334 339

Features The Quarter Picture Preview: The Slim Dusty Movie New Products and Processes Fred Harden Production Survey Box-office Grosses Film Censorship Listings

Producing Indiana Interview: 326

300 342 345 347 375 376

Bike Boys Surveyed: 308

Managing editor: Scott Murray. Contributing editors: Tom Ryan, Ian Baiilieu, Brian McFarlane, Fred Harden. Sub-editor: Helen Greenwood. Proof-reading: Arthur Salton. Design and layout: Ernie Althoff. Office administration: Patricia Amad. Secretary: Beth Sjogren. Advertising: Peggy Nicholls (03) 830 1097 or (03) 329 5983, Printing: York Press, 1-19 Hoddle St, Abbotsford, 3067. Telephone: (03) 419 4855. Typesetting: B-P Typesetting, 7-17 Geddes St, Mulgrave, 3170. Telephone: (03) 561 2111. Distributors: NSW, Vic., Old, WA, SA: Network Distribution, 54 Park St, Sydney, 2000. Telephone: (02) 264 5011. ACT, Tas.: MTV Publishing Limited. U.S.: T. B. Clarke Overseas Pty Ltd. Founding publishers: Peter Beilby, Scott Murray. •Recommended price only.

Strikebound Dave Watson My First Wife Brian McFarlane Identification of a Woman Dave Watson Nicaragua no pasaran Marcus Breen Silver City Helen Greenwood Cammina, cammina Rod Bishop Street Hero Dave Sargent Where The Green Ants Dream Dorre Koeser

357 358 359 361 362 363 366 367

Book Reviews Australian Cinema: The First Eighty Years Rod Bishop The Altering Eye: Contemporary International Cinema Dennis Bowers Australian Movies to the World: The International Success of Australian Films Since 1970 Susan Dermody Kubrick Michael Broderick Recent Releases Mervyn Binns

My First Wife Reviewed: 358

369 369

370 371 373

Ken Cameron Interviewed: 302

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. 48, October 1984.

Front cover: Darryl Hannah and Aidan Quinn in James Foley’s Reckless. Insert: Steve Bisley and Rod Zuanic in Ken Cameron’s Fast Talking. (See “ Rebels, Rumbles and Motor-cycle Boys” , p. 308.)

CINEMA PAPERS October — 299

Censorship Scott Murray reports on the possible revocation of the “ X” certificate in the face of sectional pressure: It was envisaged that when the “ X” certifi cate was enacted there would be some public outcry, from the Festival of Light, feminists and other puritan groups. Strangely, there was mostly silence. The various state Attorneys-general (save he from Queensland) were in agreement that adults should be basically free to watch what they wanted in the privacy of their homes. The public obviously agreed because once the videos were released business was brisk (as it had been in the days of below-the-counter sales). Several video outlets which at first refused to stock the material did an about-face when the demand became obvious. What is rarely mentioned when discuss ing pornography on video is that “ X” -rated sexual material appeals to females and males. Unlike the days of the sex cinema, where one had difficulty entering if one didn’t sport a soiled mackintosh and a dirty look, today much of the “ X” audience is couples. This is most evident in the U.S. (the major source of such material) where the content and production of “ X” material has changed dramatically in the past several years. The films reflect the new audience: most have a storyline and, even, a hint of romance; there is an industry-high level of women directors and a conscious effort to erotic ally appeal to women; few films depict sexual ‘deviancy’; the grotty look of early sex films has been replaced by glossy photography and lush settings; the actors are young and attractive and, most important, appear to have happily chosen their career. In short, the viewer can help satisfy her or his voyeuristic desires with out the attendant guilt of feeling the actors have been economically exploited to satisfy that need. Not everyone has applauded the pretty ing up of porn. It is reported that the mackintosh brigade misses the sleaziness of tone (they are not catered for in Aus tralia with live shows which intersperse film screenings). However, the facts show the public demand for “ X” -rated material is enormous: at least 60 per cent of market share in the U.S. In Australia, less research has been done and the “ X” has only been in for a short period, but some observers estimate porn represents up to 40 per cent of the video market. That means a lot of people in the Australian community wish to see pornography on video. So far, no one has put forward a defens ible argument for stopping adults viewing and reading what they want. The right of citizens to “ freedom of speech” is difficult to refute. That leaves the puritans with only one avenue of attack: children. Their argument is simple: because parents cannot guarantee that “ X” videos will not fall into their children’s hands, and given that such material is believed to be damaging to children, one should ban all “ X” material to save the children. They also argue, falsely, that video stores allow kids access to porn. In reply, there are two incontrovert ibles:

300 — October CINEMA PAPERS

1. It is the role of parents to bring up child ren, not governments. Within the limits of criminality, one cannot and should not legislate to make up for the defici encies of parents. Moral education is not the province of politicians. 2. If one banned all ‘harmful’ objects that could fall into the hands of children, one would have to ban alcohol (will this be the Festival of Light’s next prayer?), automobiles, razor blades, petrol, etc. This writer would also argue that some “ X” material (say, Chuck Vincent’s In Love) is more ‘suitable’ for many mature teenagers than an episode of The A Team or Special Force. The Swedish atti tude of allowing teenagers access to representations of sexuality on film, but being cautious of visual brutality, is far preferable to those practised in Australia. Interestingly, most of the pro-censor ship lobby has protested about “ video nasties” , not realizing that almost all the films they are talking about are “ M” and “ R” rated (I Spit on Your Grave, etc.). The videos rated “ X” by the Censor are of a sexually explicit nature, and the Chief Censor, Janet Strickland, has correctly and quickly pointed out that her office bans all videos which show sexual violence, or violence and sex combined. Perhaps realizing their untenable posi tion (should the Censor now ban some “ M” and “ R” films?), the lobbyists have resorted to that well-flogged horse: the ‘snuff film. This is an irrelevancy as such films would be banned by the Censor under the present legislation. One regrettable aspect of the recent censorship debate is that it has been political in style, being based on a use of cliche. (“ We have to draw the line some where” , etc.) The jargon runs so deep that the issues fade. This makes it difficult for those concerned about civil liberties (and there are far too few such people in Aus tralia) to enter the fray. Attempts at being reasonable are met with abuse. It is hard for anyone to remain untouched. It is doubly hard when members of the Labor movement, the only political faction historically concerned with the issue of freedom of speech, cower to the pressure, as has the Premier of New South Wales, Neville Wran. It is to be hoped that some politicians will stand firm for the right of adults to speak, listen and see freely.

Television m in i-s e rie s a n d te le featu res fin a n c e d fo r 1 9 84-8 5:

Financial Year Round-up Anzacs At the end of the 1983-84 financial year, a total of 136 projects had been funded in Australia since August 1983. Of these, 29 are features, 10 are mini-series, 18 are tele-features and 79 are documentaries. The total finance raised and committed to these projects is $130.5 million, of which $106 million is investment and $24.5 million is underwriting. According to Errol Sullivan, supervising consultant of the AFC-administered $5 million special production fund, 60 per cent of all projects financed received assistance from the production fund: 15 of them features and seven mini-series. The production fund has also committed itself to forward obligations of $1.89 million, of which $1.3 million is to projects which had secured their budgets at the end of the financial year. At the end of June, the production fund was fully expended, in terms of cash payments, except for about $10,000. An analysis of the moneys allocated from the production fund shows that New South Wales submitted 62 per cent of the applications and received 48 per cent of the funding; Victoria submitted 24 per cent of the applications and received 30 per cent of the funding; and other States submitted 14 per cent and received 22 per cent. The AFC estimates that the total value of production in 1983-84 was $70 million. An approximate figure only, it comprises $45 million financed in 1982-83 and 1983-84 under the 150 per cent deduction scheme, and $25 million financed in 1983-84 under the 133 per cent deduction scheme. In a speech at an industry function in Sydney on 8 July, the Minister for Home Affairs and the Environment, Barry Cohen, noted that the level of investment in features in 1983-84 was consistent with previous years.

Features fin a n c e d fo r 1 9 84-8 5: Beatie Bow Bliss Burke and Wills

■m Dot and Keeto Appointments The AFC has appointed William Gurry and Sophia Turkiewicz as part-time commis sioners and the chief executive, Kim Williams, as a full-time commissioner. Ray Atkinson, manager of the AFC London office, will be the new marketing co-ordinator, Australia-International. He will be replaced by Gary Hamilton, currently general sales manager with Hoyts Distribution. The AFI has appointed Frank Maloney to replace Kathleen Norris as the execu tive director. Jane North, executive director of the FTPAA, has resigned and left on 24 August after 15 months in the position. North intends to continue working within the film industry.

Emoh Ruo Empty Beach Fair Game For Love Alone Fortress Frog Dreaming Hatful (now Copfile) Jason and the Argonauts Leonski: The Brown Out Murders Niel Lynne Rebel Short Changed Wrong World

South Australian Film Corporation Window III Productions Hoyts Edgley International Yoram Gross Film Studio Voyager Films Jethro Films Southern Films International Margaret Fink Films Crawford Productions Middle Reef Productions Hatful Productions Michael Milne Flying Tiger Films Niel Lynne Productions Pladar Zarwot Seon Film Productions

Color in the Creek Dunera Boys A Fortunate Life Fran Glass Babies The Henderson Kids I Own the Racecourse Indecent Obsession The Last Frontier Naked Country A Thousand Skies Winners

The Burrowes-Dixon Company PBL Productions Generation Films PBL Productions Barron Films PBL Productions Crawford Productions Barron Films PBL Productions McElroy and McElroy Naked Country Productions J.C. Williamson Productions and Ross Dimsey Motion Pictures ACTF Productions

W.A. Report Ann Macbeth, director of the Film and Television Institute in Western Australia, reports on the industry scene: The 30 June madness did not greatly increase the production activity here in the West. The reliably on-going industry base remains documentaries, with several series well underway. Wildfilm Australia is half-way through production of their 13-part $1 million series for television on Australian wild life, Making of Fauna, which received funding from the Western Australia Film Council (WAFC). Another television series, Great Public Bars of the World, has finished shooting the first episode in New York and is heading for Britain to shoot the second episode in October. The producer, Carmelo Musca of CM Productions, says this eight-part series of one-hour episodes has an up-front national deal with Channel 9 and backing for non-deductibles from the WAFC. The all-Western Australian crew are bringing in each episode for just over $200,000. Ironically, the third episode in Australia will be the most expensive, “ because of the high cost of travel in Aus tralia” , said Musca. Richard Oxenburgh Productions has five documentaries in production — “ not by choice,” says producer Richard Oxen burgh; “ that’s just the way it happened.” “ Camera operator Jan Kenny arrived in the West four months ago and has had two weeks in Perth” , he said. The rest of the time she has been out on location. Their $280,000, 35 mm, wide-screen documentary, Same Season, presents the similarities between autumn in Japan and in Australia: the people, the life, the country. Currently in post-production, Same Season should be released in November. Bryan McLellan and David Noakes' Brand New Day, a 50-minute $65,000 documentary about the 1983 Aboriginal Arts Festival, has completed post-produc tion and is ready for release. Several Aboriginal people who have looked at the

The Quarter

fine-cut say it is an exciting film about the importance of Aboriginal culture in society today. A documentary about the all-women rock band Tokyo Rose on tour in northern Western Australia is in post production. Supported by the Women’s Film Fund and the WAFC, Tokyo Rose North is a $56,000 production by Heather Williams shot on 16 mm by Erika Addis. Heather Williams is also producing the 50-minute, 16 mm documentary Wonder land, a pilot for a television series on dance, Moving Landscapes: Dance in Australia; and co-producing Divertismoci!, a $62,000 documentary on the Fremantle Italian community. Shooting has begun on both. Two documentary series, Reflections of My Self and The Finest People, which have been bought by Network 0-28; a dramatized documentary series River of Giants; two documentaries, Minister of Intelligence and Long Time No See, Ronnie; and two tele-features, Fran and I Own a Racecourse, are in various stages of production with Barron Films. Most have WAFC and AFC support. Fran, starring Noni Hazlehurst and Alan Fletcher, is scheduled for an October shoot with producer David Rapsey. This $680,000 tele-feature, the only drama in

Western Australia funded in the 30 June crush, has Jan Kenny as director of photo graphy, and all but two of the crew are local. Two low-budget dramas are in pre production for shooting in October and November. Horse at the Door, with pro ducer Donna Shepherd and writer-director George Pesich, is a $3000, six-minute film funded by the Creative Development Fund using advertising codes of expres sion. In the Pink, with producer David Noakes and writer-director Madelon Wilkens, is a $53,000, 25-minute drama of a single mother and her daughter. It is supported by the Creative Development Fund and Women’s Film Fund. Both dramas are being shot on 16 mm. The largest-scale production is PBL’s mini-series A Fortunate Life, which began principal photography on 20 August. This $6 million, four-part tele vision series will be shooting until midFebruary, with approximately half of its crew being brought in and half local. Pro duced by Bill Hughes and directed by Marcus Cole and Henri Safran, it is the adaptation by Western Australian writer Ken Kelso of Albert Facey’s remarkable life. There are many scripts in progress with WAFC and AFC backing, many projects

Dorre Koeser reports: “ The Australian Film Institute is doing things it should be doing” , remarked a participant in the recent Australian Film makers’ Week in Sydney. Sponsored by The Sydney Morning Herald and G.J. Coles, the event offered nine programs of screenings and open discussion with some of Australia’s leading film profes sionals. Held in August at the Chauvel in Paddington, the cinema with the most interesting screenings and the most un comfortable seats, the sessions attracted an audience of young, and not so young, filmmakers, writers, actors and other inter ested parties. And, from the line of questioning about money and marketing that was pursued nearly every night, there also seemed to be a large representation of would-be producers and disgruntled, on-the-fringe filmmakers.

figures such as Philippe de Broca. With out looking up the reviews I can recall wonderfully incisive writing on diverse Brian Davies films such as Joseph Losey’s Accident, Rene Clement’s Plein soleil, Akira Kuro I started studying at Melbourne University sawa’s Yojimbo and Rivette’s Paris nous in 1963. The third term edition of Annota appartient. tions of Film, the house publication of the After starting Pudding Thieves, Davies Melbourne University Film Society made a short “ advertisement” for a uni (MUFS), carried interviews with two versity theatre festival called Una Filma student filmmakers who had embarked on Di, which featured Max Gillies. ambitious “ feature” film projects: Brian It took five years for Pudding Thieves Davies and Bert Deling. Deling’s film was to be finished. It starred Bernice Murphy eventually abandoned but Davies per and Bill Morgan. The film was, as Davies severed over some five years and eventu said, “ an incredible act of gall” . No one ally the film, Pudding Thieves, was com set out to make a feature without money. It pleted. was finished and Davies hired the Palais Brian Davies’ name acquired an extra in St Kilda and put on a very profitable ordinary significance around Melbourne screening. Subsequent screenings in during the 1960s. The significance lay not Sydney and other capitals lost money. simply in the fact that he was trying to The finished result revealed a film make a film out of his own pocket. After which, as Davies said, looked like a very all, others such as Phillip Adams, Giorgio distant cousin of Jules et Jim. Its prob Mangiamele and Tim Burstall were lem was that the acting and scripting were attempting much the same. Davies, how self-conscious and, in retrospect, rather ever, had assumed a position of “ leader inept. ship” amongst those loosely associated Davies recognized these deficiencies. with MUFS, who at that time had starry- He realized that directing actors and eyed visions of following in the footsteps writing extended passages of dialogue of the French New Wave directors who were crucial to the filmmaking process. seemed to have sprung from nowhere and He took the offer to direct plays for the were now seeming to rewrite the rules, various drama groups at Melbourne Uni both industrial and aesthetic, of commer versity and directed productions of Jean cial feature filmmaking. Paul Sartre’s The Flies and Pinget’s Davies was attempting to follow the Klope, among others, and also acted in examples of Francois Truffaut, Jean-Luc David W illia m s o n ’ s The Indecent Godard, Eric Rohmer, Claude Chabrol Exposure of Anthony East, a play which and Jacques Rivette, the Cahiers du the author does not list in any of his official cinema section of the New Wave. In the biographical details. At about this time, Betty Burstall had early 1960s he had become co-editor of Film Journal, a glossy publication founded started La Mama, a disused warehouse by Jim Merralls and funded by MUFS. off Lygon Street in Carlton. Sporadic activity was taking place there in tandem Film Journal has long since passed on with productions at Melbourne University. but its contributions to the critical debate The common thread was Jack Hibberd, on film were as good as any in the English whose plays were the most successful speaking world. It was in several articles in Film Journal that Davies focused on productions at both places. The activity the French New Wave, based on the im was eventually rationalized when Davies, perfect observation that was the unfor Graeme Blundell and Alan Finney estab tunate lot of Australian film scholarship. A lished an un-named company of actors to combination of censorship (which denied present new Australian plays at La Mama. Six months later the first season of five one yesterday’s equivalent of the soplays went on. New plays by Hibberd, called video ‘nasty’, Godard’s Breath William Wood and Ionesco were pre less), timid distribution practices (which sented. Davies’ main contribution was an required that most foreign language films elaborately im provized version of imported be capable of being sold on their Hibberd’s Who?, with Lindsay Smith, Jon sexual content) and the lack of the exten Hawkes and Martin Phelan. sive art-house distribution network that Over the next year, a period of intense exists today produced a response to the New Wave that was imperfect but in activity, perhaps 20 new plays were pre sented. tensely enthusiastic. It manifested itself in At this time Davies embarked on a new writing not simply about the major figures film which he first titled “ The Prome of the New Wave but about peripheral

thean” . It was scripted by Davies and John Romeril, with some additional dialogue by John Duigan. The cast in cluded Duigan, Margaret Javebs, Alan Finney, Graeme Blundell, Bruce Spence, Martin Phelan, Peter Cummins, Kerry Dwyer and Lindsay Smith. The photo graphy, done in fits and starts over a couple of months, was by Nigel Buesst, Doug Hobbs and Dan Burstall. The sound was recorded by Lloyd Carrick. Hibberd suggested the title Brake Fluid. To this day, no one knows what the title means. Brake Fluid was an eccentric, erratic and exotic film. It looked, as Albie Thoms once remarked, like a Polish movie. That may have explained why it won the Benson and Hedges prize at the Sydney Film Festival in 1971 when a jury headed by and strongly influenced by Jerzy Skolimowski decided it was the best film in the fiction section, beating films such as Peter Weir’s Homesdale and Michael Thorn hill’s The Machine Gun. That decision caused a minor storm and there was much recrimination. Richard Brennan, the producer of Homesdale, is still fond of regaling audiences with his version of the events of the day and night. Davies never made another film after Brake Fluid. He made the decision to move to Adelaide to take up an executive position with F.H. Faulding, a company which prospered in the marketplace under his direction. There was a suggestion that he return to direct the film version of Hibberd’s Dimboola, but he rejected the offer. Brian Davies played a major part in the Melbourne revival of both Australian film and theatre. Many of the people with whom he worked have gone on to make substantial and lasting contributions in those areas. He was a pioneer who carved out a small body of work that is still remembered and which influenced a generation. The time he spent in theatre and film was during a period when not a dollar of subsidy was available. No actors got paid at La Mama, nor did they get paid for his films. Brake Fluid cost $1935, a pitiful amount for a film of some 55 minutes. It remains a better film than many of the highly subsidized productions that have succeeded it. In many ways he was a figure who showed others what could be done with energy, devotion and intelligence. Many people will regret that his career in film stopped short at a time when others were able to go on and exploit their ability. Many more will regret his passing at the age of 46. Geoff Gardner

Obituary

nearing funding stages and several Standard Offer Documents out seeking funds. If even half of these projects are realized, Western Australia will be a busy focus for filmmaking.

Australian Filmmakers’ Week

Introduced by Adrienne McKibbins, AFI program director and exhibition manager, and film critic John Hanrahan, the Film makers’ Week opened with a screening of Buddies. Actors Harold Hopkins and Lisa Peers were on hand to discuss the evolu tion of their careers; clips of their work in Gallipoli and Monkey Grip, respectively, were also screened. Members of the audience were curious about relationships with directors, on whom they projected an aura of mysterious power. To Hopkins, “ A good director is one who can change your opinion about a certain scene or line. He can convince you to see it his way.” Peers has recently been concentrating on her work in theatre, and pointed out that, with the exception of low-budget productions, most recent Australian films have been about teenagers and men: “ There have been very few good roles for women in recent years” , she said. The discussion moved to the producing and selling of Buddies, and a dismayed audience sighed when told the American version will be retitled Down Under. The following day, a preview of The Settlement was screened, with a round-table discussion between director Howard Rubie and actors Lorna Lesley and John Jarratt. The largest attendances of the week were for an overview of the work of Dean Semler, who proved himself a witty speaker as well as expert director of photography, and for a preview of Silver City. “ A love story is not enough these days: context is important” , said producer Joan Long, introducing the love story set in a camp of Polish immigrants in the 1950s. The practical matters of legalities and finance in the producing of Silver City were discussed by Long, and details of the creative development were brought out by director Sophia Turkiewicz and lead actress Gosia Dobrowolska. The dis cussion centred on the step-by-step development from Turkiewicz’s original idea to the making of the film, and the changes that were made within the pass ing of that time. The audience also had opportunity to pay special attention to Silver C ity’s musical score, written by William Motzing, who had presented a program on film scoring earlier that day. “ Filmmakers have a fear of music because it is vague; it floats around in the ether with no concrete shape” , Motzing said. Motzing discussed two forms of film music: the theme, and the underscore which complements the story and visuals. He outlined the practical side of film scoring: sitting with the director and editor, noting all music spots and timing, and studying the videotape to come up with rhythmic patterns, a theme and a few chords which eventually evolve into the score. “ Everything right down the line must be done right to avoid having the composer come in to patch things up” , Motzing said. The way music is used, finally, is not the composer’s decision. Motzing: “ If you ask for it softer, they do it softer. But if you ask for it louder, they won’t push it louder.” Motzing pointed out that music is some times pulled back in the mix because there is often a fear of its effect: “ Music has a much more emotional effect on audiences than a sound effect.” Members of the audience also pointed out a tendency in recent Australian pictures to overscore to the point where the music interferes rather than enhances a film. Motzing presented a brief history of the evolution of film music, from the early orchestral style that has remained, to the introduction of other styles. Motzing: Before 1950, jazz and ragtime were used only for comic effect. In A Street car Named Desire [1951], Alex North’s symphonic impressions of New Orleans jazz, which had never occurred before

Continued on p. 374 CINEMA PAPERS October — 301

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Ken C am eron’s second feature, Fast Talking, is tough, fu nny and uncompromising in its critique o f Australian institutions, particularly the relationship between the education system and the working-class outcasts o f society. Cameron had already made tw o short film s on the subject o f teachers and pu pils confronting the inflexibility o f a bureaucratic education system . Sailing to Brooklyn (1975), m ade while Cameron was still teaching English at a high school in N ew South Wales, is about a relationship between a young English teacher and a high-school girl. Temperament Unsuited (1978), with Steven Spears and R obyn Nevin, concerns a “student teacher who is too radical f o r the school he is sent to and ends up getting into conflict with the s ta ff” . In 1977, Cameron m ade O ut o f It, which tells o f three unem ployed you th s who head north in an old car after a bungled robbery. It continues his fascination with peo p le “ who are ju s t outside the law and in conflict with things” . M onkey Grip (1982), Cam eron's fir s t feature, looks at com m unal life in the inner-city suburbs o f M elbourne and extends his interest in the sexuality o f human relationships. Again, the characters are people on the fringe o f society. Since com pleting Fast Talking, Cameron has directed a tele-feature f o r produ cer M ichael Carson at the A B C . H e describes Crime o f the Decade, which went to air in A ugust this year, as “Fast Talking 2. It uses a lot o f the same actors . . . but it takes the story a year fu rth er on when things have grown much tougher . . . ” Cameron is interview ed here by G e o ff M ayer and Scott M urray.

I wrote the first sketch of Fast Talking in 1980 at a time when I didn’t think I could get Monkey Grip made. [Producer] Pat Lovell and I had been trying for a couple of years to get Monkey Grip financed and we almost had it together when it fell through. So, I started work on Fast Talking. But, not long after, the money for Monkey Grip came through and I had to abandon work on Fast Talking. I went back to it at the end of 1982. “Fast Talking” has a strong anti authority motif: for instance, the opening with the bars and the scene in the chicken coop which you set against the ending of the film when Steve Carson (Rod Zuanic) rides off . . . All my films in schools express that. It is not that I am anti-educa tion, it is that I think schools are a model for Australian society. They are everyone’s first contact with authority, with the rules. In Fast Talking, you see Steve’s struggling with authority figures, not just at the school, but also with the police, his father and his elder brother — all these coercive figures. It is a problem that Aus tralians have: the struggle to express oneself, or to be oneself, with so many fathers. I know I have had it. Does that come out of your school background?

The film is my life, my growing up and my attitude towards authority. It is very hard in Aus tralia to feel free to express strong opposition. There are so many restrictions and the most you can achieve usually is just to be evasive, like Steve — he is always slipping out of the window or ducking away. You can’t confront it head on because you will fail. The tall poppies soon get knocked down. You have been very savage with some of the teachers: the scene when Steve makes the wooden penis and the vice-principal’s pre occupation with his fish and his petunias . . . There is hardly anything in Fast Talking that I haven’t somehow seen or heard in schools. All of it is culled from observation or memory, including the fish and the petunias. At the high school in which I taught, the deputy prin cipal did nothing but water the garden, enter it in gardening com petitions and co-opt the kids into chain gangs to work in it. When I have seen the film with an audience of teachers they have responded straight away; they recognize the level of satire. People who went to private schools or who don’t quite recognize that milieu think, “ This has to be exaggerated” , but it isn’t. That sort of eccentricity is out there, alive and well. CINEMA PAPERS October — 303

Ken Cameron

truthful view of things. You will see it, say, in children’s television, when you see an attempt to deny the complexity of teenage life. Do you mean “The Brady Bunch” and “Little House on the Prairie” syndrome . . . You see it in Australian pro grams as well. It is an attempt to feed kids what adults think they ought to know. All the references to marijuana and the other ‘scurri lous’ stuff in Fast Talking strike a lot of people as just ‘off’. We were told by some people that the film should get an “ R” , that it shouldn’t be seen by kids, but, of course, there is nothing in it that is unusual. People, however, don’t look at it that way: a lot of the adults balk at the scenes with the wooden penis or the marijuana. We had an Australian National Opinion Poll done of the kids’ reactions and they were fantastic. The kids were seeing the issues of the kid’s impression and the futureless world into which he was heading. It was far more sophisti cated than that of the adults’. “Listen pal, yo u ’ve got to pay attention here, this ain’t school.

There seems to be a sense of enclosure in the film. Steve is fre quently visualized against bars or through bars: for example, in the end sequence when he is breaking out of Redback’s (Steve Bisley) yard and in the sequence when Steve is talking to Sharon Hart (Tracy Mann) . . . Schools are like that. The bars are there; we didn’t put them there. No, but you have gone to some trouble to frame things in a certain way . . .

Steve and Redback (Steve Bisley). Ken Cameron’s Fast Talking.

of the things levelled against us. People thought the film was too harsh, but I was just trying to be truthful and, if you want to por tray situations like that truthfully, sentiment just doesn’t have a place. But the lack of sentiment comes through even in the humor of the film. One of the scenes which has shocked a few people is the one in which Megsy, the dog, savages the cat . . . Well, kids respond to that. I saw the film a couple of weeks ago at a

sneak preview with an audience mainly of kids. The scene arouses mixed feelings. They laugh a lot but then it hits them and they realize it is not funny; the cat is dead and the poor woman is going to suffer when she finds out. But it is a black humor I have seen in so many kids. They are not senti mental; they can often laugh at the most awful things. There is a type of equivalent of racism among a lot of adults towards kids — I don’t know what you would call it, “ kiddism” or something — whereby they try to be protective and deny kids a

Nowadays, schools feel they are under attack. Since the days of 10 per cent unemployment, there has been a lot of hostility directed to wards them. The Steve Carson character is too young to be aware of his political situation but he knows intuitively that he is going to get screwed: the school is just keeping him captive until he is kicked out and left unemployed. School is a bit like a penal settle ment.

No. On the contrary, the schools have contributed to the division of kids on the basis of gender and class. The school has determined his destiny. Do many people object to the film being unsentimental?

304 — October CINEMA PAPERS

It is touchy here in Sydney. What is important about the burn ing of the school is why people do it. They are not just vandals who have come out of nowhere and burn the school; they are often people who have a terrific hostility towards the school. I think that Fast Talking reveals why these kids break in. They are not intending to burn it — that is an accident and, in fact, they try to put it out. They break in because they feel they are being ripped off. It is an act of revenge. Schools have to acknowledge that, if they play a part in people’s lives, then they have to expect to be accountable. The problem with schools is that it is usually a one way system: the kids don’t feel they can express their grievances or control their lives there. In one scene, Redback is fixing the wheels of a bike and Steve is look ing at him with eyes glistening, totally attentive. Redback says to him, “Listen pal, you’ve got to pay attention here, this ain’t school.” That seems to be a crucial point in the context of the film . . .

You don’t see either the school or the family institution as offering salvation?

A lot of people want lovable characters. When we had trouble getting distribution, that was one

The one scene that disturbs some teachers is the burning of the school. That is a touchy issue in Melbourne . . .

Steve and teacher Sharon Hart (Tracy Mann): “Some people romanticize the potential o f teachers. I have always had a problem with that. ” Fast Talking.

A lot of guys are like the Steve character; their lives are impover ished as far as having older admir able males to whom they can relate. That is what Redback is. He has been in gaol but somehow has survived that experience, built a bit of a business and created a life for himself. Steve recognizes in this bloke an unsentimental, fairly tough attitude, but there is also a warmth about the guy. And Steve

Ken Cameron

responded to an advertisement on the radio and came in with the others to spend a minute talking on tape. I wasn’t present, but Chris did impressions and he was very funny. Chris is not an actor: he works as an apprentice printer. I guess acting was something that hadn’t occurred to him, but, as with a lot of kids that age, he just loves imitating things on television. So the actors weren’t inhibited by the camera . . . No, they wanted to do it. They w eren’t people who needed coercing. Toni is a bit different. She was still at school when I met her — she is only about 16 — and nowadays she is more interested in rock ’n’ roll than acting. Both Toni and Rod have parts in Mad Max 3. How did you go about choosing the music for the film?

Steve (Rod Zuanic) is chastized by the wood-work teacher (Ron Hackett) who is unaware o f the wooden penis extending from his pocket. Fast Talking.

can see a purpose in what Redback does: you fix a bike and sell it. That makes sense to the kid, whereas school is abstract, bizarre and pretty pointless. That line, “I’ve seen this show before” , is one interpretation of the end of the film when Steve is riding off. There is a small camera track in on Redback, before the image dissolves to Steve going off into the sunset . . . I think it is pretty clear that Steve will get caught and spend time in gaol. But, ultimately, he

will grow up and probably become like Redback. He will have to go through that stage to come out the other side. Some people say he should be punished but I think it is very clear that the film has another destiny in mind for him. Actually, some teachers have said they thought he should be punished . . . But that would be terrible; it would be a defeatist ending if he suffered or were punished. Moral growth, any sort of growth, has to come from within. If he were

punished, then he would just be bitter and hostile. It is as if he has to rebel and take charge of his own destiny to grow. And that is what the school system doesn’t allow: it continues to impose regulations which don’t give him the space to grow. Can we talk about some of the actors in “Fast Talking” , especi ally the young ones: Chris Truswell, who played The Moose, Rod Zuanic (Steve Carson) and Toni Allaylis (Vicki). Where did you find them? I spent about three months walking around the Western suburbs [in Sydney], taking small drama classes in schools, just to see if I could find the right kind of people. I would go to a school and give a drama lesson for an hour or two to a group of 20 or 30 people. I would do some free improvization and out of that, sometimes, if I were lucky, I would find a person or two whom I thought was worth following up. People such as Rod just stood out. I found him in a high school at Blacktown. So he had no acting experience before the film? Only within the high school. Was it the same with Chris Truswell?

Steve “evades issues and ducks out the back door. He is like a little rat running away’’. Fast Talking.

No. Chris was a bit older than the others, about 17, and had just left school. He was found a differ ent way. We had a campaign on the radio station 2SM to see if we could bring in a larger group of people than I could find. Chris

Sharon Calcraft has only done a couple of scores, for Far East and Winter of Our Dreams. I knew her when I was teaching; she was in 5th Form when I first met her in high school. Are you happy with the music in the film? Yes, but it is an unusual score. Some people have told me they thought the film should have had ‘full on’ rock ’n’ roll. Music is always one of those things you never know about. It is a huge creative area that can influ ence a film in many ways. Sharon and I were both enthusiastic about the bass guitar sound with the little guyObviously, you have chosen the setting of the film carefully, such as with the scene in which Steve takes Megsy for a run along the beach . . . It is not a beach; it is more a denuded landscape full of junk cars. People have destroyed the light covering of bushes and trees, and have left a great, sandy waste land — it is like an urban Austra lian desert. The choice of locations was deliberate and an extension of my thoughts about the school. Australia is like a junk yard, like most industrial nations and indus trial cities, and I wanted the environment to be an expression of the disregard that society has for a character such as Steve. I used Botany all the time because it is where Australia began — it is where James Cook and Joseph Banks first came ashore and took a walk — but now it is like the ‘arsehole’ of Sydney. In any other country in the world, it would probably be an incredible park or a beautiful environment, but here it has just become a dead industrial zone. CINEMA PAPERS October — 305

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Laurie Fletcher (John Gregg): one o f the ‘haves’ living o ff the ‘have-nots’. Ken Cameron’s Crime o f the Decade.

Why did you decide to do “ Crime of the Decade’’ after “Fast Talk ing” ? Because it was a chance to extend all that work I had done with those teenagers. Every time you do a film with kids, you really regret that they go back to school or work. You know that the taste they had of filmmaking is all they will ever get. I feel a real commit ment to those people. Another reason I wanted to do Crime of the Decade was that it developed an area that I had touched on in Fast Talking. I wanted to go further. Of course, the big difference is that I didn’t Roily (Paul Smith) is cautioned by Officer Duncan (Russell Newman). ”Crime [of the Decade] was an attempt to make a deliberate state write it; Michael Cove did. It was ment that would be provocative. ” the first time I had worked on Michael lives on the fringe of The structure is also experimental deliberate statement that would be someone else’s script. It was inter esting learning about that process. that area, and he has spent a lot of in that the time frames of the two provocative, and it has provoked a time talking with the people who inter-cutting stories are different very mixed reaction. There are people that just loathe that sort of Were you at all concerned about went to the Minto Community filmmaking, and they loathe what Centre, where we shot the film. the similarity of the two films? Yes. In fact, one reviewer, who it says. The stories he writes are all based There is a real tendency in Aus No. I would be really surprised on actual cases. Some people find works for that noted Sydney jour if, outside the film industry, the some of the stuff exaggerated and nal of social comment, The Sun tralia not to want to make state same audience existed for both ridiculous, but that is because they day Telegraph, said that it was the ments. There have been didactic films. I mean, 15 year-olds will go don’t want to come to terms with worst film she had seen in 10 years documentaries which come right and see Fast Talking but I don’t it. And when you work in that and that she couldn’t understand out and make a case, but not think any of them will watch documentary style, inevitably you how these boring people got to dramas. In drama, you are sup come up with similar kinds of dinner so regularly. She didn’t posed to be balanced, with wellCrime on the ABC. One of the problems I have had scenes. But Crime of the Decade even catch on to the fact that there rounded characters and a story with films in the past is that no one does go further. In Fast Talking, was one time frame inter-cut with a that goes somewhere. The idea of has seen them. Temperament Un you have kids stealing eggs in the continuing time frame. But, if you using drama in an essay-like suited was seen only by a special chicken farm. In Crime, the do things like that, you just have to manner is rare here. ized audience and some people in chicken farm is the place where the expect that a lot of people won’t To what extent do you or Michael the industry. So I don’t think my kids go to work. So it is bleaker; it like it or even respond. Cove see the ending as a portent of problem has ever been over is further down the track. It also addresses itself to class division in “ Crime of the Decade” is also violence? Australian communities exposure. essay-like in that it makes no have seen very little so far . . . Australia. attempt to honor concepts of Another way we have done this There are some scenes in “ Crime In our history there has been a of the Decade” which are nearly is to intercut the upper middle- narrative balance: you have no identical to ones in “Fast Talk class dinner party with the story of rays of sunshine to balance the lot of violence. In the 1890s, with the Queensland strikes and the ing” , such as when an older those kids. We do have real social bleakness of your portrait . . . drought, there was incredible vio brother presses a younger brother divisions and the structure of It is a didactic film and there is lence. In the 1920s, there was the Crime is a deliberate attempt to into selling ‘smack’ to his friends make those two worlds rub up none of the Australian Pollyanna same sort of thing, with the coal against one another. People will be approach of, “ Well, things aren’t lock-outs. But it always gets Of course. But Michael Cove forced to check their allegiances. It so bad; there is also a lot of happi squashed. What is happening now is the had not seen Fast Talking, and I is an experimental structure and ness in this community. Many didn’t want him to because I didn’t not a narrative one in the sense of people are very contented with creation of a huge peasant class want him to be influenced by it. Fast Talking. It is like an essay; a their lot, etc.” That undercuts any because of the cynical way in So, it is interesting how similar portrait of a particular group of attempt to say something. Crime which our capitalist economy was an attempt to make a works. These people will never people, and a community. they are. 306 — October CINEMA PAPERS

Ken Cameron

work; they will never get a share of the wealth of the country. Sooner or later, they will find their voice and it may be violent. There is a lot of anger out there, and why shouldn’t they feel angry? Their lives have been so messed around. You mentioned earlier your use of Botany Bay in “Fast Talking” . In a sense, the satellite towns depicted in “ Crime of the Decade” are the new Botany Bays, the birthplaces of a more modern Australia . . . If you get up on top of that water tower in the film, you look one way and see beautiful rolling hills; you look the other way, and it is Campbelltown, which extends for miles. We haven’t learned to live well with the landscape. We bugger things up and that is tragic because there is no turning around and doing it again properly. We haven’t organized things to suit human beings; we have organized things to suit the capitalist class. I am very interested in the con nection between the potential of the country and what it is becom ing. I have always admired The Great Gatsby, where the central image is the land the Dutch sailors saw, with all its potential, and then there is the Valley of Ashes, which is what it has become. By setting “Fast Talking” in Botany, do you also intend to link Steve’s larrikin nature with that of the convicts? Yes. Steve is like a descendant of the convict class, the one who has

Steve and Elly (Toni Allaylis): turning down Decade.

to obey. The difference with Crime is partly a difference of my writing and Michael Cove’s. In Fast Talk ing, my character evades issues and ducks out the back door. He is like a little rat running away. In Crime, the characters are stuck there, trapped in an environment. There is no feeling that anyone can escape and that leads to violence. So, there are two different ways of looking at the situation. The option we have usually taken is to evade these conflicts. Most Australian heroes were evaders, like the bushrangers who ducked off into the bush. They made little forays, but only to then retreat back into the bush. And Eureka was a failed attempt by people who stood and fought. The scene in “ Crime of the Decade” in which Steve and Elly Steve (Mark Davis), left, and Roily with Terry (John Jarratt), inside the Minto Community (Toni Allaylis) change their minds Centre: “he knows that you can’t dramatically change things.” Crime o f the Decade. about leaving doesn’t really convey a sense of standing up to fight. almost defeated quality. And he interest me in the same way. I Steve is a leader who won’t lead has all the other problems of don’t have any faith that there is and is almost wilfully defeatist. He adolesc’e nce, such as sexual any potential for social change in also refuses to accept the rewards identity and poor self-concept, schools. Some people romanticize the of personal relationships on an when you have no job and you individual level. His staying is the can’t see where you are heading. potential of teachers. I have always Combined with this is an anger had a problem with that and I act of a nihilist . . . over feeling oppressed by all these don’t think I have ever managed to I would agree with that. It is not fathers, by all these people who portray the radical teacher prop a convincing stand. That nihilism stand over you. So it is right that erly. The radical teacher is the one is what I recognize in a lot of he is not very coherent or con who walks out the door and goes people who have really been sistent or even practical. I recog somewhere else; to stay within the through it; they give up the idea of nize all those things, that con school defuses what you are. getting away or staying and fight fusion. The whole movement at the end Terry (John Jarratt), the social ing. Steve is what the character in Fast Talking would be if he were a of the film may seem strange, but worker, appears at best to be just few years further down the road. every year, out there at Minto, hanging in there. He is in a situa That boyish, brash, Ginger Meggs they have riots where the people go tion where he hasn’t any control. quality gives way to a sullen, bananas and turn cars over and Is that all one can hope for from burn them. You can’t see anything social workers? they gain from doing it; it is the let ting off of the aggression they feel. I would have thought he was So Steve’s going up the hill to doing a good job, actually. He Laurie Fletcher’s (John Gregg) understands those kids and he house is a fairly pointless act. You knows that you can’t dramatically notice that, when they open the change things for them. door, Elly is not even aware of There was a scene we shot in what is going on. In fact, Steve is which he talked about trying to not even aware of what is going raise money to buy a block of land on. It is just a black moment of in the country, to have a place acting without thought. where they could occasionally go and do some work. This is what In several of your films, you have the actual social worker at Minto touched on the sexual tension be was doing. But for some reason it tween students and teachers. Is this didn’t end up in the film; I’m not a topic you are interested in sure why — too much like Pollyanna, I suppose. pursuing further? Terry is actually in a bind I am interested in sexuality and because when the shit hits the fan adult relationships, which is why I he is the one caught in the middle. made Monkey Grip. But I want to When there is real trouble, like do more and the next project will destruction, it is the social workers do this. It is set partly in the 1960s who are held to blame, because and partly in the present. It is they are seen to be influencing the about people who try to repeat the kids. That is why Terry gets angry past and hang on to things they when they start talking about get had in the 1960s. The script is ting violent. ready and Steve Salgo, an AFTS It is the same way I feel about graduate, is going to produce it. teachers. Those middle people, the I feel as though I have exhausted ones who try to bridge the gap what I want to say about schools between the divisions, are part and teachers because, since I of the problem. Filmmakers, too, started making those films, there are part of the problem. They are have been so many changes in the oil that greases the violent rup education. There is a new con ture and stand in the way of real change. Real change is dividing up ways o f escape to stay and act. Crime of the servatism that has made schools much more boring; they don’t the cake. ★ CINEMA PAPERS October — 307

Mark Spratt

“ What are you rebelling against, Johnny ?” “ What’ve ya got?” Marlon Brando as Johnny in “ The Wild One” (1954)

Reckless, left; Rumble Fish; Fast Talking.

Is Easy Rider dead? The ‘born to be wild’ ethos of the bike boys, turning their backs on straight and stable society to roar down the open high ways in search of freedom, maybe throwing a scare into a few frightened communities on the way, has almost dwindled away in contem porary cinema. The biker movie had a para bolic rise and fall from The Wild One (1954) through the American-International and New World ‘Angels’ films, Easy Rider (1969) in the 1960s into the genre mixes of the 1970s (e.g., Bike Boys go to Vietnam in The Losers). Like the Universal monsters in the 1940s, these monsters of the road ended up as comedy figures in other stars’ movies: Clint Eastwood in Every Which Way But Loose (1978) and sequel. Motor-bikes seem to have become transport, not proud stallions carrying wild boys and girls towards their dreams. If motor-bikes can be read as the symbols of fast and dangerous rebellion in the youth movies of the 1950s and ’60s, then the spirit of rebellion they signified has likewise paled on the screen. The trend in the representation of teenagers in films of the early 1980s has been largely a conformity to mindless pursuits of partying, fun, sexual fantasies as well as security and money, all prior to rather than in opposition to entering the establishment. If Benjamin Braddock (Dustin Hoffman) were graduating in 1984 he would be looking up “ Plastics” on the stock market instead of shrinking in horror from the word. National Lampoon’s Animal House (1978) is a watershed for the development of teenage characters in American films since. Signi ficantly, it is two sets of student characters at war with each other, not the faculty or govern ment. The fun-loving slobs spawned dozens of imitations down to the current Bachelor Party and Golan-Globus teenage exploitation quickies. Their upper-crust targets survived to prove that an early pursuit of sex, wealth and luxury can also be fun in such films as Class (1983) and Risky Business (1983). CINEMA PAPERS October — 309

Rebels, Rumbles and Motor-cycle Boys

“ There’s something I ’ve got to do. I ’ve got to go. I don ’t know where ju st some where, out o f here, and I ’ve got to go now. ’’ Aidan Quinn as Johnny Rourke in “Reckless’’ (1984) —

But three films arriving in 1984, two from the U.S. and one from Australia, may signal a turning point in the perception of teenage characters on the screen. All three feature a male teenage hero living in similar stressful home and social situations, caring nothing for what the future immediately offers. If he con forms by settling into the mould prepared for him this will be precious little, so he is looking for a way out.

Three storylines Rusty-James (Matt Dillon) is a 14 year-old living with his alcoholic father (Dennis Hopper) in Tulsa, Oklahoma. His mother deserted the family when he was two years old. Rusty-James idolizes his elder brother, known as the Motorcycle Boy (Mickey Rourke), who has a reputation as a gang leader. Rusty-James tries to emulate this tough leadership but gets expelled from school and loses his girl friend, Patty (Diane Lane). The Motorcycle Boy has made a bike trip to California and back, and becomes fascinated by the Siamese “ rumble fish” in the pet shop. He is killed in his attempt to liberate the fish and Rusty-James takes his motor-cycle to ride off to fulfil the Motorcycle Boy’s ambitions and find his own.

Redback (Steve Bisley) and Steve (Rod Zuanic) at Redback’s bike wrecking shop: surrogate brothers. Ken Cameron’s Fast Talking.

Rumble Fish (1983). Director: Francis Coppola.

want to expel him. Steve meets Redback (Steve Bisley), a former bike racer, now owning a bike wrecking shop, whose love for motor-cycles once took him on a joyride to Alice Springs on a stolen bike, and thence to jail. Redback takes a fraternal interest in Steve, helping him to restore his own bike. Steve’s escapades lead him into trouble with the law, so he takes a bike to make a run for freedom.

Steve (Rod Zuanic) is a 14 year-old living with his alcoholic father (Peter Hehir) in a Sydney suburb. His mother has just left to live with another man. His elder brother Al (Gary Cook) is a drug pusher who uses Steve as a connection with the schoolkids. Steve has two friends and followers, Moose (Chris Truswell) and Vicki (Toni Allaylis), but is considered a delinquent and a no-hoper by the school staff who

Johnny (Aidan Guinn) is a high-school student in an American steel town. He lives with his ailing, semi alcoholic father (Kenneth McMillan). His mother deserted them at some unspecified previous time. Johnny rides a motor-cycle on which he performs suicidal stunts. He is a loner at school, branded by staff as a no-hoper and generally disliked by his

Fast Talking (1984). Director: Ken Cameron.

Johnny (Aidan Quinn) rides into school on his motor-cycle in an attempt to convince his girl to go with him “somewhere, out o f here”. James Foley’s Reckless.

310 — October CINEMA PAPERS

classmates for his walled-off, careless attitude. Chance brings him together on several occasions with Tracey (Daryl Hannah) whose initial indifference to Johnny changes into an attraction which catalyzes her dissatisfaction with her wealthy and stable family background and her well-off boyfriend, Randy (Adam Baldwin). Johnny and Tracey begin an affair which leads Johnny into fights with Randy. After Johnny’s father dies, he burns down their house and persuades Tracey to join him on his motor-cycle to leave the town behind.

Reckless (1984). Director: James Foley.

These three films each focus on a young, inarticulate, white male protagonist who under stands that his family history, authority figures and even his peers are conspiring to push him into a desolate future. Another world is out there and his motor-cycle represents the only way to escape his boundaries. Wherever the bike takes him has to be better. These three films are far from being carbon copies of one another, and use a radically different range of styles to express their con tent, but nevertheless find common ground in several important areas. Coppola employs black-and-white photo graphy and wide-angle lenses in Rumble Fish to present the backside of Tulsa. Critics have busily noticed that this technique has been ‘borrowed’ from Orson Welles, Jean Cocteau, Luis Buñuel or perhaps any director who has used black and white expressively. It is important to note then that Rumble Fish is not a derivative film, and is most effective and coherent in its visual style in providing a sense of hellish unreality to the desolate and unattrac tive urban landscapes, expanding the horizons so the characters appear trapped by a vast space and lowering the sky with the punctuating shots of oppressive, fast-moving clouds. Drifting white smoke adds further unreality to the wide angled street scenes. The Motorcycle Boy is color blind, seeing in monochrome only, and only the rumble fish themselves are photo graphed in color. Rusty-James’ concussions and injuries have left him with hallucinations and, in one instance, with an out-of-body experience which might appear imposed on a film in a realistic mode. The decor of RustyJames’ house and the diner dates from the 1940s and ’50s. The characters seem trapped in different time zones: Rusty-James longs for the

Rebels, Rumbles and Motor-cycle Boys

Left: Rusty-James (Matt Dillon) and the Motorcycle Boy (Mickey Rourke): brotherhood and leadership. Above: “trapped in different time zones”: The Cop (William Smith), Rusty-James, Motorcycle Boy and the handless clock. Francis Coppola’s Rumble Fish.

return of the days of the gangs, his father obliterates the present through drink and every where clocks tick onward as a repetitive motif, including a giant handless one on the side of a lorry as a backdrop for one of the Motorcycle Boy’s confrontations with the law. The setting, then, of Rumble Fish is partly geographical, partly a state of mind. By contrast, Fast Talking is strictly realistic and naturally colored. The locations in Sydney’s industrial suburbs are not modified by tricks of photography or mise-en-scene, but effectively delineate an unattractive milieu in which to grow up. Its borders are large fac tories, freeways, a waste paper tip, the concrete expanses of the school and shabby streets. These locations are used with considerable flair, especially the giant bales of waste paper which are the film’s most surreal aspect, pro viding a background to several scenes and the setting for the chase Steve leads the school prefects on. This chase and other action is heightened by percussive music on the sound track. Whereas Rusty-James doesn’t interact with the part-real, part-imaginary setting of Rumble Fish, Steve in Fast Talking uses his environment for his own ends, making quick escapes down school drain-pipes and across roofs, nimbly slithering from the grips of cops in underground trains, stations and toilets, and leaping on to the back of a passing truck when about to be arrested for stealing newspapers. Steve is a cunning survivor until he exhausts the local possibilities and has to run. Rusty-James is less sharp, surviving more by instinct, tough ness and not a little help from the Motorcycle Boy. The town in Reckless (the same location as that in The Deer Hunter) is dominated to an even greater extent by the huge steel mill which appears to loom above everything in all direc tions, even the cemetery. Day and night its noise and smoke fill the air, allowing no escape for the workers whose poor housing is in its shadows. Those whom the industry has made rich have their own spacious and lush suburb, far away from the mill. The film opens with Johnny’s vantage point of the town: a look-out point complete with coin-in-slot binoculars for the panorama of chimneys and smoke. Johnny plays his ritualistic act of defiance by placing a beer can on the very edge of the precipice and racing his motor-cycle towards it, skidding at

the last moment to knock over the can with his rear wheel. When he takes Tracey to the look out it is to reinforce his dream of getting away from there. He can’t do it unless he can con vince someone else that what he sees is hell on earth. Reckless is photographed in rich reds and blacks by the German director of photography Michael Ballhaus who succeeds magnificently by using long lenses to create an environment in which the noise, heat and presence of the mill are everywhere. Significantly, when Johnny takes Tracey into the school at night they end up in the boiler room to make love for the first time, surrounded by pipes and steam. Fast Talking is the film most concerned with telling a realistic story of a boy from a broken home without too many trappings of expressionistic style. It differs too from the American films in having its teenage roles played by actors close to the correct age, rather than in or approaching their twenties. The greater age of the American actors perhaps makes their explicit sexual encounters more acceptable to the mass audience. Fast Talking includes refer ences to contraceptives and subtly suggests a relationship between an older student and the young student teacher Sharon (Tracy Mann), but romance between Steve and Vicki is at its tentative beginnings. Drugs are seen to be a greater part of the Australian kids’ lives than sex, but are despised by Rusty-James for their part in breaking up the gangs. Steve has been coerced into dope dealing by his brother Al. A1 criticizes Steve for being soft and sentimental after their father poisons Steve’s dog, and tries to convince him that money is the only thing worth being attached to. Steve’s father is pictured as a hopeless and violent drunk, a casualty of chronic unemploy ment. Steve is the most affected by his mother’s leaving at the beginning of the film. Rusty-James doesn’t remember his mother who left him when he was two. He would like to be the Motorcycle Boy, stepping into his shoes as gang leader, but time has left them behind. He is unconcerned about his future, caring only about his status as the toughest kid around and a little about Patty. His father, an intellectual drifted into alcoholism, isn’t an authority figure, more a benign elder brother who RustyJames rarely comprehends. Neither can he always understand the Motorcycle Boy, who is always there to save his skin. The Motorcycle

Boy is isolated within himself, color blind and partially deaf, eventually lost in his obsession to liberate the pet store’s rumble fish. Steve’s surrogate brother, Redback, has the clearest perspective on Steve’s future. Like the Motorcycle Boy, he stole motor-bikes for joy rides, once going as far as Alice Springs, but after the routines of reform schools and jail he has gone straight and warns Steve about taking a similar route. The Motorcycle Boy’s trips have taken him to California which he found “ as amusing as this place” , but is where he found their mother. Rusty-James does pick up and fulfil his dream of riding the bike as far as the ocean, too. Johnny is more of a loner, an outsider. He is

Steve and his girlfriend Vicki (Toni Allay lis) rifle through their headmaster’s files. Fast Talking.

CINEMA PAPERS October — 311

Rebels, Rumbles and Motor-cycle Boys

Rusty-James and friends, after the fight, the blood seeping through. Rumble Fish.

an only child and his mother left at some un specified time. He is contrasted to Tracey’s boyfriend, the privileged Randy, who knows exactly what he wants to do: follow his father in the management of American Steel. When Randy tells Johnny that he “ used to be normal” and asks what happened, Johnny replies that he “ grew out of it” . Johnny’s father is overweight, unhealthy and drinks, often collapsing at work and necessitating Johnny to be called out of school to collect him. His father takes pride in Johnny’s achieve ments in the football team, sticking cuttings inside his locker and admiring Johnny in his suit while chiding him for being skinny and not filling it out at the shoulders. Johnny in turn sees his father as a failure, a loser his mother walked out on. When Johnny finds his father with another woman, dancing in Johnny’s room, it causes a violent fight and Johnny’s leaving home. All three young heroes are branded nohopers by the school system, Steve and RustyJames actually being expelled. Fast Talking addresses itself directly to the problem that schoolkids are aware that few of them have any chance of obtaining a good job and can only react with apathy or looking to crime. Their attitudes are reinforced by disillusioned teachers telling them they are being educated for the dole. At Johnny’s school the students are asked to fill out a form prior to career day outlining their ambitions and hopes for the future. Johnny’s answers are “ To get out of here” and “ More” . Rumble Fish and Fast Talking both have modern instrumental music scores and the latter has songs performed by Eurogliders in the context of a school dance. Reckless, how ever, underscores its tones, moods and ideas with cleverly chosen pop music mixed with a score by Thomas Newman. Most liberating is the school-dance sequence. Until this point, Tracey has treated Johnny with shy interest and open contempt. An accident in the arrange ments has paired her with Johnny instead of Randy for the dance. She reluctantly dances with him to the slow beat of Larry Graham’s “ One in a Million You” . Johnny rips the 312 — October CINEMA PAPERS

record off the player in disgust to replace it with the more dynamic “ Never Say Never” by Romeo Void, which seems to spark an electric attraction in the pair who dance superbly to the repetitive lyrics “ I might like you better if we slept together.” Later, they break into the school at night and read the school files. Johnny learns that he is potentially dangerous. He decides to live up to his potential and they begin wrecking the office, then go swimming in the pool after turning on Kim Wilde’s “ Kids in America” , its line, “ We’re the kids of America” , underlining the images of gleeful destruction. Their options of a whole world to explore at the end are beautifully expressed in Bob Seger’s “ Roll Me Away” : “ So I’m on top, looking at the great divide. I can go east or west, it’s for me to decide.” In each film, violent aggression forms a part of everyone’s lives. Rusty-James is challenged to a fight at the beginning of Rumble Fish. He

Tracey (Daryl Hannah) and Johnny: “I might like you better if we slept together. ” Reckless.

hopes his friends will support him so it will be a real rumble. It is. In fact, it is one of the screen’s most frightening and dazzlingly choreographed gang fights, broken up by the arrival of the Motorcycle Boy but not before Rusty-James has been severely gashed. Later, he and a friend are mugged on a night out, this time Rusty-James receiving a blow to the head giving him a hallucinatory out-of-body experi ence in which he levitates, his image floating over the town to visit his friends before returning to his body lying in the alley. Steve is perpetually on the run, facing the major aggres sive threats from his father and brother. Johnny is seen as a sexual rival by Randy and also the football coach, who both pick fights with him after he has clearly impressed Tracey at the dance. Johnny’s undefined freedom threatens their rigidly structured lives. Motor-bikes represent that freedom and power. The Motorcycle Boy has made his cross country trips and Rusty-James realizes he has to do the same. After at first rejecting Steve’s fumbling advances, Vicki returns them when Steve shows her his restored bike and takes her for a ride. Tracey’s first adrenalin-pumping encounter with Johnny in the film is when he rides his bike directly at her car. She watches him later riding away after making love to his waitress girlfriend in the back of the diner, and immediately refuses Randy’s advances in her car. Tracey and Johnny begin to share dreams of escape when he takes her on the bike to the lookout. At the point of maximum confusion in her feelings, she pours out her dissatisfaction with her calm, never-causing-trouble-or-worry life to her bemused mother and drives off, acci dentally running Johnny off the road. Finally, of course, she will rejoin him on the bike to ride away from the town. It is worth mentioning here two related films for their slightly different and arguably lesssuccessful approach to similar characters. Coppola’s The Outsiders, also adapted from a Susan Hinton novel, was made immediately prior to Rumble Fish in Tulsa with some of the same cast, notably Matt Dillon and Diane Lane. Ken Cameron’s Crime of the Decade was made after Fast Talking, again with many of the same cast, as an ABC tele-feature. In The Outsiders, Coppola more obviously pays homage to classical Hollywood narrative cinema, with brilliantly-filtered color and anamorphic Panavision images and an emotion-charged, straightforward narrative of socially divided teenage gangs in the early 1960s. The title “ The Outsiders” drifts across the screen as did “ Gone With The Wind” , whose book is read by one of the main charac ters. Although the film is about breaking down the social barriers that separate the “ Greasers” from the “ Socs” and keep them at each other’s throats, it endorses group solidarity, the sense of belonging to family or peer group. Ponyboy (C. Thomas Howell) and Johnny (Ralph Macchio), on the run after Johnny has killed a Soc in self-defence, rescue some small children from a burning church. Dallas (Matt Dillon) helps against his better judgment and gets caught in the collapsing building with Johnny. Dallas takes this as proof that it is not worth helping anybody and, after Johnny’s death, tries to escape by himself, robbing a store and making a run for it, only to be shot by the police. Crime of the Decade is set in a less-confined but still characterless satellite housing estate on the outskirts of Sydney. Its chief characters are Steve (Mark Davis), who lives in a community centre for homeless youths, and Elly (Toni Allaylis), who moves in there after her step father sexually assaults her and she receives no support from her mother. Absent fathers are

Rebels, Rumbles and Motor-cycle Boys

Rusty-James and his alcoholic father (Dennis Hopper). Rumble Fish.

Johnny picks up his intoxicated father (Kenneth McMillan) from the steel works. Reckless.

the norm in this community. A successful building contractor, Laurie Fletcher (John Gregg), is running for state parliament in the electorate. When not making hollow speeches about youth unemployment he is satirically pre sented presiding over an endless dinner party in his home, pontificating about fine wines and fielding challenges from his friends about what he intends to do for the poor and disenchanted. Steve and Elly, too, have some dreams of a better life as they survey the landscape and distant skyscrapers from a high vantage point on top of a water tower. They dare each other to commit a double suicide, but choose to live. It seems they may form a bond towards an eventual escape, but the accidental death of a friend, Roily (Paul Smith), drives Steve to shoot the politician and, unlike the open ending of Fast Talking, a freeze-frame on this Steve’s face indicates his life options have been effec tively closed off at this point.

also demonstrate the difference in directing similar material for cinema and television. Fast Talking advances its story through more action and location shooting, and its narrative drive avoids long dialogue scenes. The strong points in Crime of the Decade are the licence arising from the television documentary tradition which allows presentation of the story’s more sordid aspects: Elly’s sexual assault by her step father, Steve’s by his brother and Roily’s death by petrol-sniffing, all powerfully dramatic scenes that Fast Talking doesn’t attempt to approach. It should be noted that neither Rumble Fish nor Reckless have been financially successful in their American release. For the mass audience geared to the Porky’s approach to teenage films, Coppola’s punching them in the eye with style must be more than a few degrees away from easy acceptability, and Reckless, oddly enough, has gathered some criticism for having a ‘trite’ storyline rather than the subversive one it has by current American standards. How many films in 1984 end with the hero burning his house down and stealing a blonde cheer leader away from her clean-cut, arranged match? That Fast Talking, Rumble Fish and Reckless all succeed as stimulating pieces of cinema happily proves there is no right way to make a narrative film. A small industry like Australia’s has little lee-way towards large-scale experi mentation. Fast Talking exemplifies the small, lively contemporary film with the best chance of success on its home territory. A large-budget fantasy such as Razorback has the better chance of success in the world market. The trick might be to merge the two, and get it right. Meanwhile, the motor-cycle boys are back, and hopefully one can look forward to the return of the road movie.

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All these films demonstrate a fundamental difference between American and Australian cinema. Coppola’s and Foley’s films produce a distinctive and heightened sense of ‘movie reality’. The audience is made to feel it is being offered a viewpoint and cinematic experience of manipulated sounds and visions which tell a story and are an entertainment in themselves. It is important to American audiences that money can be seen to have been spent on production values. Cameron’s films are well-paced, edited and directed without proclaiming themselves to be ‘stylish’. Both are most concerned with drawing identifiable teenage characters and realistically representing their contemporary problems. Perhaps this reflects a need for Australian audi ences to see themselves as they are and the notion of documentary realism being more worthwhile than ‘art’ or directorial flights of fancy. Fast Talking and Crime of the Decade

Steve is attacked by his drunk father (Peter Hehir). Fast Talking.

Acknowledgments Cinema Papers would like to thank Hoyts Distribution, United International Pictures, the ABC Publicity department (Melbourne) and Filmways Australasian Distributors for their co-operation. ★ CINEMA PAPERS October — 313

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Peter Hendrie

A s the result o f a tim ely introduction at a p a rty several years ago, M ichael Pattinson discovered that Jan Sardi had an idea f o r script that could suit his requirements f o r a 40-minute short. Their collaboration becam e the feature M oving Out (1982), which Pattinson co-produced with Jane Ballantyne. The film was P a ttin so n ’s debut as a feature director, though he had directed episodes o f Prisoner, The Young D octors, docum entaries and commercials. For Sardi, M oving O ut was the fir s t step on a road that would gradually draw him away fr o m high-school teaching. When their next collaboration, on Street Hero, had developed the script to an advanced stage, they approached entrepreneur Paul D ainty and p ro p o sed his backing o f the project, to be p ro d u ced by Julie M onton, with D ainty as the executive producer. A ccording to Pattinson, D ainty had been looking f o r a suitable script and Street H e ro ’s com bination o f a m ontage style with a rock music soundtrack p ro vid e d an ideal opportunity f o r him to com bine his existing business with a film venture. Sardi and Pattinson are currently preparing another project: Just Friends, an episode in the “ W inners’’ series f o r the Australian Children's Television Foundation, to be p rodu ced by Jane Ballantyne. Sardi is also developing a script f o r PBL Productions, which will be p ro d u ced by R ichard Brennan. The tele feature, which Sardi describes as a “classic road film " , traces the relationship between a m ild-m annered accountant and an escaped prison er who takes him hostage f o r six days. Pattinson confesses to walking around the block a lot at night, sifting through a variety o f ideas f o r a new featu re and trying to f in d the one that can undermine “ whoever it is out there who is payin g p e o p le not to go to the cinema". Pattinson an d Sardi are interview ed by D ebi Enker. Opposite: director Michael Pattinson, left, and scriptwriter Jan Sardi.

Vinnie (Vince Colosimo) is a char acter in the tradition of Janies Dean and Marlon Brando: a rebel hero. For the first 10 minutes of the film he doesn’t talk; then, the information that he stopped talk ing for six months after his father died is revealed. Why did you take that direction with his character development? Sardi: I think it is interesting to build a picture of someone and then slowly reverse or undermine it. Everyone has weaknesses; all the tough kids who hang around down on the corner can be vulner able. When you build on this, in the classic tradition of a rebel hero, you have to go into more detail: this guy has a life; he comes from somewhere; he has a mother and father. Slowly you start to reverse that first impression. That is much more interesting than creating a character who is all white because the audience hasn’t anywhere to go with him. If you start off with Vinnie, who doesn’t talk, you can slowly start to chip away at him. You realize that he has weaknesses and is a sensitive character: he reads to his sister and tells her stories. So, you slowly start to involve the audi ence. The scene in which Vinnie tells the bedtime story about a boy who achieves an impossible dream links directly with the last sequence of the film in which Vinnie literally rises above his environment . . . Pattinson: It is a key scene. Jan set out to write a fairy-tale, which could be an allegory of what the film is about, expressed by the lines: “ ‘No,’ he said to the fairy,

‘only birds can fly’, and the fairy said, ‘No, you can too if you really want to.’ So he got up in a big tree and he flapped his arms harder and harder and harder and he did.” That is the message of the film. Sardi: If you look at it purely on a character level, we wanted a scene which shows he is a fairly warm-hearted kid. But it is also taking the script a stage further. The fairy story incorporates the element of poetry — of condensing and heightening things. He could have told his sister any story at all, and the audience would have said, “ Yes, he is a nice character” , but the story is carefully chosen. It is similar to poets using words to try to find the right feeling. On another level “Street Hero” fits in with a cycle of youth films such as Francis Ford Coppola’s “Rumble Fish” and “The Out siders” , and Ken Cameron’s “Fast Talking” . Often in films of that genre, the only possible resolution for the male character is to leave town in order to make a new life for himself, though his fate is ambiguous. The difference in “Street Hero” is that Vinnie and Gloria (Sigrid Thornton) decide to stay. It is a lot more optimistic about the possibilities of their situation than “Fast Talking” , “Rumble Fish” or “The Out siders” . . . Pattinson: Yes, at the end of the film he has turned his back on one side of his life, the crime element. Vinnie has rejected the path he could have taken if he had fol lowed in his father’s footsteps, and he and Gloria have the courage to face the future. In an emotional sense, he has travelled an enorC1NEMA PAPERS October — 315

Michael Pattinson and Jan Sardi

Vince Colosimo as Vinnie: “He has all o f those ‘angry young m en’ qualities . . . ” Michael Pattinson’s Street Hero.

George (Ray Marshall) trains Vmnie to be a professional fighter, like Vinnie’s father. Street Hero,

mous way from the beginning of the film, although it is only a tiny distance in physical terms. Sardi: It also sits a lot easier with kids: there are a lot of films that portray kids getting out and doing things, but the kids who watch the films have to go back to the Housing Commission flats; they have to go back to their problems. The film is saying that the escape route is within yourself; it is not out there somewhere. I think that probably appeals to kids. Pattinson: Kids are cynical. We could have ended the film by show ing Vinnie going on to be a famous rock ’n’ roll star. It is an obvious way to conclude the film. But kids aren’t that stupid. They are not going to believe for one moment that if I go and pick up a drum kit this week I am going to be playing at the Hollywood Bowl the next.

that is an ability many people don’t have.

You have cast Vince Colosimo as the protagonist in “Moving Out” and again in “ Street Hero” . What are his qualities as an actor which make him so central to your work? Pattinson: I hate to use a cliché, but I think he has natural ability; to use another cliché, he has a screen presence. He has all of those “ angry young men” qualities which make great hero characters for films: an inarticulate man with a lot burning inside, waiting to get out. The other appealing thing about working with a kid such as Vince is that he is very raw as an actor. He has very little craft, which makes him malleable, and he is able to be a lot more spontaneous. He can only bring to the performance the things that are real to him, and 316 — October CINEMA PAPERS

Does it make it harder for him working with experienced actors such as Sandy Gore, Sigrid Thorn ton and Bill Hunter? Pattinson: I expect it does, but I don’t think it fazes him in the slightest because he has learnt a considerable amount about film making and how to behave on a film set. Moving Out, on the other hand, was very different. Very few of the kids had ever acted before, so we worked with more improvization. Their timing and rhythm may not have been spot on, but one can polish that up later in a cutting room. Sandy Gore is another example of an actor who was cast in both films playing a similar kind of role: a sympathetic, perceptive teacher; a positive influence . . . Sardi: In all the traditional films about rebel heroes there is the good woman. In Street Hero there are three: Bonnie (Sandy Gore), Gloria and Vinnie’s mother (Peta Toppano). It is almost a 1940s or 1950s romantic concept of the woman trying to save the rebel from himself or from other people. Apparently Thornton was inter ested in the role of Gloria because of a desire to move away from period dramas to something more contemporary. Is that one of the reasons that you decided to use her? Pattinson: Principally, I thought Sigrid would play it very well,

though I also wanted to see her do something radically different. She would probably support those views. But the two go hand in hand, because quite often when someone does something totally different it becomes a refreshing change. They can bring something marvellous to it. Is it an advantage when writing a screenplay to have an idea of which actor is going to play a par ticular part? Sardi: Yes. If you know them, the way they speak and the way they look, you can visualize a lot more. The process of writing is really recording a film or a scene which is already in your head, by putting it down on paper in order to share it with everyone else. So if you can visualize the people in it, you can use th a t to your advantage. Especially with Vince: just the way he talks, his expres sions and rhythms, are ideal when you are dealing with kids. And there is a certain brokenness and unevenness in the way they talk that Vince can project. It is the mentality which you try to capture. What were the elements of Gloria’s character that were central to the narrative? Sardi: Gloria’s character in the early drafts of the script was far more detailed. There were prob ably two stories in Street Hero. We couldn’t have made both of them because we would have had a twoand-a-half-hour film, and we wanted to work within 95 to 100 minutes, which I think is suitable for kids. Gloria had a fairly un

pleasant background: she spent most of her time in the flats and her mother ran off, taking her two kids. But none of this really comes out in the film. Some of it is implied . . . Sardi: Well, that is good because I think that the important thing is to try to give impressions rather than spell things out. I don’t think we need to know everything about Gloria. It is interesting that the audience doesn’t see her father. He is dis cussed, but there isn’t a shot of him . . . Sardi: He was there originally, but we got rid of him. We had a very long first draft. We weren’t quite sure which areas were the strengths of the film. We had the story of the band, we had Vinnie’s story and the night life and his struggle, and we had Gloria’s story, inasmuch as that it im pinged on his struggle, but also as a story in its own right. For our focus, it was inevitable that the strengths of the film were the night life and Vinnie’s struggle. Every thing was directed towards that and we held back on anything which didn’t throw light on it. The many articles written about you describe you as being very open to script changes and sugges tions from the actors. Is that accurate? Pattinson: I suppose so, but I don’t think that an improvizational style, without preparation, works very successfully with kids,

Michael Pattinson and Jan Sardi

and particularly with untrained actors. I don’t think I am any better a director with kids than anyone else. What makes it work is if you go about it the right way. It is important to take the time to explore before you shoot, and to conduct workshops with kids, which we have done on Moving Out and Street Hero. Jan’s brother, Peter Sardi, is an actor and does a lot of work with the kids as preparation. I became more involved as pre-production con tinued to the point where we were in more formalized rehearsal, closer to shooting the film. I cer tainly think that if you want the best out of actors you have to give them a great deal of room in which to move. But I don’t look at the shooting of the film as a situation where we spend a lot of time ex ploring. How did the workshops function? How did you get the kids into the right frame of mind to work on the film? Pattinson: I look at workshops in an informal sense. It may be playing pinball or being in a room discussing things in great detail and doing improvizations. A lot of the kids probably thought, “ Why are we doing this?” , but it became more apparent as we started to channel the things that most related and fused them with the characters they were expected to play in the film. It is very much a discovery exercise, looking at things and saying, “ You can use that there.” Does it give you more confidence?

Pattinson: I think it gives the kids more confidence because they become involved with each other, and probably with me as the direc tor, and feel a bit more relaxed and trusting. When you walk down the street you see the most marvellous per formances in front of you and you think, “ If that could be a film, it would be fantastic.” All you have to do to capture it on film is either hide the film crew or make the people feel relaxed enough to be themselves. So much about acting is being yourself.

ton), positively evil. Is that a new pessimism about education? Sardi: Yes. Most teachers are working with the best of inten tions. If they weren’t, they cer tainly wouldn’t be out there doing it; there is very little joy in it. Basically, they are as much victims of the education system as the kids. But whereas one could sympathize with the teachers in “Moving Out” , in “Street Hero” it is im possible. Their dominant subject of conversation is the state of the toilets . . .

With both your films, a number of names recur in the cast and crew credits. Do you see yourself work Sardi: Sure, but I don’t think ing with a repertory-like structure? that is exaggerated. I have been there: they have staff meetings and Pattinson: Certainly there are they talk about the toilets, or the people on both sides of the camera color of the rubbish bins. involved in both films. I warm to They are trying to fathom some the idea of a repertory group of sense of purpose, but basically the actors, but not to the point at problem is the system that they are which what you are able to develop working within. And any real as a script is limited. I am very education that takes place at pleased with some of the perform schools is, I believe, the result of ances in Street Hero. Vince’s is an the relationship a student has with obvious one. It is through a long a particular teacher. association with him that I know what he can do, and that spells suc Which is why you create a charac cess in developing a performance. ter such as Bonnie . . . Both “Moving Out” and “ Street Hero” pay considerable attention to the education system. In “Moving Out” , the teachers are basically likeable and well intentioned, even if they are totally out of touch with the kids’ needs. But in “ Street Hero” the teachers, with the exception of Bonnie, are totally useless and, if one refers to Miss Reagan (Amanda Muggle-

Vinnie and Gloria (Sigrid Thornton): unpleasant backgrounds. Street Hero.

Sardi: Exactly. Kids who are brilliant at maths in one year can cop a new teacher and, all of a sudden, fail. Teachers either survive in that system, as Bonnie does, by creat ing relationships with the students, or they can submit totally and not give a damn. That happens a lot. It is a result of that lack of personal contact.

Working with best intentions: Bonnie (Sandy Gore), the teacher. Street Hero.

Other themes which crop up in both films are an interest in ethnic communities and their assimila tion, urban lifestyles and, particu larly, the disintegrating structure of families. Are they areas you both believe are important to depict in films? Pattinson: Well, if you are making a film about kids, it is hard to ignore them. With regard to ethnic themes, obviously Moving

Gloria: “I wanted to see [Sigrid Thornton] do something radically different.” Street Hero.

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Michael Pattinson and Jan Sardi

together, sexually and emotion ally. Vinnie discovers a great deal about himself. He has always relied on Freddo (Tibor Gyapjas) to tell him how wonderful he is. That is very selfish and when Freddo gets beaten up by the country yokels, he rebels against Vinnie’s high-handed manner. Sardi: Those scenes deal with Vinnie’s selfishness — Freddo gets beaten up basically as a result of it. In the later scenes, Vinnie wants to lash out after his mother dies, but he doesn’t because he has been there and he has learnt. Pattinson: Visually, it is nice because the environment in which Vinnie moves is very claustro phobic. One gets an impression with Easy Street and the school around the corner that life is closing in on him. It is good to get a feeling of wide-open space, especially for kids who have never moved out of Flemington, who have never seen the ocean. But it is not something we exploited in a huge way. Sardi: It also breaks down all the things that stop these kids from communicating. It removes the constraints of the city. Bonnie supervises a rehearsal with some members o f the school band. Street Hero.

Out was a film about the assimila tion of an Italo-Australian boy. It doesn’t ignore the fact, like so many films and television produc tions, that there is a huge multi cultural slab in Australian society. Your question is better directed at people who make television pro grams. Why do they ignore it? Why do they clear the streets of anyone who is not Anglo-Saxon whenever they want to make a tele vision show? Gino in “ Moving Out” and Vinnie in “ Street Hero” eventually reject the paths their fathers have taken. For Gino, it is the old country and a particular way of life and cul ture, and, for Vinnie, it is a rejec tion of the world of crime. Why does that pattern occur in both films? Pattinson: That is an uncon scious recurrence. Gino eventually comes to accept both ways of life. T don’t think it is a distinct rejection of his father or family. If any thing, it is the story of his realiza tion and acceptance of who he is, where his family comes from and what they represent.

The adult characters are used to represent the different directions character. Vinnie’s father was a Vinnie can take. There is his hero in his eyes: it is what he lives mother in the Commission flats; for at the beginning of the film. He Bonnie and music and education; is the perfect image of a man, and George (Ray Marshall) and that is what Vinnie wants to be. boxing; and Ciccio (Luciano This other guy is such a shit; he is a Caterachi) and a lucrative but cor drunk and he bashes Vinnie’s rupt life. The decision that he mum. But it is not really due to seems to make is the decision towards the lifestyle that Bonnie cultural differences. represents . . . Pattinson: It is a story device. Pattinson: I wouldn’t say “ life The atmosphere of life in the city is style that Bonnie represents” . He a violent one. It seems that the learns a lot from her values, but it violence can explode out of no is more than that. She taps his where. Often in films the device of potential and he discovers self the trip to the country is used as a respect. Everybody knows Vinnie contrast to the city. In this case, and they pat him on the back. He the country is just as ominous as is a hero. He finds, ultimately, that the city. What is the purpose of that is a very cheap respect based on popularity. What he discovers that trip? through Bonnie is that you have to Pattinson: The point is what is work to achieve respect and, ulti happening on a one-to-one level mately, it is more satisfying to him with the characters. Gloria and that he deserves respect. Music is really a vehicle through Vinnie are able to spend time

A point of conflict In “ Street H ero” comes when Vinnie’s mother becomes involved in a rela tionship with an Australian man. It totally disrupts the family. Does that suggest that there is no common ground between the two cultures; that there is conflict and tension which can’t be resolved? Sardi: No, I think you have to look at it purely in terms of the 318 — October CINEMA PAPERS

Freddo (Tibor Gyapjas), Karl (Darren Boyd), Billy (Jim Fotopoulos) and Vinnie. Street Hero.

which he can discover a lot of things. For instance, his drumming is not necessarily portrayed in the film as something he wants to con tinue for the rest of his life. It shows that his life can now take a direction. It is like Vince. I asked him, “ What are you going to do now that you have finished school?” and he said, “ Well, I might go to drama school.” But it is not because he wants to go on and be a huge film star. It is just something he has found that interests him that he would like to pursue. One area of development that was really unexpected was the attrac tion between Vinnie and Bonnie. It is subtle but unmistakeable and the tone is not judgmental. In fact, it is even humorous . . . Sardi: I was talking to a teacher the other day who had seen the film and who remarked that sexual tension often does manifest itself. But we didn’t want to get into that whole area — it is part of the rela tionships. Bonnie is one of the important forces in his life as is Gloria and his mother. It could have developed. It is that sort of adolescent Summer of ’42 sexual tension, and the attrac tion is not only from his side, which is what makes it interesting. Pattinson: She starts to realize a lot of her feelings towards him, and to reassess the reasons for her special interest in him. “Street Hero” operates at a faster pace than “Moving Out” . There is a lot more action and a more com plex storyline. How do you see it as a development from “Moving Out” ? Pattinson: The story for Street Hero grew out of Moving Out. If you want to make a film for kids you have to make it in a manner to which they are going to respond. Given the huge influence of the 200 km per hour entertainment that is bombarding the kids — which is all part of the rock clip genre — it needs a fast pace; they can absorb information very quickly. They have grown up with television, which is something you can turn up, turn down, leave and come back to. Films for kids have to confront that. Otherwise, kids will eat their chips or throw their drinks around. You have to grip them by the throats and say, “ Watch this: you are not going to talk.” Sardi: One of the major achieve ment» in making a film for kids these days is to be able to hold their attention for 90 minutes. The style of the film suggests a desire to play around a bit, to experiment with camera angles and tracking shots, and with editing and use of montage. Has your Concluded on p. 383

The ABC’s Sunday-night viewers, too long abandoned to BBC drama, natural history and music, could well do with an injection of local, topical, controversial films. What the ABC Television Drama department has provided, in its recent series of six Austra lian films, is an attempt to meet that need. The films have been commissioned from different writers, directors and producers, and the results are very mixed. They differ in subject, mood and style to some extent; they tackle difficult subjects, including unemployment, racism and sexism. They range across personal fantasies about death, sex and the sea. Only one of them, Stephen Wallace’s Mail-Order Bride, manages to be entirely successful within the constraints of the series. Despite this variety of inputs and topics, the films look as if they have come from the same production house. They are tele-features rather than films shown on television, relying upon techniques drawn from television. The films look as if they are made on low budgets; they depend on simple and limited story-lines which, in several cases, are strung out far too long. Much of the action is shot in television dialogue sequences, with two-shots, close-ups and limited location work. In some of the films, the writing does not allow for a subtle view of things, and the stories become relentlessly pre scriptive, allowing viewers little room for ambiguity, irony or humor. These tele-features are basically single-situa tion plots, often literal in their development and punishingly slow. They tend to look rather like illustrated stories and they demonstrate little inwardness, despite the recurrence of personal fantasy. These fantasies are selfenclosed, obsessive and destructive, certainly in the case of Julie Nelson (Julieanne Newbould) in Kindred Spirits, Sir Dorton Serry (Warren

Mitchell) in Man of Letters, Mac (Bill Kerr) in White Man’s Legend and Alison Berger (Julie Nihill) in Every Move She Makes. In too many of these films there is little dramatic resonance. To show the Australian landscape in White Man’s Legend is not to reflect on it in any thought-provoking way, and to give a major role to an Aboriginal youth is not to say anything about the place of Aboriginals in society. Similarly, to tackle ques tions about sexism in Man of Letters is not, necessarily, to raise them in very interesting ways. But the intention, of coming to grips with volatile and controversial issues, distinguishes this series of films from most of the commercial mini-series, Waterfront and The Dismissal being notable exceptions. The series, and each film in it, was intro duced to viewers by actress Wendy Hughes, and these introductions are an art form in them selves. Looking directly at the camera, Hughes produces her sentences as if to convey the impression, and dispel it, that she has just thought of what she wants to say. Every glance and gesture is practised in a studied imitation of spontaneity, as is, too, her hesitant, fluttering search for just the right word, just the right pause. Here is an actress, innocent of television naturalism, lending credibility from the theatre. This is an occasion, a celebration; this is art. Glen Tomasetti’s novel is the basis for Man of Letters, directed by Chris Thomson (Spring and Fall, Waterfront, Five Mile Creek and The Last Bastion). It was adapted for television by Alma de Groen and stars Warren Mitchell as an eccentric professor. The story follows out his private fantasies about women. He is a man of letters, who prefers to conduct his affairs by

post. This is a whimsical idea, but suffocated by the length and over-playing of the production. The story-line develops slowly, relying on a voice-over narration to give an ironic, or at least self-deprecating, commentary from the professor. Sequences are connected by often unnecessary establishing shots: in the car, at airports, hotel lobbies, office corridors. But the film falls down by cheapening its material, trying to score off everything. Cheap shots are passed off as wit, and literally every thing is up for grabs. Professor Sir Dorton Serry is set up in a common image of the philo sophy academic: preoccupied with ends and means, fussily involved in structures of language and impotent. The first of the women

Professor Sir Dorton Serry (Warren Mitchell): “fussily involved in structures o f language and impotent”. Chris Thomson’s Man o f Letters.

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Sunday Night at the ABC

Ursula (Carole Raye) and Dorton: old flames. Man o f Letters.

he meets, Con (Genevieve Mooy), the feminist Julieanne Newbould plays Julie, a dancer filmmaker, is represented as aggressive and who imagines she sees the drowning of a young lesbian. She has blonde, spiky hair, and wears a man at Bondi beach. She is haunted by his short denim skirt. One’s first view of her, as image throughout the film, attempts to find out Dorton steps from a lift, is from behind, as the who he was and, finally, embraces him as she camera moves up her legs from high heels to meets her death. denim skirt. This is demonstrating and Julie is a baffled, innocent witness to a indulging sexism. tragedy that she discovers took place in 1938 at Another board member remarks to Dorton Bondi. She appears disoriented in the film, that he hates liberated women: “ I like very troubled by her visions, leaving Tommy (John young, very soft, very tasty girls.” As he says Ewart), her lover and stand-up comic, moving this, the viewer is watching a close-up of Con’s in temporarily with a sympathetic fellow bottom as she walks to the meeting. There, one dancer, and given to wandering the streets and sees Dorton’s clumsy fantasy of Con dressed in beaches, apparently indifferent to the passing a white towel, moving her tongue suggestively of time. She is something of a waif, lost in the and winking at him, then jumping on the table film, as are some of the other major characters and dancing. The image cuts to a shot looking in the other films in this series. up along her body, before Dorton begins There are intimations of death throughout fantasizing about her breasts: “ miraculously the film: the tragedy Julie witnesses at the begin unsupported, unsagging mammaries” . ning, which cuts appallingly to Tommy greeting All of this is a kind of lowest common a journalist with the line, “ You’re dead on denominator image, representing the feminist time” ; then, a visit to a tarot card reader turns as absurd, yet as an object of desire, both for up the card of death, which she is told, reason sex and revenge. Con is interested, it turns out, in what is presented as a usual catalogue of reform: domestic violence, social justice, Aboriginals and women. These references are placed as an indication of how boring she is. The female film critic, too, is satirized in turn (“ I admired the almost epic quality of your film” , she says). Dorton visits another friend or would-be flame, Doona (Arna-Maria Winchester), who wants to take him to bed, and flashes to him, and to viewers, when he retreats. The whole junket concludes with an hysterical scene in his hotel room, in which two feminists appear late in the evening and make love in his bed (“ Our major statement is that after weaning women never have a breast to suck until they find each other” ). He throws water over them, they hiss at him like intertwined snakes and he collapses like a worn-out puritan in the corridor. After this unpromising beginning, the film meanders through lengthy sequences demon strating Dorton’s mental collapse, his destruc tion of a lifetime’s letter-writing to women and his abuse of a long-suffering wife who has finally made it as president of the local plant society. Another of the personal fantasy films is Kindred Spirits, directed by Peter Fisk and written by Patricia Johnson. This is a lighter, more delicate film than any of the others, except for its heavy-handed satire of a stand-up comic of the very old school. The film is more romantic and lush than others in the series, but also thin and over-extended. 320 — October CINEMA PAPERS

ably enough, means extreme change; and she is persistently visited by the figure of the dead young man, dressed in glowing cricket whites, like a refugee from Bodyline. Why he is dressed in cricketing gear is not explained. She dreams that she is wandering through an empty house, when she meets him standing in front of a fulllength window, light pouring through like a kind of blue haze. This image is picked up at the moment of her death. On her way to discovering something about him, and perhaps herself, she tracks down newspaper reports of the disaster, and finally an old woman, Miss Morris (Patricia Kennedy), who, it appears, was the girl friend of the drowned man. Morris refuses to discuss him. Julie persists, desperately, for reasons that are not clear, believing that Morris holds the key to the mystery. Eventually, the film cuts short what has become a long and unresolved story by intro ducing, with extraordinary temerity, the Granville rail disaster. Julie is on a suburban train when she sees the tragic white figure in the next carriage. As he starts to move towards her, the shot cuts to the front of the train and the train track. He sits beside her and there is a close-up of the track. As they begin to kiss, there are three, rapidly intercut shots of an approaching bridge, and then a close-up on a station sign: Granville. The shock effect lies in the cut to the sign and its associations of disaster. But nothing in the film has suggested this kind of conclusion. It appears gratuitous and unconvincing as a dramatic resolution. There are three quick shots of train wreckage, which depend for their effect on evoking the impact of television news film. The image then dissolves to the lovers, as they have become, kissing and radiant in a new, soft blue light. They gaze at each other, draw apart and walk towards light-filled French doors, with filmy curtains blowing in front of them. The image dissolves, as they disappear, to a close-up of the curtains, which in turn dissolves to golden light playing on the waves of Bondi.

Julie (Julieanne Newbould), part o f the image that haunts her. Peter Fisk’s Kindred Spirits.

Sunday Night at the ABC

The film uses well, although overdoes, sequences in dark offices, basements, garages, stairwells and deserted streets. There is a nice tension between closed and open locations, between suspense and release. But the conclusion collapses under the strain of repeating the same suspense moment. There is a montage of horror shots, cut from the entire story, as Alison, driving into the under ground carpark, thinks she sees her persecutor. Literally, her history of oppression flashes before her eyes as she smashes into another car, and for some moments remains, head bowed into the steering wheel, horn blaring, before slowly looking up to see her nemesis. The film works better as a set of variations on a classic horror theme than as an extended account of female isolation in a contemporary male world.

Alison (Julie Nihill) and Matthew (Doug Bowles): “variations on a classic horror theme”. Catherine Millar’s Every Move She Makes.

The first of the series, White Man’s Legend, is also Wal Cherry’s first television script, and somewhat over-written. Direction, by Geoffrey Nottage, compounds the inflated unfolding of the story. Wendy Hughes tells the audience, in her charming introduction, that what she loves about this film is “ a mood of desperation and longing, which is wonderfully enhanced by the unpredictability of the Australian landscape” . But the film’s focus on the old seaman, Mac (Bill Kerr), is too pointed and prescriptive for viewers to share in any mood of desperation or longing, unless it is for the film to end. The opening shot is a close-up of Mac’s face, rain streaming down his head. Cut to a rain swept shore; back to a full-length shot of Mac, dog and fishing line; then to shots of his wife at a window, looking apprehensively at the rain, of tree tops waving, of an Aboriginal youth squatting under a ledge holding his hand out to the rain. Cut to the sea, a ship, a profile of Mac staring presumably at the sea again, and then to wreckage on the beach, as the titles appear scripted across the sand. This pre-credit sequence suggests a deliberate, literal, uninter esting development of the apparently tragic obsession of an old man for the sea. The next major sequence establishes that Mac has found a boat for sale, that his mate Tunny (Deryck Barnes) will help him buy it and that his wife will object. The story is advanced through three shorter sequences: the first, of six

This conclusion represents a kind of violence doesn’t believe her story of persecution but the done to the story. It depends for its effect on a film has suggested he is something of an whole set of references which exist outside the outdoor yahoo by cutting from his desk to a story and leaves unanswered questions which photo showing him fishing. Even Alison’s the film has set up about Julie’s identity and father is of little help, telling her consolingly fantasy. that, “ There’ll always be a maniac like that around” or, “ You always were a thin-skinned kid.” A different kind of fantasy, rather more grim The legal system is also caricatured, partly by and persistent, is represented in Catherine the florid language attributed to the lawyer Millar’s Every Move She Makes. This is a (“ The sanctity of her home has been violated” ) gothic horror story, about a young girl, Alison and partly by a shot of the court taken from (Julie Nihill), who is persecuted by a psycho above which shows the court as a kind of pathic lover. It is a fantasy about innocence and sardine can. These excesses, though, may be its corruptibility, about collusion between the directed by a conscious attempt on the part of the film’s director to demonstrate the limit of normal and the deviant. Some of the images of uncertainty and dis male understanding. Producer Erina Rayner orientation are striking: shots taken from says, ceiling- or floor-level, a face disclosed in a Men understand only male ways of behaving; swinging mirror, changes rung on the classic she [Alison] is suspected for the way in which image of girl on a swing, not healthy Victorian she chooses to stand her ground. The system erotica, but shot from above, suggesting the is not geared to helping someone like her. world turned upside down. One of the problems for the film is to integrate these But, generally, the changes rung on melo moments of vertigo into the narrative. But it dramatic images of horror are more interesting tends to relapse into repeating the same than the awkward interchanges Alison has with dramatic conclusion, the girl isolated and the men in the film. Here it is in some danger of falling into the adolescent emotionalism it terrified. The people who might support her display a represents. The film is better displaying general indifference, characteristic of an earlier Alison’s vulnerability, particularly in a fine generation of melodrama. The police, the legal opening sequence of water, glass and flesh, system and her office superior are all repre which transforms the usual images of girl in sented as indifferent. The detective, after inter shower. These shots are nicely held and reflec viewing her, seizes a gross handful of roasted tive; the cutting is dramatic and arresting. peanuts from a jar and shoves them in his Unfortunately, the lighting is not as good and pocket whilst telling her about her tormentor j some exterior car chase sequences are ruined by Mac (Bill Kerr), right, and the Aboriginal, Lance (Michael that, “ His type rarely gets physical.” Her boss , poor lighting. Watson). Geoffrey Nottage’s White Man's Legend.

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shots, beside the boat on the beach; the second in the pub, of eight shots, introducing the problem about buying the boat; and the third, of seven shots of the two men on their way home. They climb a set of steps, walk a few feet, then turn in for the camera, as if for a public affairs program. This extensive intro duction has already given the viewer too much time to think and too little to think about. But the film really loses its grip in the next episode, which is the buying of the boat. Nottage intercuts two sequences here: the men off buying the boat and the women at church. He begins with a shot, which runs for more than 20 seconds, of the men walking down to the beach, then cuts back and forward between the church and the boat eight times. After 44 shots, one is told by the priest (Don Reid) that “ Man is a poor frail thing that can be tossed like a boat on the sea . . . ” Mac takes his boat to sea, discovers an Abori ginal stowaway who wants a job aboard, and is caught at sea in a storm. He tries to make port, and lodges the boat irretrievably up a creek. Slowly, like everything else in the film, he declines into obsession and paranoia, raving at the Aboriginal, Oh, the fish are nibbling at her belly. Boat knows about wind and sky, but a belly. Belly lives in the water, son, because that’s where I live too. His death comes as a welcome relief for the viewer. His relationship with the Aboriginal has Steve (Mark Davis), Nikki (Tasmin Hardman) and Roily (Paul Smith): Ken Cameron’s ironically titled Crime o f the remained undeveloped, largely inexplicable. Decade. And the trouble with obsessive paranoia is that it is not a very interesting state for anyone else. The film is too slow, its focus on Mac too The most polemical and, in some ways, adven repression. The film has the energy of all the limited, to allow tragic implications to surface. turous film of the series is Ken Cameron’s right convictions, but ruins its case by over Crime of the Decade. Presumably, the title is statement. Society exists in a state of guerilla warfare, meant to be ironic, to imply that what once 1» wm might have been the crime of the century has and all the sincerity and integrity belong to the become familiar, a part of everyday experience. dispossessed. The police are imaged as corrupt But one quality this film lacks is distance and pawns of the capitalist powers. When Fletcher perspective on its own story, whether that be is making a commercial, he is disturbed by the ironic, humorous or analytical. The film breaks sound of the youths riding their bikes. “ Keep into two quite different kinds of cinema, the bloody kids quiet will you Darryl?” , he counterposing two life-styles: that of the un says. “ Getting right onto it, Mr Fletcher” , says employed western-suburbs youth, and the the cop, tipping his cap and scrambling into the affluent, middle-class property developer who police car. The cop then takes one of the youths aspires to political office. This figure, Laurie home and tries to pick up his mother: “ I like Fletcher, is played by John Gregg as a flat and my tea weak and my women strong.” Meanwhile, one has seen episodes of toneless representation of the self-interested businessman, mouthing the clichés of return to attempted rape of a daughter in a live-in rela work and independence and self-reliance. tionship, the daughter being blamed by the The film intercuts sequences of the street life mother for the incident and thrown out of the of the young unemployed with a long, continu home; petty vandalism; drug running, ing dinner party at Fletcher’s house. There are including heroin pushing; prostitution among eight sequences at his house, and in most of the young; and, finally, the death of one of them he appears with a bottle of wine in his them from petrol sniffing. These scenes are hand, parodying the indiscreet charm of the acted with restraint and conviction, but their bourgeoisie. He begins with champagne, toast effectiveness is diminished by the relentless ing the new member for Merriweather, overstatement in the contrasting sequences at proceeds to “ a ’74 chardonnay” , then to a the dinner table. pinot noir (“ got more body than a shiraz” ), What the film appears to endorse is a view an imported sauterne (“ picked late when the that no answers matter; the situation has grapes are just mouldy” ) and finally to brandy. already passed beyond solutions short of This inter-cutting doesn’t work at all; it is too violence and class war. It takes up an easy deliberate and stilted, too self-consciously pessimism, allowing the viewer no distance, no making obvious points about self-interest, ambiguities, no alternatives. The social-realist greed and indulgence. The cut from a working- style of the street life clashes with the device of class kitchen table, with cans of beer and the extended dinner party (and the sound levels bottles of sauce, to a close-up of prawns in here are annoyingly low). The film is too much lettuce is repeated in a later cut from bread and like an illustrated lecture in which all the real eggs frying in a pan to a close-up of an elegant points for discussion have been taken for dinner plate, silver and crystal. This sort of granted. Its effect is to promote the tedium posturing cuts out any analysis beyond what is from which the young are shown to suffer. already taken for granted: that a state of class Nothing can be done, so everything is excused. warfare exists. It prepares the viewer for the final scene in which the working-class youth shoots the property developer (“ There’s a war The best film of the series is Mail-Order Bride, and you’re the enemy” ). This act of violence is which develops from an unobtrusive beginning Terry (John Jarratt), the concerned social worker in Crime represented as a logical outcome of a systemic to a nightmare conclusion. It is tightly directed o f the Decade. ■

322 — October CINEMA PAPERS

Sunday Night at the ABC

by Stephen Wallace (The Love Letters from Teralba Road, Captives of Care, For Love Alone), brilliantly acted by Ray Meagher and Charito Ortez, and written in an easy, insinuating idiom by Robyn Davidson. This is her first television script, following the success of Tracks, her account of a camel trek across the top end of Australia. The film begins with the situation of Kevin (Ray Meagher), a middle-aged Australian country builder who has been corresponding with several women, at least one of whom is from The Philippines. He offers marriage, is accepted, and the film traces the outcome of this unlikely liaison. The woman, Ampy (Charito Ortez), becomes a metaphor for cross cultural conflict, including attitudes in the local community towards blacks and questions of race. The ways in which the film represents metaphor is one of its strengths, as are its transitions in mood and pace from one sequence to another. Slowly, a cumulative feeling of oppression and unease develops from what looks to be an easy-going, simple and attractive lifestyle. The film opens on a shot of the back of Kevin’s bush hat; the camera pulls back and one sees his unidentified figure in country gear, carrying flowers and waiting at an airport. From this characteristic shot, the film develops a nice, laconic style of introducing situations indirectly, almost casually. Kevin turns to reveal an Australian of indeterminate age and condition; he is from the country, but it is hard to tell if he is young or old, fit or flabby, easy or tense. What is concealed about him is what is most interesting. The voice-over says that he is meeting his bride-to-be from The Philippines. He has written to her: “ I’ve made up my mind that

you’re the woman I love . . . I want to settle down with a wife I can count on and who likes the quiet life.” Some of the disturbing implica tions of this process are registered as Kevin waits behind the barrier; he starts as a beautiful Filipino girl, frisky as a racehorse, goes past him. Ampy is quiet, dark, shy and attentive. The nuances of their meeting are well suggested, with its mixture of anticipation, curiosity, fear and disappointment (“ You’re smaller than I thought” ). Then there is an unobtrusive transition sequence as he drives her home two hundred miles to Badigeri. The tone is laconic, dry and understated; but the unease is clear. Her voice over explains her response to his letter, her determination to be a good wife. The city gives way to blackened bush, then green countryside. A guitar solo underlines this return to country life. Small differences are registered, about a dead wallaby (“ Vermin” , says Kevin) and then about Aboriginals they see on the way into town (“ The missing link” , he says dispassion ately). Ampy’s introduction to the town, her marriage and the beginnings of life in a caravan with Kevin are handled tactfully and with a good deal of humor. The wedding ceremony cuts to a close-up of a beer glass and peanuts at the reception. Ampy meets some sympathetic people, as the air of good humor is dispelled in asides amongst the men that mail-order brides are prostitutes. A kind of ritual drunkenness sets in as Kevin collapses among the cans. Uneasy intimations become more claustro phobic by the shooting of many scenes in the caravan, as though conflicts are endured within a confined space from which no escape is possible. Kevin takes his wife sexually the next

Am py and Kevin: “I ’ve made up my mind that you ’re the woman I love . . . I want to settle down with a wife I can count on and who likes the quiet life. ” Mail Order-Bride.

Kevin (Ray Meagher) and his Filipino bride, Am py (Charito Ortez). Stephen Wallace’s Mail-Order Bride.

morning in a grim, groping ritual of mechanical lust, which is despairing to watch; there is then a nice dissolve to a scene of the two of them fishing, happy together — an easy, Huckle berry Finn romance. The town’s social life is imaged deftly, with amusement, but penetrating to levels of prejudice that lie beneath the surface. Kevin is uneasy talking about politics (“ They’ve got to put a stop to communism” ) and about pollution (“ You can’t have progress without paying for it” ). None of this is overstated in the film, but slowly establishes the limits of tolerance. Ampy’s friendship with the blacks precipitates a crisis with Kevin when he discovers she has been to their camp. Shortly afterward, protesters decorate the statue of the returned soldier with a land rights flag, and Kevin and his mates determine to teach the blacks a lesson by shooting up their camp. This sequence is intercut with shots of Kevin in the caravan, where he has gone to get his gun, begged by Ampy not to go. Excited by her desperation, and the violence of the situation, he turns to fucking her. Several times, the film connects explicitly sexual frustration and anger with per sonal violence directed against women and blacks. Perhaps unsurprisingly, Ampy is raped by a friend of Kevin’s one night when he is away, drunk. The next shot picks up the story as though the consequences of the rape have been suppressed. The camera tracks past shops in the main street, catches up with Kevin’s Landrover, packed with furniture, and Kevin talking, cheerfully enough, about their future, child, house and her mother’s visit. The film ends on this anti-climax, unexpected and powerful in its sense that life will go on largely as before; there are no means of working out this crisis and crime. Mail-Order Bride is rewarding for its rhythms and transitions, its easy changes of mood and pace, and the way it draws viewers into an understated view of small-town country life and attitudes. It is a scarifying indictment of prejudice, violence and racial terrorism, and deserves a wider release than Sunday-night tele vision. It should become as much part of the culture, and reflections on it, as Wake in Fright. And it does all this without a big-name star and on a small budget. This film vindicates the ABC’s attempt to tackle serious issues by commissioning local drama. ★ CINEMA PAPERS October — 323

ABC TELEVISION DRAMA Chris M uir has been head o f the A B C Television D ram a departm ent f o r nearly tw o years. H e is presiding over a departm ent which, in the 1980s, is trying hard to invigorate itself. It recently launched Sweet and Sour, a rock fa n ta sy series; The Young Wife, a dram a about a Greek fa m ily; and a Sunday night series o f A ustralian tele-features, directed by featu re film directors such as Ken Cameron and Stephen Wallace. The A B C is now planning another series o f Sunday night tele-features; individual tele-features such as Displaced Persons, about European migrants, Time’s Raging, about a contem porary relationship, and One Summer Again, a radical lo o k at the H eidelberg School; and a series about a Russian emigre fa m ily running a hotel in Sydney in the 1930s,

Palace o f Dreams. B efore taking up his Sydney position, M uir was head o f the A B C Television D ram a departm ent in Victoria when it m ade I Can Jump Puddles. H e was also president o f the M elbourne D irectors’ G uild f o r several years and was executive producer, with John B. M urray, o f Libido (1973). M uir was interview ed by Helen G reenw ood and M argaret Smith.

T ele-features What prompted ABC Drama to move into tele-features? They were missing from our pro gram schedule and no other stations were doing them in great quantity. We felt audiences would be looking for something new. ABC Drama is trying for variety 324 — October CINEMA PAPERS

and for audience reach; we have to consider the balance of material we are doing because we have to cater for a very wide audience. There should be some history, some comedy, some adventure stories and some innovative work, such as Sweet and Sour. Is this why each of the tele-features in the series is so different?

Chris Muir

The Takeaways (Robin Copp, Sandra Lillingston, Tracy Mann and David Reyne) in Sweet and Sour.

I have always felt — and I have worked in the ABC for a long time, and in a variety of depart ments — that there was an ABC ‘house-style’. It is as if something were muffled, as if the actors were walking around in space helmets. We quite often get away from it, but a lot of the time it appeared as if the material had been done in slow motion. So, it was important to demon strate that we were not locked into any particular style; that we did have, in Melbourne and Sydney, a range of producer talent that would enable us to tackle different subjects. We decided the best thing to do was to look at six entirely unrelated subjects.

This Australian material is suffi ciently important to be screened then. We are now looking at another series of tele-features, hopefully for the same time slot. Why has there been imbalance be tween Sydney and Melbourne with the tele-features?

That, to me, is a pity. I would have liked to have seen more come out of Melbourne: we only did one in Melbourne and five in Sydney. It was a result of limited resources: we could only do these features provided we didn’t upset the boat. In the next lot, we hope to get a couple out of Melbourne. We are starting one shortly for our next season, adapted from the Max Did the various approaches — Richards play, Emerging, about thriller, social realist, comedy — paraplegics. It is to be directed by emerge out of the producers’ Kathy Mueller, who won the Greater Union Award [for Every interests? Day, Every Night]. The producers, in effect, selected the kind of theme they What sort of budgets were in wanted to be associated with. Alan volved with the tele-features? Burke was very keen to do Kindred By commercial standards, and Spirits — his work has always had a lot of romance in it; a lot of spiri ignoring the complex costing tual feeling — and he was very system within the ABC, the taken by the Trish Johnson script. budgets were $500,000 on average. I can think of producers who prob They were shot fast, in five weeks ably would not want to go near it, or so, with small casts; there is who would want something hard- really nothing extravagant about them. We can’t overshoot the edged. As a rule, ABC audiences antici budget because we haven’t any pate that they are going to see money to cover overages: we are “ middle-of-the-road” entertain our own completion guarantors. ment. As a result, I received some very strong letters about the les You used feature film directors bian scene in Man of Letters. such as Ken Cameron and Stephen People said it was disgusting and Wallace for the tele-features: what that the ABC shouldn’t be doing do you think will be the effect of that kind of material. I think we the increasing cross-over of people have to. The scene wasn’t there to and styles between cinema and be titillating; the story just television? couldn’t have been told without it. I went to a very daunting futuro Obviously, everyone has differ ent opinions about the films but logical seminar at the Australian there is one common factor: in Film and Television School, with each we are attempting to do some 50 prominent people from the film and television industry. There was thing different. very strong and heated debate Do you think it was a ‘brave’ deci about the proposition that there sion to screen the tele-features on might be no cinema in the future, Sunday nights when there is so with celluloid disappearing alto much competition in that time gether. Everything would be shot electronically and most would slot?

Top: Assistant Commissioner Thompson (Don Reid) and Police Minister Ralph Carpenter (Brian McDermott) in Scales o f Justice. Middle: Alison (Julie Nihill) in Every Move She Makes. Above: Am py (Charito Ortez), right, andfriend (Lillian Combie). Mail-Order Bride.

finish up on television screens, either through video cassettes or a proliferation of stations. Cinemas, if they did exist, would also be using electronic images, projected by lasers. I suspect that there is a good deal of truth in that prog nostication. I don’t know, however, how some of the tele-features we have made would stand up in the cinema.

All the old-fashioned rules of television — shooting the drama in close-up because it is the medium of the close-up — still stand to a certain extent. People do expect to get in close when they are watching a television play. Rhythmically, there may be differences in the two mediums. Man of Letters is a very interest ing production, but I have Concluded on p. 382 CINEMA PAPERS October — 325

is s i WSÊSÊÊ

SPIELBERG, LUCAS AND THE TEMPLE OF DOOM

Lucasfilm, George L ucas' production com pany, has been responsible f o r fo u r o f the top six box-office grossing film s o f all tim e — Star Wars (1977), The Em pire Strikes Back (1980), The Return o f the Jedi (1982) and Raiders o f the L o st A rk (1981) — a unique and enviable position in the world film industry. R obert W atts has been with Lucasfilm since 1975, although contracted to w ork fro m film to film . H e is credited as production supervisor on Star Wars, associate producer on Em pire and Raiders, and co-producer on Return o f the Jedi. On Indiana Jones and the Temple o f D oom , he is producer. W atts has a history o f w ork on other large-scale p rodu c tions, including Stanley K ubrick's 2001: A Space O dyssey (1968), Franklin Schaffner's Papillon (1973) and tw o B ond film s, Thunderball (1965) and You Only L ive Twice (1967). H e has also w orked on R om an Polanski's Repulsion (1965), Charles Jarrot's The Other Side o f M idnight (1977), and p ro du ced P eter B rook's M eetings with Rem arkable M en (1978). Temple o f Doom adheres to the trusted form u la o f bigscreen, big-production, extravagant, mass-audience enter tainment. I t grossed m ore than $U .S.42 million in its fir s t six days o f release — an all-tim e record. During a recent p ro m o tional visit to A ustralia f o r Temple o f Doom, W atts spoke about the film , his role with Lucasfilm, the video boom , George Lucas and Steven Spielberg to Jim Schembri. Opposite: Robert Watts, backed by Star Wars, top, The Return o f the Jedi and Indiana Jones and the Temple o f Doom.

What was your role on each of the Lucasfilm projects? On the earlier films, Star Wars for example, I was the production supervisor, working under the pro ducer. All I did was take care of the English end, which was all the live-action photography: I really had nothing to do with the rest of the film. In many respects, that was also true for Jedi. Initially, I was going to go back to the U.S. for the post-production on Star Wars, but then Raiders came up and I went into that immediately. Being associate pro ducer, I got involved on a slightly higher plane. Then on Jedi, as co-producer, I was involved on a higher plane again. But like the other films I was unable to see it through to post-production. On Temple of Doom, finally I am the producer, and I have been overseeing it all the way. In many respects, it is more satisfying. It is certainly the way I like to work. What specifically was your func tion on “ Temple of Doom” ? My job was to oversee the film and try to make it come out on budget at the end. After reading the script, the first function is to decide where you are going to make it. I go on a trip

looking for locations with the set designer, and he and I figure out what all the costs are going to be. He does the set end and I do the rest. Then we start from a nucleus and build up the crew. By the time it comes to shoot, I have all the crews in all the locations, set-con structing and preparing, so that when the shooting crew arrives there is no time wasted. The most expensive element of Temple of Doom was the shooting. When you are carrying a very high density of extremely skilled and highly paid technicians and actors, every minute counts. Do you have any creative control? Frankly, I don’t have a great deal of creative control in these films. I am delegated the responsi bility by George Lucas to make sure they run efficiently, to make sure everything is there for Steven Spielberg, or whoever is directing. One does get involved creatively in areas relating to cost because working cost creatively is creative in itself. It isn’t just a case of say ing yes or no, but a case of know ing when to say, “ Yes, let’s spend a bit more” or, “ No, we can’t do this” for various reasons. Spielberg is a very good person to work with because he is very adaptive and creative. What we are CINEMA PAPERS October — 327

Robert Watts

always looking for is the best way to spend every dollar we have and to get it up on the screen without waste. Spielberg works that way. How do you manage a budget of $A27 million? Can you give an example of the creative costing you mentioned? On Temple of Doom, I normally would get to the studio at 6.30 a.m. and look at the cost runs to keep myself up-to-date. A budget for a film is divided into accounts: every department has its own account which has to be adhered to. You will never get every account right — some will be over and some will be under — so what you are looking to do is get the bottom-line figure. As we were going along, Steven would make adjustments to the script that required certain addi tions and, on occasion, subtrac tions, so we had to constantly balance the total financial scheme. An example of this was the dance number at the beginning of the film. In the original script, it was much smaller and less ambitious, with 12 girls doing the number in the confines of the nightclub. It would have needed only one set and not the 32 dancers, completely separate limbo set and the expensive sparkle effects we ended up using. These changes were made before we started shooting, so I had to find the extra money — obviously it was going to be somewhat more expensive. Among other things, I looked at the shooting schedule for the chase in the streets of Shanghai. Originally, it had been laid out to be quite a long shoot but, without curtailing the story for that sequence in any way, we revised the schedule. We ended up doing it entirely with the second unit, with the interiors of the car done separately in a studio. The

second-unit shooting took only six nights, which was far less than I had originally estimated and budgeted for. The money we saved there went towards giving us the latitude to make the opening dance number more lavish. That is the biggest example I can give, though there are a lot of smaller ones. What I have to be very careful about, too, is that we finish the picture on budget. Steven might come to me and ask for another 200 extras, and I might only give him 150 for cost reasons. But if I get to the end of the film and we are $250,000 under budget, Steven is going to turn to me and say, “ You cut me down by 50 people. Why?” So, while it is nice to be under budget, what we set out to do is put all the money we have available on the screen. It isn’t an exercise in which you go in and say, “ Well, it is budgeted for $27 million, but let’s cut corners and make it for $20 million.” Why are Lucasfilm productions so popular? Because they take all the thrill-aminute elements of the old serials and up-date them in terms of tech nology to make them acceptable to audiences today. When you show those old Flash Gordon serials, people still laugh and enjoy them. But technologically they are very primitive and audiences today are sophisticated; you can’t get away with poor product. Is George Lucas’ overriding crea tive control of his products a major factor in their popularity? George has a very clear eye; he can put his finger very simply on what works and what doesn’t in the context of a scene and in terms of the way an audience will react to it. It is an instinct with him, the

Willie Scott (Kate Capshaw) and Short Round (Ke Huy Quan) in Steven Spielberg’s Indiana Jones and the Temple o f Doom.

328 — October CINEMA PAPERS

same way that Steven Spielberg is an instinctive director. If one believes in reincarnation, Lucas probably worked in early films because he has this unerring instinct. I have worked with Spielberg and Lucas and, though their styles as directors are totally different, they have individually been suc cessful and their coming together is marvellous. There is a very fruitful and creative working atmosphere, with no tension or conflict. They are close friends, they respect each other professionally and crea tively, and, therefore, they get the best result through their co-opera tion. George is a marvellous editor and has always been heavily in volved in the post-production of his films, including Temple of Doom. There is a lot of creative input from Steven and George, though the main input is from Steven, as it should be. How does Lucasfilm define its market? Who are you going for? With this type of film, you are mainly going for the teenagers through to those in their mid-20s. The statisticians tell us who is going to see the films and who sees them more than once; to get the big grosses a lot of people have to see them more than once, which tends to happen with films of this sort. They are a fast-moving, roller-coaster ride and kids tend to want to get on again and have another go. In light of the remarkably strong position of Lucasfilm in the film industry, were there any real worries that “ Temple of Doom” was going to fail, or, indeed, that anything produced by Lucasfilm is going to fail? Oh, absolutely. I think it essen tial that you do worry because the day you sit back and think you have a sure-fire hit on your hands is the day you are going to fall flat on your arse. The public goes to see what it likes, and if you get arrogant and think people will accept anything you churn out then you are wrong. Never under estimate the public: it is the public, after all, which allows the films to be made. It is important to go into each film with the freshest of approaches and to try to make it the best film you possibly can. It is like the industry as a whole: it is always a learning process and you never say you know it all, because the day you do that you are going to fall down flat. But there is a strong argument that there is going to be a guaranteed, large, hard-core audience for any thing Lucasfilm produces. There are fan clubs, carry-overs from the last film and also a lot of people who just seem to be devoted to George Lucas . . .

Grasping the sacred stone: Chattar Lai (Roshan Seth) and Indiana Jones (Harrison Ford). Indiana Jones and the Temple o f Doom.

Well, certainly, there is that carry-over, but let us suppose that Temple of Doom had been a terr ible film: it still would have had a great first week because a lot of people would have gone to see it regardless. But it wouldn’t have had a great second week and it probably would have died in the third. Word of mouth kills faster than anything. A good example would be the first Star Trek film which had enormous hype, with all the trekkies and so on, and had a colossal first week, but, because it was a dull film, it went down there after. There seems to be a trend towards big-budget, big-production films? Do you think this might be a con scious reaction to the video boom? Yes. To draw people away from their homes and their video cass ettes you have to give them some thing extra. I don’t think the video industry will ever kill the cinema. Maybe people’s viewing habits will change as video becomes more sophisti cated, with better definition and stereo, but I think there will always be a place for the cinema. How ever, it is very much up to the cinema owners to make sure their theatres have optimum projection, that the seats are comfortable and that patrons are catered to a “ night out” atmosphere. Video cassettes do have a big plus in that we can advertise theatrical releases on them. The tape for Raiders carried a trailer for the Temple of Doom, and sold very well, so imagine the millions who saw the trailer. Is the coming out of “ Raiders of the Lost Ark” on video in any way a concession to the video boom? Will it mean in the future that Lucasfilm will make big-screen productions, keeping in mind that the film will end up on video?

Robert Watts

because it had no humor and nothing to relieve it. It was an amazing exercise in style and tech nique, but without any real heart No, absolutely not. When I first met Steven at a to bring you close to it. It was too meeting for Raiders he was still cold. Alien worked because it is basic editing 1941, and the special edition of Close Encounters ally a haunted house picture set in hadn’t even been shot; that was space. It came out at the start of done while we were in pre-produc the Star Wars space boom, had tion on Raiders. So, neither of that element and added the alien those films had emerged into the running about the ship, which is a variation on an old theme. light of the public arena. Having said that, I must say that there are*directors who never come You mention that it is important to back from a disaster such as 1941, marry special effects with charac which could be described as a case ters and story, but isn’t it also true of over-indulgence. When Steven that people probably went to see made Raiders, we came in under the “Star Wars” trilogy for the schedule and bang on budget. The technical innovations as much as reason we were not under budget is anything else? because we put the money we saved back into miniatures for It is important that the drama extra effects. That film ended up and effects complement each being the sixth highest grossing other. You can’t have a film that is film of all time, and we know what just a series of effects without has happened since with E.T. and story and characters. People have Poltergeist. So, there was no sit tried and all you get is a series of ting back saying, “ Oh my God, effects that are, in themselves, im what a mess” and never being able pressive, but that don’t mean any to recover. He got right back into thing if they are not in the context it — and that is talent. of a story that has emotion. The best marriage of those ele There certainly does seem to be a ments in the Star Wars films is in pattern of directors who have Empire, which is the most literate made successful films and then of the three films. Walt Disney’s have come out with huge, expen Tron is an example of the effects getting in the way of the drama sive failures . . . and the audience involvement with No matter what success a direc the characters. I actually enjoyed tor may have with a film, he is still Tron, though few did! I thought it vulnerable. And, of course, some was a most intriguing concept but directors are less consistent than it didn’t work because of the script. Disney is always working others. I suppose Francis Ford Coppola with such bad scripts. It was the is an example of just how erratic a same problem with The Black director can be. My view of One Hole, which was basically 20,000 From the Heart is that it didn’t Leagues Under The Sea set in have a good script and was dull, space. Now, finally Disney seems and it didn’t make it because of to be growing up. that. But, I absolutely adore The Godfather films and I love Apoca The violence in “Temple of lypse Now, which for me is a great Doom” has been criticized and piece of surreal cinema. But, there you have said in its defence that is no guarantee of continued suc the film’s violence does not relate cess, as One From the Heart to p e o p le ’s know ledge of proved, no matter how much you violence1. As far as people having spend. The Cotton Club is sup their hearts ripped out, that may posed to have cost $50 million: if be true, but people know of whip that is the case, it will never get it pings and shootings. What func back. tions do those graphic scenes have Clint Eastwood is another ex in a mass-audience entertainment ample. I liked two of his lower-key piece such as “Temple of Doom” ? films, Bronco Billy and Honky Tonk Man. They are probably In those scenes, you are dealing more personal to Eastwood than with a cult that has strayed away the Dirty Harry films, but the fans from religion and reality — the want to see him as Dirty Harry. bad element. And, as in any fairy The other films just don’t appeal tale situation, you paint it bad. So, to his fans and so are less success the director is looking for a strong ful. emotional response from the audi Ridley Scott, who made Alien ence, and you get it by giving them and Blade Runner, is a product of something that is going to evoke a commercials. One of the problems strong emotion. The whipping of commercials’ directors is that scene is paid off on the conveyor their films tend to be very stylish, belt, when both individuals get to but lacking in story content: the pay back their tormentors. director is used to selling some It is hard for me to defend the thing in 30 seconds with incredibly film’s violence. I would say it beautiful imagery. I read an early forms part and parcel of the script for Blade Runner and Concluded on p. 374 thought it was fantastic, but I don’t think the final film worked 1. P r e s s c o n f e r e n c e , 5 J u ly 1984. of the film as a ‘helping hand’. Was that the case?

Indiana, in search o f the lost ark o f the covenant. Steven Spielberg’s Raiders o f the Lost Ark.

No, I don’t think there will be a compromise in the way they are shot because, if you make it for the big screen, you must make it for the big screen. Although, eventu ally, all these films will go to video, because that is another market, as are cable and free TV, the big, wide-screen film should never be compromised by keeping all the action in the centre of the frame. These films will still have some

C3PO in danger: George Lucas’ Star Wars.

excitement on video, though not as great, because they should be seen with Dolby stereo sound on a 70 mm screen for maximum impact. Spielberg came out with “ Raid ers” after “ 1941” and the special edition of “ Close Encounters” had been released and failed. Some people have suggested that Spiel berg was offered the directorship

CINEMA PAPERS October — 329

John C. Murray

At the outset, let it be said that Bodyline is a very considerable achievement. Quite apart from its efficient management of the brute logistics of producing 10 hours of large-scale television narrative, the series as a conception is marked by imaginative sweep and, if it is not too strong a word, a high measure of courage. Taking as its core the infamous MCC tour of Australia in 1932-33 and the events preceding it, the production explores a complex of concerns and interests that go well beyond a simple “ You Are There” recreation of the better-known facts of the tour. And it is in that respect that speaking of the courage of the con ception is apt. It is, after all, at least daring to base a 10-episode mini-series on as relatively arcane a game as cricket, the more so if the events at issue are more than 50 years in the past and the series is intended for international distribution. Kennedy Miller1 chanced its arm there to begin with. But to do as the series’ writers did — to employ those long-gone events as a framework for the dramatization of personal, social and political tensions of a wide-ranging kind — is very brave indeed. Though, in the final analysis, it might be said that the conceptions are not always fully realized (that Bodyline, at worst, could be accused of not being sure of just what, centrally, it is wanting to clarify), and that there are some nagging infelicities of writing and direction, none of these should diminish respect for the demanding task the production team took on. 1. A K e n n e d y M ille r P r o d u c t io n f o r N e tw o r k T e n , B o d y lin e w a s p r o d u c e d b y T e r r y H a y e s a n d G e o r g e M ille r . It w a s d ir e c te d b y C a r l S c h u ltz , G e o r g e O g ilv ie , D e n n y L a w re n c e a n d L e x M a r in o s , f r o m a s c r e e n p la y b y R o b e r t C a s w e ll, L e x M a r in o s , D e n n y L a w r e n c e a n d T e r r y H a y e s . T h e d ir e c to r o f p h o t o g r a p h y w a s D e a n S e m le r , th e e d ito r s R ic h a r d F r a n c is - B r u c e a n d D a v id S tiv e n .

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At one point in episode 3, Percy Fender (John Gregg) stresses to Edith (Heather Mitchell) the courage required of any top-flight sportsman to risk the humiliation of public failure. That is a point about mass-spectator sports and sportsmen of which one needs con tinually to be reminded. But it is a fact about mass-audience dramatic narratives which should not be forgotten, either. Bodyline invites the patronage of a large audience (the pre-release publicity was very well orches trated), it plays its game according to a set of well-understood dramatic rules and, in so doing, it lays itself open to public judgment. On the evidence of ratings surveys, the risks proved to be worth taking: Bodyline not only attracted a big audience for its first night, but increased that audience to record figures during the four nights of the run. But the possibility of failure, even abject failure, could never have been discounted. Without pushing the connection too hard, the sequence when Don Bradman (Gary Sweet) walks to the wicket in the second Melbourne Test in an atmosphere of high expectation, pulls the first ball from Bill Voce (Ric Carter) on to his stumps and departs the field in dead silence can be seen as a metaphor of the fate Bodyline itself might have suffered. It is not part of this article to concern itself with the fact or fiction questions a production such as Bodyline will inevitably raise. Did Douglas Jardine really demand that the injured Harold Larwood bowl out his final over in Brisbane and did Bill Woodfull sportingly refuse to score off the powerless balls that Larwood trundled up to him? Did Jardine actually tell Pataudi that he would never play Test cricket for England again because of his opposition to Jardine’s tactics? I don’t know, and without saying those and others are not legitimate questions, for the purposes of this

exercise I don’t very much care. Dramatically, they are powerful moments, consistent with the obsessiveness of the Douglas Jardine (Hugo Weaving) persona the production creates. Instead, in an effort to impose some order on what is a very large canvas of people, conflicts and events, I have chosen to take a limited selection of strands in that canvas to examine. And, in isolating them, a few ideas are offered, directly or by implication, on the success or otherwise of their realization. Before getting into that, a quick point. As remarked earlier, a claim can be made that Bodyline, in pursuing a number of centres of interest involved in the 1932-33 Tests, rather loses its way. What, when all the dust had settled, is Bodyline fundamentally concerned with? The character of Jardine? Australian cricket as an arena for the expression of this country’s independence from Mother England? The first fissures in the seamless edifice of Empire? Don Bradman as the quintessential folk-hero? The different class and social struc tures of England and Australia as manifested in cricket? And so the list could go on. The absence of any clear-cut answer to the question can be regarded as a criticism, arising from the long-established and generally proper expecta tion that a dramatic narrative must have a central, unambiguous thrust, whatever else is dealt with along the way. But there is a counter-view which can at least be entertained. The existential fact is that one’s experience of Bodyline was spread over 10 hours of viewing time, broken into a fournight, 3 + 2 + 2 + 3 pattern. This made a viewer’s identification and retention of a central thrust or theme, even if it were there, very difficult, perhaps even impossible. And as a conjecture, it could be said that Kennedy Miller knew this from the outset. In other words, given the nature of the enterprise, the

producers and their team of four writers and four directors recognized that they could locate the focus of attention on different things in different episodes or combinations of episodes. If, in the main, one’s final impression of the series was kaleidoscopic, perhaps that was the way it was meant to be, rather than the absence of a single major focus being something the team strove for but was unable to achieve. So, without being exhaustive, what can Bodyline be said to be about, in the sense of those things it brings into sharp dramatic relief? In part, it is about the integration of England’s imperial power, class system and structures of privilege in the gestalt of the country’s national game. As Edith’s voice says in episode 1, quoting Cecil Rhodes: “ To be born British is to win first prize in the lottery of life.” This theme is soldily realized in the early episodes, and recurs forcefully in the middle and later ones. Jardine’s sense of destiny, his vision that as captain of England his was a nationally-ordained mission to re-establish the rights of the rulers over the ruled, is powerfully founded in the sequences of his childhood in India, his schooldays at Horris Hill and Winchester, and in his striking rationale for a new conception of playing the game: “ This country led the world into the Industrial Revolution, and we must now design a machine to win at cricket.” In this context, vignettes abound: Lord Harris (Frank Thring) ritually presenting young Jar dine with an expensive cricket bat (the sword of honor?); Jardine’s father (Arthur Dignam) demonstrating strokes to his son off balls bowled up by turbaned lackeys; the lovely images of the Winchester-Eton match being played against a backdrop of soft English greenery; gentleman Jardine’s meeting with miner Harold Larwood (Jim Holt) in the back yard of a grim tenement negotiating to supply him with a new pair of cricket boots; and the tightly written and directed meeting of Lord Harris with Jardine to arrange the easing of Jardine into the England captaincy by pressuring Percy Fender to stand down as county leader. And set against these are the harshly lit sequences of Australia’s young Bradman (the man of destiny of that upstart world) scoring runs in a local country cricket match — all dry yellows and browns and spindly gum-trees — and remaining behind after stumps to practise his drives on the parched, cracked pitch. Some reviewers have decried the produc tion’s use of Edith’s voice-over as a com mentary device, characterizing it as something of a Kennedy Miller cliché. For my part, the omniscient commentary works very well. The intelligently written words, spoken with measured calm by Mitchell, illuminate the per spectives — Empire, history, opposed cultures — within which the singular things being seen and heard are to be located. Certainly, in the early episodes, it is the commentary more than anything else that establishes the implications of the impending, almost predestined clash between England’s Jardine and Australia’s Bradman. More than just sporting matters are at issue; more than sporting history is in the making. Then again, Bodyline is also about the complex psychology of Douglas Jardine. Indeed, if the series possesses any one strand which links the episodes together, other than the straight chronology of the Tests, it has to be this. Not only does the series begin and end with Jardine (the child of destiny; the man’s career ending in a welter of anti-Bodyline riots in India), but the major dramatic moments over the 10 hours are generated by him. Jardine,

Above: the MCC treasurer, Lord Harris (Frank Thring), hands the young Douglas Jardine (Nicholas Gledhill) a special gift. Mr and Mrs Jardine (Arthur Dignam and Jane Harders) look on. Below: Douglas Jardine (Hugo Weaving), now English captain, and Percy Fender (John Gregg). Bottom: Harold Larwood (Jim Holt), the English speed bowler. Bodyline.

Bodyline

quite literally, makes the drama and is, with one exception, the most compelling figure of all. That this was to be so is heralded by a sharply written exchange in the first episode. Passing comment on young Jardine’s impending separation from his parents’ care, a family friend remarks, “ Well, they say the solitary tree grows strong.” Jardine’s mother (Jane Harders) replies, “ No, I think you have got the quotation wrong. It is ‘The solitary tree, if it grows at all, grows strong.’ ” Any character about whom that is said is going to be worth watching. And, once again, it is Edith’s commentary that on several occasions reminds one of the well-springs of Jardine’s driven behaviour (“ His was a manner forged by public schools and loneliness” ). A man of personal magnetism, a stickler for social proprieties, remorseless in his leadership, compulsive in the commitment to what he saw as the necessarily cruel processes of winning, Weaving’s Douglas Jardine is the ballast of the whole series. Though the production is not particularly well served by the inclusion of the relationship between Jardine and Edith — I cannot find any seriously useful point it makes or supports — the extent to which Jardine cast his shadow over Bodyline is exemplified in the coda of the final episode. Edith’s voice is giving a series of summations of the fates of the major charac ters. Having stated the blank facts about

Jardine’s later life and death of cancer in the 1950s, Edith concludes: “ Whenever I now hear the sound of bat on ball I cannot help but think of him.” Now, in one respect that is an inflation: their relationship is not strongly enough realized in the narrative to give the utterance the warrant it invites. But, at a different remove, the force of Jardine’s presence in the series justifies the comment as a surrogate expression of the viewers’ sentiments. Bodyline makes Jardine important. Love him or hate him, one could not forget him. Tied to Jardine is the third thread: the figure of Pelham “ Plum” Warner (Rhys McConnochie), and the frictions between his duties as manager of the MCC team and Jardine’s as captain. It could be said that (historical con siderations aside) the narrative needs Warner. There has to be some knowledgeable figure to whom Jardine could articulate such things as his philosophy of cricket (and his philosophy of life: “ Things are won by pain and sacrifice — I learned that as a child . . .” ); his attitude towards Australia and Australians; his feelings about his own masters, the Lords; and his view of his charter as England captain. But, in the event, Pelham Warner becomes much more than a convenient sounding board for what Jardine thinks and feels. The role as written and acted (a fine performance by McConnochie) provides Bodyline with a character of almost tragic dimension. Imbued with a love

Top: Don Bradman (Gary Sweet) receives a special gift from his mother (Colleen Fitzpatrick). Above: Bradman and his girlfriend, Jessie (Julie Nihill). Right: Edith (Heather Mitchell) and Jardine. Bodyline.

332 — October CINEMA PAPERS

of “ this beautiful game” , locked into its tradi tions and codes, a friend and admirer of Aus tralians, and a man in many ways trading on past and fading glories, Warner is reduced from an initial, ebullient confidence to despairing helplessness, unable to restrain Jardine’s juggernaut drive to win at all costs. There are few moments in the series more affecting than when Warner, having finally (even weakly) washed his hands Pilate-like of any responsibility for Jardine’s tactics, and profoundly wounded by Jardine’s disdain for him and his principles, staggers half-drunk into his hotel room. He sits on the bed, gazes blankly at a trophy honoring his services to cricket and, dropping bis head, begins to sob. But he steels himself, refusing as a Briton to give way to the indulgence, and reasserts his composure as best he can. It is a sad yet noble moment for a person out-run by circumstances not of his making, and crushed by a man holding his values in contempt. The accumulating tensions between Warner and Jardine culminate in one of the best exchanges of the whole production. The Brisbane Test, and thus the Test series, having been won by England, Warner offers an obliga tory but highly qualified congratulation to Jardine, ending with: “ I am forced to say that history will remember you as a man who stooped to conquer.” Jardine’s response? “ Well, sir, we both know that history has for gotten you . . . ” How revealing of the depths

Bodyline

to which their relationship has fallen that each should say that to the other. Clearly, in lodging attention on just these three facets of Bodyline, a very great deal has been left untouched. What, for example, of Don Bradman? The difficulty here is that Bradman, in the writers’ conception of the shape Bodyline was to take, was doomed to be a thin character, perhaps at worst an uninteresting one. The pro duction nicely establishes Bradman’s stature as a folk-hero for a nation that was in desperate need of one; but his function in the drama is not that of a crucial agent. Bradman is the target against whom the Bodyline plot is directed — the focus of it. In plain terms, he is acted upon by events rather than, like Jardine, initiating them. And victims of events are essen tially less interesting than the generators of them. In Jardine’s case, one has to know why he was uniquely the right man, in virtue of up bringing, attitudes and psychology, to plan and press the attack. Bradman, on the other hand, is under attack, not because of any psycho logical singularity, but because as a brilliantly gifted batsman he could score more runs than anyone else. That explains his heroic stature, but makes no necessary call for him to be defined as a personality. So Bradman begins as, and remains, a figure, not in any full sense a character. And what of the action sequences, the Test

Left: Bradman goes out to bat during the Second Test in Melbourne, watched by Jessie. Above: Larwood appeals fo r Bradman’s wicket, supported by Jardine at leg slip. Bodyline.

matches themselves? Here there is a need for some obvious concessions. No team of extras, no matter how cleverly disposed and filmed, is ever going to look and sound like 50,000 people at the MCG. And no group of actors, no matter how well coached it might have been, is ever likely to show that easy grace of technique, movement and speed that marks a professional sportsman. So one has to accept the best simulations of crowds and cricketing skills that the directors can provide, even though they fall short of one’s normal experiences of the real things. But there is an exception, in one device director Carl Schultz uses in the later episodes. Occasionally, he covers the approach of Larwood to the crease with the camera tracking him in a high oblique angle to the point of delivery, then cuts to a similarly positioned but static shot looking down the pitch at the bats man’s stroke. The effect conveys an impression of the bowler’s speed and the batsman’s splitsecond response lacking elsewhere in the presentation of the Tests. Finally, just to clear them out of the system, a few niggling complaints might be worth stating. Episodes 4 and 5, especially the sections dealing with the MCC’s sea voyage to Australia, are rather otiose, not doing very

much to further the momentum of events (in fact retarding it) or the elaboration of character. There are also a few too many declamatory speeches put into the actors’ mouths. The exhortation by Clive Cooper (Max Cullen) to Packer, entreating him to release Bradman from his writing contract, works well enough, but the death-bed address by Lord Harris, a couple of homilies lodged with Bradman and particularly the “ Us Aussie Battlers” sermon by Vic Richardson (Michael O’Neill) to his team-mates sit rather uneasily with the gener ally quiet, naturalistic writing and direction that marks the series. But it is churlish to make too much of reservations such as these. Out-weighing them are some admirable performances, particularly by all the actresses; Dean Semler’s sensitive photography; the attention to details through out (the careful ageing of Jardine and his parents in the earlier episodes as a small case in point); and the assured handling of such largegroup interior sequences as the 1932-1933 New Year’s Eve party. As remarked at the beginning, Bodyline is a considerable achievement. While far from flaw less, it is bold, imaginative and, in its finer moments, wholly engrossing, if CINEMA PAPERS October — 333

Â«MI

A nim ation in A ustralia can be divided into three basic categories: com m ercial animation, which is the shortest (30 to 60 seconds) and the m ost expensive; independent animation, usually m ade f o r the love o f it and f o r a fraction o f the cost o f its com m ercial equivalent; and feature-length animation. With the notable exception o f A lex S titt’s work, Australian anim ated featu res are m ade f o r the Am erican market. This has resulted in a m iddle-of-the-road style o f animation, suitable f o r Dickensian stories and other classics so popular with A m erican audiences. A s anim ation is the m ost labor-intensive fo rm o f film making, the quality and style o f a featu re often suffers in the fa ce o f econom ic considerations. With the cost o f an anim ated featu re starting at $1 million and with there being only a lim ited audience in A ustralia f o r such film s, very fe w producers are willing to risk involvem ent with anim ated film m aking. One o f the fe w is Yoram Gross, who is the m ost prolific and financially successful Australian in this field . A n im ator A n toin ette Starkiew icz interview ed Yoram Gross and questioned him about his dependence on the dem ands o f the Am erican m arket, the im portance o f econom ic considera tions as against innovation and quality, and the creating o f anim ation with an Australian theme.

By all accounts, you are the most successful director and producer of animated films in Australia . . . That sounds good but I don’t know if it is true. I don’t know how Hanna Barbera or Burbank are doing. To be really successful, one has to be able to sell a film to the U.S. before the film is made. We have achieved this with Dot and the Koala, which is in production, and with Dot and Keeto. We have been able to pre-sell films on the basis of a one-page story outline and a title. How do your films Australia?

all our films put together — we are lucky if we can get one or two screenings a day. This is not enough to create a new market and finance another film. What is the difference between the distribution of your films in the U.S. and in Australia? America has 250 million people and Australia has 15 million. Furtherm ore, the market in America is the major one overseas because the 250 million people all speak the same language: there is no need for subtitling or dubbing, as there is in Europe.

fare in

We are producing films — and I don’t have to explain to you the difference between features for cinema and television — for a limited market. Children’s films can only be screened during the school holidays. Therefore, films accu m u late. Our film s are probably five per cent of those waiting to be screened. If the cinemas accept our films at all — there still are Walt Disney films which are much better than ours, and Star Wars is a better film than

You have now made more feature films than Walt Disney. He made only about five, as far as the classics are concerned, and in 1983 you completed your sixth, “The Camel Boy’’. Do you see yourself as a latter day Disney? I see myself as Yoram Gross. It is as good a name as Walt Disney — a little bit German, but what can you do? I don’t want to be compared with Walt Disney or my films with his. First, it wouldn’t be fair because Disney had such big CINEMA PAPERS October — 335

STVDÌo

The prolific output o f the Yoram Gross Film Studio. Gross says, “I think o f myself as a conductor in an orchestra

budgets and, therefore, made better films. Second, our films have live-action backgrounds. But, like you, Disney felt a respon sibility towards entertaining and educating children . . . I feel a responsibility, in what ever I do, to try to be honest. My client is a child; I don’t want to lie to him. We are trying to make films that will teach something, that have a message — and a message in my language is a positive one. Animated feature films are labor intensive, expensive and take a long time to make. Why did you decide to go into features in 1977?

for helping sell a product which I didn’t use and didn’t like. I felt it was time to be a filmmaker who made only what he wanted to make, not what Mr Cigarette or Mr Food wanted me to make. But why feature-length films? Because they are the only films which can be shown. Short films have no market today; they can’t be shown anywhere except to the family on Saturdays or at Bar Mitzvahs. So you turned to feature animation for economic reasons . . . Not just for economic reasons; I want to show the films I made, not keep them at home. I can sell a feature before it is even made, but I can’t sell a short. Also, there is nothing wrong with features: they give more pleasure.

1 was making features in Israel before I came to Australia. I made one with animated puppets, Joseph the Dreamer (1961), a biblical film and official entry to the Cannes Film Festival in 1962. Then, I decided to only make Animators differ on that point. experimental films, which had Some say that in 10 minutes you been my hobby, to build up a good have greater control over your reputation among filmmakers in creativity and perhaps a greater Europe. When I came to Australia, opportunity to experiment in the I really wanted to continue making medium . . . experimental films, even though I Did you ever see my short film knew I would only earn a small We Shall Never Die (1958)? income. Unfortunately, I was soon forced to make all kinds of No . . . commercials, opticals and so on. Did you see Chansons sans But I became fed up: I didn’t see any reason, apart from financial, paroles (1958)? 336 — October CINEMA PAPERS

It was never shown here . . . Exactly. They are my best films, acclaimed around the world, but they have never been screened in Australia. There is no market. People can’t see them. You studied music and musicology in your native Cracow and you play the piano; you have also likened animation to painting and art. Could you explain how art and music have influenced your film making? Music has been in me since I was a six year-old; it came first in my life. But images were always in my mind, as with everyone who listens to music. Although I can show people what I see in my mind in my experimental films, I am restricted when I am making commercial films. But I can express more in films than with just music. So, it is a step forward. Ralph Stevenson, in A n i m a t i o n in says, “The animated film may be one of the most powerful means of expression at the artist’s disposal, for the animator can say more than the pure painter or sculptor and, at the same time, can intensify his meaning, with richer resources of movement and color than the writer or speaker” . . . th e C i n e m a 1,

As far as I understand they are beautiful words, but I don’t want to compare forms of art because it is only my impression. Chopin was able to say with music things I am not able to say using music and film. But I am against comparing what is richer and what is not richer. Walt Disney’s films are beaut i f ul and br i l l i ant — magnificent, I would say. They are drawn and painted but one cannot compare them with a Rembrandt who was painting only still life, with no music and no movement. Disney spared no expense in achieving his kind of magical realism; he pushed his animators and himself to the limit. You use the more conventional and simplistic style of animation. Is that because there is not the kind of money now in animation that the Disney studio commanded? Absolutely. Today, the average budget for one of our animated features is $1 million, whereas a feature for less than $6 million does not exist in the U.S. I had the great pleasure of meeting two Disney animators in Zagreb, Frank Thomas and Ollie Johnston, who are also the authors of Disney Animation: The Illusion o f Life2. They used to produce 10 to 15 feet of animated film a week, 2. F r a n k

S te v e n s o n , Animation in Cinema, L u e m m e r, L o n d o n , 1967.

1. R a lp h

the

T hom as

and

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Disney Animation: The Illusion o f Life, A b b e v ille P re s s , N e w Y o r k , 1981.

Two animators — Yoram Gross

length anima]

and earned enough money to something unforgettable and made s u p p o r t t he i r f a mi l y a nd a milestone in the history of animation . . . themselves. How many times could he lose Isn’t that what an animator in Australia can expect: to be paid money? How many times will the enough to support his family and investors give you money to lose their money? Investors do not himself? really care about art; they want to Yes, but if an animator in earn money on their investment. Australia were to produce 10 to 15 They don’t want to lose their feet a week he would die from money just because Mr Gross hunger. He has to produce 30 or 40 wants to make art. feet a week to make a living. So what made you turn to animation? So the quality suffers . . . Absolutely. Australian animators are extremely talented people, as talented as those at Walt Disney, but time is important. You can’t experiment too much or you will reduce the animator to living on bread and water. Disney didn’t make any money: his first feature, Snow White (1937), was a flop and I believe Fantasia (1940) was a flop. Today Fantasia is bringing in money slowly, but Universal could have put the money into the bank and earned interest.

I was doing a lot of animation in experimental films. I noticed that 1 could express myself better and that I had more control of the characters than 1 did in live-action films. I was controlling them frame by frame and that meant t hat I was cont rol l i ng 24 movements per second. You cannot do this with actors. With the live-action and animated features I make today, I have to take into consideration people, whether they be the actors, or the animators: they are artists with something to say as well.

Disney took an enormous gamble with his films, especially with What kind of control do you exercise over the films you make “Snow White” . . . now? Not a successful gamble, I think of myself as a conductor because he lost. in an orchestra and the musicians Financially he may have lost, but as human beings who are artists as artistically he gave the world well as people who know how to

play an instrument. You have seen Vladimir Ashkenazy conduct an orchestra. The musicians are not only humans holding instruments between their legs . . . it sounds very erotic. Music is erotic . . . Everything is erotic. Your films are not very erotic . . . Aren’t they? You didn’t see Chansons sans paroles. Does the strength of the conductor lie in his team? Yes, but if the conductor has a budget for only two musicians it would be very hard for him to play a Beethoven symphony. The use of the live-action background against an animated foreground, or with animated characters, is your trademark now. Why have you combined the two forms? Once, as a young person, I was told: if you have something to say, say it in the form of a feeling — music or whatever — but if you have nothing to say don’t say it. Likewise, if you are doing something, you have to have a reason. To make a film I have to ask myself: why am I doing an animated film?; should it really be animated? Maybe we should use

live-action; maybe we shouldn’t make it at all. I believed that Dot and the Kangaroo (1977) should not be produced as a live-action film because all the animals are talking. Therefore, it had to be animated. Also, the Blue Mountains in New South Wales, where we shot the background, are so beautiful that I saw no reason to transfer them to drawing. We could express ourselves using the background as it was. That was the first reason for using a combination of live-action b a c kgr ounds and ani mat ed characters. I am still happy with this combination: economically it works, which means the market accepts and likes it. The second reason is that this has now become our style. My agents would be disappointed if we came to them with a film that was not on a live-action background. It does not mean that I think live action is better than drawn action, but there is nothing to compare to this form. You don’t think the two realities, the live action which exists in its own world of realism and the very stylized, simple forms of the cartoon characters, are in conflict stylistically? The conflict does not disturb me; if there is a conflict it is good. Art without conflict is bad, because it means people have CINEMA PAPERS October — 337

Two animators — Yoram Gross

nothing to say. Every form of life has conflict.

The F irst F eatu re Where did the story of “Dot and the Kangaroo” originate and why did it particularly interest you? It is based on a classic book by Edith Pedley. After looking at 50 books, I thought it was the best to animate. How did you raise the money? From 1968 until 1977, I had been doing commercials and docu mentaries. After nine years we had enough money to start our first feature and to stop making com mercials, which as I said was not really our cup of tea. I am in the lucky position that I can do a lot of things in film production myself. If I am ready to work hard, I can start and finish a film with minimal outside help.

If you watch the credits of Dot and the Kangaroo, you realize we didn’t have 40 people to work on it, as we have now, and that it had a very small budget. I wanted to write the music myself but have Bob Young compose the songs. But Bob convinced me it would be better if he did all the music. I’m a soft person and agreed. Then we asked a few animators to help us. I did the main editing; only at the last moment I asked in a better editor than me and it was finished by him. What was the final budget for “ Dot and the Kangaroo” ? Including prom otion costs, about $200,000. We did not have the $200,000 but we did have a friendly bank manager who believed in what we were doing. He made the film his personal risk and gave us an unusual overdraft so Dot and the Kangaroo, Gross’first feature, based on the book by Edith Pedley. that we could finish it. The budget of $200,000 was just the money spent because I did not charge for my work in the film as Was the budget higher for “The an editor — I was editing for 10 Little Convict’’ than for “Dot and months — director and producer. the Kangaroo’’? Even the animators weren’t paid very well; they loved the story and Yes. It was about $300,000. wanted to do a feature. Still, in American terms and even Hoyts finally accepted the film in Australian terms, it was lowbut it was a very hard job to budget. convince them. They screened it once a day at nine o’clock in the Do you feel that “The Little morning and, as you can imagine, Convict” evolved in style and ideas not a lot of children came at that from “Dot and the Kangaroo” ? time. Star Wars (1977) was our competition that year and it was It is hard to say, but I think so. screened all day. Of course, we The Little Convict had more couldn’t pay the money we owed messages than Dot and the to the bank — that is, till the AFC Kangaroo which dealt with con bought the film. servation and the appreciation of nature, while The Little Convict Does the AFC own the copyright? was more a social comment. No, we own the copyright. We are also co-owners of the film with the AFC on a 25/75 basis. I am quite happy about that because at least the bank manager didn’t have to go to gaol. Today Dot and the Kangaroo is being shown non-stop everywhere: in the U.S., in Germany, in Belgium, even in China, on tele vision and in the cinema. It has taken two to three years to earn its money.

The L ittle C o n vict Your next feature, in 1979, was “ The Little Convict’’, again a combination of animation and live action, but this time also using a live actor . . .

Sarah, starring Mia Farrow, is a story o f war and a little girl.

338 — October CINEMA PAPERS

Rolf Harris was the star and for the first time we had private investors — doctors, lawyers and accountants. Luckily, they got their money back. The film was not very successful but the investors were happy, nonetheless. Many are still investing in our films today.

Sarah The next film, “Sarah” . . .

in 1980, was

Sarah is still a relatively new film because it has not been screened in Australia. We cannot find a cinema to take it because the film is not Mickey Mouse. Again, it has some social comments about war but the kind of war in Sarah is not really attractive because you don’t see blood or a lot of people being killed. But you do see the tragedy of a little girl. Sarah was sold to Channel 4 in England and, of course, we sold it to the U.S. Iam very proud of this film; I am only sorry that I cannot show it in Australia. But the cinemas want to make money; they don’t want to sell stories that are important to Mr Gross. Do you feel that they are also important to children? Absolutely. The story of Sarah is very important because it is a Concluded on p. 380

Edited by Peter Beilby and Ross Lansell

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Australian Movies to the Wor At the end of the 1960s Australia had virtually no film industry. By 1983 its movies were being shown throughout the cinema-going world, from mainstream theatres in America to art houses in Europe. In a rapid transformation, a country which had previously been best known for its kangaroos and koalas produced something new and surprising: to quote Time magazine, “ the world’s most vital cinema, extravagantly creative, fiercely indigenous” . Australian Movies to the World looks at how this transformation came about and how those movies broke into the international market. And, through interviews with Australian and overseas directors, producers, actors, distribution executives and critics, it tells the story of the people who made it all possible. Published by Fontana Australia and Cinema Papers.

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L ee W hitm ore's Ned Wethered is a film about rem em bering . Using pen cil drawings and a 'flickering rhythm ", W hitmore has anim ated her m em ories o f a fa m ily frie n d who died when she was about 15. The only surviving m em entos were a photograph and the sheet music o f three piano pieces written by him. The resultant film won the 1984 Greater Union A w a rd in the General Section. It is W hitm ore's fir s t film as director, her previou s film experience being as an art director on Stephen Wallace's Stir (1980), John D uigan's Winter o f Our Dreams (1981) and several short film s. A graduate o f the Australian Film and Television School (AFTS), W hitmore is also a graphic artist. The fo llo w in g interview was conducted by M ark Stiles and Glenys R ow e. Why did you move from art direc tion on features to the relatively isolated world of the animator? Out of a desire to feel more satisfaction with the work I do. The role of art directors and the kind of conditions under which they work just aren’t satisfying or creative; you spend most of your time doing managerial work. Also, I didn’t like the power games that are played on features. Is it possible that your experience was borne out of the fact that you really wanted to be a director and not an art director?

It is hard for me to answer that. There is no place in this country where you can learn art direction. Art directors either come out of art schools, or they are frustrated architects or theatre directors . . . Is that where you came from? I hadn’t come out of any par ticular school. When I walked on to the set for the first time I didn’t know what the other people were doing; I just started doing what I thought I should and suddenly began picking up what everyone else was doing, which is what a lot of people do. CINEMA PAPERS October — 339

Two animators — Lee Whitmore

The AFTS refuses to accept any responsibility for having a course in art direction. All they offer is a correspondence course and a kind of sandwich study for students already enrolled in an art course at another college. No one takes it seriously. You can specialize in direction, cinematography and so on, but not in art direction. The trouble is that not only do art directors suffer, in that they have to learn everything the hard way, but also the crew suffers because no one knows what the art director is meant to be doing. There is no theoretical basis for what you do. It is all on the job training. If you succeed, it has a lot more to do with your personality than with your creative input to the film. There is a tendency amongst film crews to think that everybody can art direct: everybody knows what color would suit the room or what clothes the leading lady should be wearing. But that is equally true in all other areas — I might think I know what are the best camera shots — but protocol dictates that I do not interfere. With art direction, however, people have a way of speaking out of turn; no one respects the role of the art director. I know all depart ments complain of this, but it is especially true for the art depart ments. Were there any instances where this interference caused you par ticular concern? Working on Winter of Our Dreams was quite a hurtful experi ence for me, and I came out of it

wondering whether, in fact, I were the problem. Everybody else on film crews seemed to be getting on fine, going from one shoot to the next and having a lovely time. I seemed to be the only one causing the ripples. So, I asked myself, “ Why am I beginning to doubt myself?” I guess I have gone fall circle now and somewhere in between was probably the truth. I ran away in a sense.

I did them. One of these essays stood out, the one about Ned. It was actually the first one which I started to develop as a script and move on to a story board. It seemed to have the most meaning to me as an adult. The others were nice stories, quite pleasant and quite sad. But then writing stories about old people does tend to be sad.

But you ran away to do something positive: you became a direc tor . . .

There were a few teary people at the film festival screenings. Essentially, it is not a sad story, so why does it make so many people cry?

I was lucky in that I had some thing to run to. Was “ Ned Wethered” a film you had always wanted to make?

The music is a major factor: it kind of tugs at you. The music is Ned Wethered’s. Was that the only memento you had of him?

No, I never wanted to do anima tion. In fact, I never wanted to make a film. It was really by There is also the photo in the accident, through knowing people. film and a couple of books he illus Films were never a great passion of trated when he was a young man. my life. But the illustrations are nothing I guess I saw myself as a fine special; they are very much of their artist. I have done theatre design, time. children’s book illustrations and general graphic art work. What was uppermost in your mind when you were doing the story So, by what process did you come board? Did you want to do a bio to the com plex and tim e graphy of Ned? consuming work that became “ Ned Wethered” ? I was not trying consciously to make any points: I was really I don’t know. Perhaps at the working off my memory and the back of my mind it occurred to me processes of remembering. So it that animation would combine the was more about that than it was two things I knew most about: about Ned. filmmaking and graphics.' In a funny way, Ned was always So, one day I sat down and incidental: the film could have wrote a whole lot of essays about been about any of those other people I knew. I have no idea why characters. He became important

because he was involved with the visual arts; it made a strong con nection with me and with my making the film. In calling the film “Ned Weth ered” , one expects a film about Ned Wethered when really the film might better be described as “Lee Whitmore remembers Ned Weth ered” . What do other people think of your remembering? This man has been totally for gotten. There is nobody, other than my family, to my knowledge, who would remember him. His mother died but he left without trace — like most people. I like the fact that he was so ordinary; yet, I relate to the fact that he was a creative person who had some of the same concerns I recognize in myself. Were you surprised at what you remembered? Yes. And it became stronger, too. Three years is a long time to be making a film which, in many ways, is a process of going into yourself. Things I wrote down were one level of remembering, but, when you start to animate, you get into quite subtle things: gestures, the way somebody would walk or hold themselves, for instance. Were you concerned with other people’s memories or just yours? I tried to cut off from their memories. I didn’t ask them ques tions and I didn’t do any research on Ned. What / remembered was important to me because it was about that process. I didn’t try and compare my remembrances with my brother’s or my mother’s, for instance. If I had tried to do that, it would have really been all over the place. My perspective was what had strength. Funnily, the less I could remember, the stronger it became. There was something about that selection of details, the fact that there were only so few, that gave me a sense there was a meaning to those fragments. For a seemingly marginal person in your life, Ned has evoked a great deal. Why do you think that is? Maybe I feel like a marginal person, too. There is a lot of Ned in my father because my father was very much an outsider and had great difficulty with people socially. He lived for his work. He was an artist but he never received the acclaim he deserved, although he was appreciated by his peers and he made a good living. Ned and he used to have great chats. Left: an image o f Ned Wethered appears in one o f the pencil drawn scenes. Lee Whit more's Ned Wethered.

340 — October CINEMA PAPERS

Two animators — Lee Whitmore

“The animation is paper animation: pencil drawings on paper, shot on 16 mm with eight drawings a second. ” Ned Wethered.

“ Ned Wethered” has a very dis tinct ‘feel’ to it. What were the techniques you used? The animation is paper anima tion: pencil drawings on paper, shot on 16 mm with eight drawings a second. Because I didn’t know anything about cameras and, more important, was not interested in conquering that area, I solved everything in the drawings. There are no camera movements in the film, which is unusual. For example, if there is a zoom, it is done in the drawings, which makes the whole process much lengthier, but also gives the film a consistent quality you would not get if you were to suddenly zoom in on a drawing. The flickering rhythm is estab lished by the fact that I was literally redrawing each image every three frames. I started to realize that this gave the film atmo sphere, that people were actually walking around in it. I liked that. It was not like the flatter, more graphic approach that most anima tion houses do. Pencil drawings are especially hard to photograph

but Jenny Ochse did a wonderful job. How many drawings did you have to make? There were about 6000 finished art drawings but to get those there were a whole lot more. I spent a lot of time working out the shots and how to fit them together: for instance, whether it was to be a close-up or a bit wider. I enjoyed that part of it: it was like editing, honing down the story board, fit ting it together dramatically and deciding what was the most power ful shot. Did you need much editing? No, though I probably used more than most animations. Denise Haslem, the editor, was great. She was always sympathetic and empathetic to the film, and helped me with things such as connecting one shot with another, making the links, using the music and so on. I had no idea if anything was going to work — I had never done

any animation before — and I had to see it played back. I edited the whole thing, at that stage, with Denise. I was able to see where I needed an extra shot or more time or where something was too fast. Although this is not an unusual process with animation, I may have used it more than other animators because they would have known more or been more confident. What was unusual was editing at that point, putting the music and soundtrack to it, and almost having a film that worked dramatically. People saw it at that stage and liked it. Then I went back and started refining it, which was the hardest stage. I worked over all the draw ings, developing them, re-anima ting sections and coloring them. I spent a lot of time working out how to color the film. What medium did you use? Colored pencils and a heavy lead pencil. With most animation, there is a soundtrack, usually music, to which you work out the move ments and then do all your timing

on timing sheets. I didn’t do that. I had a voice-over, which I had done myself, and knew roughly how long it was. Then I just sat down and did the drawings. I kept pretty faithfully to the story board but tried to improve it all the time; I just let the movements take their course. By the end, I thought I had a 20-minute film: I didn’t know how everything was going to fit — it was really quite risky — but it did. Thankfully, a lot of the move ments are really slow, a lot slower than in real life. Have you learned anything new about Ned since making the film? I learned recently that just before he died he wanted to leave some money to my Mum — about two thousand pounds. He didn’t want the government to get it. But she never did anything about it and the government did get it. What also attracted me to his story was that he seemed to be a man with a lot of promise — like all of us I suppose — but who didn’t really succeed. I have a soft spot for losers. if CINEMA PAPERS October — 341

In 1937, on a small dairy farm 500 km north o f Sydney, an 11-yearold boy decided to change his name from David Gordon KirkÂ patrick and become a country music star. The boy became Slim Dusty. The setting fo r The Slim Dusty Movie is the Australian West, today and yesterday. The story is a saga, spanning nearly 50 years, o f a man, his guitar, his music and the woman who stands by his side.

1111

The Slim Dusty Movie is directed by Rob Stewart fo r producer Kent Chadwick, from a screenplay by Chadwick. The director o f photography is David Eggby (with additional photography by Dan Burstall), the sound recordist Paul Clarke, the editor Ken Sallows. The film stars Slim Dusty, Joy McKean, Anne Kirkpatrick, Jon Blake, Dean Stitworthy and Sandy Paul.

Left: two young cowboys on the road to stardom, Slim (Dean Stitworthy) and his mate Shorty (Bret Lewis). Below: Slim sings to the troops on a Sydney-bound train during the war years.

â&#x2013; M m Mh h

Top: Slim and his father (Tom Travers) leave Kempsey, heading fo r the city in search o f a recording contract. Above: on the road today, Slim (Slim Dusty) swaps tall stories with an old bushman (Lew Williams).

Above: the yodelling McKean sisters, Joy and Heather (Sandy Paul and Mary Charleston), introduce Slim on their 1950s’ radio show. Below: Slim salutes the crowds from the board walk o f his “All Star Western Parade”.

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Fred Harden

The following items are selected from products announced at the June Society of Motion Pictures and Television Engineers (SMPTE) show \ and some other recent items.

In the last issue I mentioned the Fairlight CVI (Computer Video Instrument, an awk ward mouthful). I didn’t have a photograph at the time but have since received a demonstration tape and the following photographs. I still feel that the CVI is a breakthrough machine, with its graphics resolution as the only feature that distin guishes the CVI while it is performing functions found on broadcast equipment 10 times its $5000 price. The resolution is 256 x 256 (280 x 192 pixels is about aver age for a home computer), but there are 14 bit planes and a possible 4096 colors. The ability to mix the graphics with a live video source lets one create matte shapes on the small digitizing pad, and then com bine that with a reasonably good chroma key. The field store allows mirror, pan, zoom and stretch effects, and the demon stration tape makes heavy use of the trail

Another video item was the Philips version of the Laservision Professional Video Disc player, VP 835. Designed to be modular with a number of options, the standard player is intended for computer control through a serial computer interface (RS-232-C) or IEEE parallel. The CPU is a standard Z80, 64K with 48K of RAM.

the TC designation on the MTR-10 is for Time Code, and it reads and records SMPTE time code on a centre track. The ability to also read Nagra Stereo and Neo pilot tapes means that the machine has been designed for film and television pro duction. Details are available from Klarion Enterprises, Unit 3, 3 Lanceley Place, Artarmon, NSW, 2064.

Control of the disc can be from a dump into the RAM from discs that are specially recorded using data on a section of the second audio channel, or by an EPROM cartridge that plugs into the front of the unit. Philips supplies a hardware and pro gram package called ILVAS (Interactive LaserVision Authoring System) to produce software to control the machine. This is not essential, however, as the manual has full details of what codes are required to control the machine through the serial interface, and Philips is proposing a standard code (V-code) that has a number of powerful functions. In addition, there is a Genlock to sync a number of machines together, a Teletext overlay facility and an infra-red or wired remote control. Details from Philips offices in your state. Prices start at $3000 and go to $5000, according to the modules selected.

effects. There is a lack of subtlety in most of the sample tape demonstrations, but the CVI is only what the operator makes of it. There are many artists who could pro duce stunning material on the CVI, and, as the units get into the market, the soft ware up-dates will make full use of this innovative machine. If you would like a copy of the demon stration tape, Fairlight will send a Beta or VHS copy for $10, or U-matic for $25, refundable on purchase of the CVI. Contact: Fairlight Instruments Pty Ltd, 15 Boundary St, Rushcutters Bay, NSW, 2011 . 1. An earlier report appeared in Cinema Papers, No. 47, August 1984, pp. 255-56.

Announced but not on display at the SMPTE show was the OTARI MTR10-TC mastering/production Vi-inch recorder. Similar, in most respects, to the MTR-12 model that is already in several studios,

A news item from EECO Inc., from Santa Ana, California, announces a significant development in recording audio on video discs. It has been possible in the past to record about two seconds of audio for each freeze frame held on the disc. EECO has an encoder AVC300 that compresses the audio during pre-mastering and an attachm ent fo r dom estic players, VAC300, which converts the audio to normal on playback. Up to 10 seconds of audio is possible on every 1/30 second (NTSC) frame, giving the average 30-minute disc a capability of 150 hours of audio information play back. The use of sound effects and voice-over, still frames, captions, etc., makes the EECODER system an attractive and simple proposi tion for audio-visual uses.

see it with its plugbox and connectors to interface with the Nagra SN recorder. These sit on top of the SQN-3 (see photo) and the whole unit is a compact 210 mm x 120 mm, and about 80 mm deep. Maybe it is because I like small things but so must the stations which are using the SQN with their Betacam units for ENG. The SQN-3 Type M has three XLR-3 female connectors with powering, peak metering, a peak limiter and off-tape monitoring with a standard 1/4-inch mono-jack connector. Contact: R.H. Cunningham, 146 Roden St, West Melbourne, Vic., 3003 and 4/8 Waters Rd, Neutral Bay, NSW, 2089. Of the many edit controllers that were featured, Graeme Thirkell’s EDITRON 200 deserved more than a passing glance. Most of the overseas machines such as the Convergence Corporation Super90 and ECS-200 series machines

R.H. Cunningham Pty Ltd displayed the Sennheiser SK 2012 radio mike unit and the Sennheiser EM 1036 receiver. With their proprietary Hi Dyn noise reduction built there were a number of units sold for

television studio use and for ENG produc tion. The EM 1036 receivers are VHF/UHF, have six channels of single channel operation or three channels of fill diversity, for each rack mount unit. I saw the SQN-3 microphone mixer for the first time in Sydney. I was interested to

(distributed by Pacific Communications) appeared overdesigned compared with this Australian product. The Editron 200 has SMPTE/EBU time code editing for two machines (video or audio) for $11,500. It can handle up to five machines in different configurations and comprises a rack mounted control unit and the keyboard unit displayed above. A unique feature is the 40 x 8 LCD alphanumeric and graphic display, and the system of using any of the machines as master or slave because the host operating system acts as the real master. This prevents the wow and flutter of one machine from affecting another. Either time code, tacho or pilot tone machines can be handled and the system reference can be derived from mains, internal crystal controlled SPG, optional external time code input, or a selected master machine. It can operate 24 or 25 frames simultaneously (as can 29.97 and 30, and drop frames modes for U.S.). Because of the local construction and support, the Editron stands high on my list of editors. Contact: Editron Australia Pty Ltd, 36 Lever St, Oakieigh, Vic., 3166. The John Barry Group has announced the first of a range of Arrilites: the Arrilite 800 and 2000. Eight hundred watt and 2 Kw respectively, these are produced by Arnold and Richter, and priced to be com petitive with Redheads and Blondes. The

Concluded on p. 378 CINEMA PAPERS October — 345

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FEATURES

C atering................................... John Faithfull Budget.......................................... $8.9 million Cast: Jack Thompson (Burke), Matthew Fargher (King), Ralph Cotterill (Gray), Chris Haywood (McDonagh), Drew Forsythe (Brahe), Monroe Reimers (Dost Mahomet), Greta Scacchi (Julia), Nigel Havers (Wills), Barry Hill (Landells). Synopsis: The story of the first two explorers to cross the continent from south to north and back.

FIRESTORM

I OWN THE RACECOURSE

Prod, company........................................... DeRocheProd, company.......................... Barron Films Phelan Film Prods Producers...............................John Edwards, Producer.................................................. TomBurstall Timothy Read Director.............................. Everett De Roche Director.............................................. StephenRamsey Scriptwriter.........................Everett De Roche Scriptwriter..............................................JohnEdwards Based on the original Idea Based on the original idea b y.......................................................... MaxPhelan b y .................................. Patricia Wrightson Photography..........................................DavidConnell Exec, producer.......................... Paul Barron Sound recordist...................................... GaryWilkins Prod, manager.......................Adrienne Read ARMANDINE Editor.....................................................AdrianCarr 1st asst director...................................... ColinFletcher To ensure the accuracy of your Prod, designer...................................... LeslieBinns Budget............................................. $700,000 Producers.................................Peter Beilby, DOT AND THE BUNYIP entry, please contact the editor of Composer............................ Bruce Rowland Length................................................ 73 mins Timothy White this column and ask for copies of Prod, company.....................................YoramGross Exec, producer.........................................MaxPhelan Gauge....................................Super 16 mm Scriptwriter...............................................GlenCrawford our Production Survey blank, on Film Studio Assoc, producer..................................GeorgeMiller Shooting stock............. Kodak Eastmancolor Based on the original idea which the details of your produc Producer...............................................YoramGross (Melbourne) Synopsis: The story of Andy Hoddell who b y..........................................................GlenCrawford tion can be entered. All details Director.................................................YoramGross Prod, supervisor................. Brian D. Burgess comes to believe he owns Harold Park Race Exec, producer........................Robert Le Tet must be typed in upper and lower Scriptwriters........................................... GregFlynn, Prod, co-ordinators............. Meredyth Judd, course. Assoc, producer...................................... TrishFoley case. Yoram Gross Jenny Tosi Length............................................... 110 mins Editor’s note: All entries are Length................................................ 80 mins LEONSKI: THE BROWN-OUT Casting.............................Mitch Consultancy Gauge....................................................35mm supplied by producers/producGauge...................................................35 mm Additional casting...................................... LeeLarner MURDERS Shooting stock...................................... Kodak tion companies, or by their agents. Synopsis: A circus owner attempts to cap Art director............................................. LeslieBinns Synopsis: The story of a beautiful, young Cinema Papers cannot, therefore, Prod, company.................Flying Tiger Films ture a mysterious Bunyip, but Dot and her Make-up............................... Fiona Campbell Frenchwoman embroiled in the 1920s accept re s p o n s ib ility for the Dist. company........Peregrine Entertainment bushland friends try to foil his plans. Dot Special effects........................................ChrisMurray correctness of any entry. scandal of the “ white slave trade” in Producer..........................................Bill Nagle soon discovers that the circus is merely a Wardrobe................................................ JaneHyland Australia. Director....................................Philippe Mora front for an international wildlife smuggling Scenic artist......................................... RobertMancini Scriptwriter......................................Bill Nagle operation. Musical director..................................... BruceRowland AVENGERS OF THE CHINA SEAS Exec, producer.................... Richard Tanner Gauge.................................................. 35mm Sound editor........................................... TerryRodman Prod, manager......................... Geoff Pollack Prod, company......................................NilsenPremiere DOT AND MOBY DICK Synopsis: Based on scientific findings, Still photography.........................Sterio Stills Art director........................ Geoff Richardson Producer............................. Tom Broadbridge Terra A ustralis is set in prehistoric (David and Lorelei Simmonds) Prod, company........................ Yoram Gross Budget..........................................$2.9 million Director.....................Brian Trenchard-Smith Australia. Publicity............................. Burson-Marsteller Length............................................. 100 mins Film Studio Scriptwriter........................Patrick Edgeworth Budget......................................................... $5 million Producer.................................. Yoram Gross Gauge..................................................35 mm Based on the original idea Length.............................................. 120 mins Director.................................... Yoram Gross Shooting stock.......................................... Fuji b y ...................................Patrick Edgeworth G auge.............................35 mm anamorphic Cast: James Coburn (Provost Marshal Scriptwriters............................. John Palmer, Editor........................................................ AlanLake Synopsis: The story of a man’s rise to Patrick Dannenberg), Maurie Fields (Det. Yoram Gross Producer’s assistant............Virginia Bernard leadership in an emergency, when a Sgt Ray Martin), Bill Hunter (Det. Sgt Fred Length................................................ 80 mins Laboratory.................................. Colorfilm Dunkirk-style evacuation is used to rescue ‘Bluey’ Adam), Jon Sidney (Douglas Gauge...................................................35 mm Budget.......................................... $4.6 million thousands of holiday-makers from a bushfire MacArthur). Synopsis: In a desperate bid to rescue a Length.................................................94 mins on the Mornington Peninsula. whale stranded on a beach, Dot and Synopsis: The violent crimes of Private AUSSIFIED G auge.............................35 mm anamorphic Neptune the dolphin hunt the ocean depths Edward Leonski of the American army in SynopsisrA contemporary action-adventure FORTRESS Prod, company............... Screencrafts Prods searching for a wise, old octopus called the Melbourne during May of 1942 and his story set on the South China Sea. Producer.............................. Ralph LawrenceMarsden Prod, com pany.....................Crawford Prods subsequent apprehension and the political Oracle who knows how to save whales. Director................................ Ralph LawrenceMarsden Producer................................... Ray Menmuir ramifications of his trial and execution. BLOWING HOT AND COLD Scriptwriter............Ralph Lawrence Marsden Director.................................. Arch Nicholson EMOH RUO Photography........Ralph Lawrence Marsden, MAD MAX 3 Prod, company........................ Celsius Prods Scriptwriter........................Everett De Roche Prod, company............. Palm Beach Pictures Stewart Neale Producer..................................Basil Appleby Based on the novel b y ............Gabrielle Lord Prod, com pany......................Kennedy Miller (Emoh Ruo) Sound recordist...........Peter Mandel (Britain) Photography...........................David Connell Director...................... Brian Trenchard Smith Producer................................................. Terry Hayes Dist. company.................................... GreaterUnion Composer (in part)...........................Sean Ore Sound recordist................... Andrew Ramage Scriptwriters......................... Rosa Colosimo, Directors..............................................GeorgeMiller, Producer................................................ DavidElfick Casting adviser.....................................MarcelCugola Editor...................................... Ralph Strasser Reg McLean George Ogilvie Director................................................ DennyLawrence Casting consultants....... The Actor’s Agency, Exec, producers................ Hector Crawford, Script editor.......................Everett De Roche Scriptwriter.............................................TerryHayes Scriptwriters...........................................DavidPoltorak, Frog Promotions, Ian Crawford, Photography.......................... Dean Semler Exec, producers...................... Reg McLean, Paul Leadon Sascha Management Terry Stapleton Synopsis: Sequel to the two Mad Max films. Rosa Colosimo Based on the original idea 2nd unit photography................................WilfWatters Assoc, producer.................................Michael Lake Scheduled release......................Easter 1985 b y........................................................ DavidPoltorak, (Britain) Prod, co-ordinator..............Elizabeth Symes Cast: Giancarlo Giannini (Nino), Arkie PLAYING BEATIE BOW Paul Leadon Music performed by (in p a rt)..........Sean Ore Prod, manager.......................................HelenWatts Whiteley (Sally). Photography.......................................AndrewLesnie Prod, com pany.......................... SAFC Prods & Nuefrunt Location unit manager...................Grant Hall Synopsis: The story of a friendship between Sound recordist......................... Paul Brincat Producer..........................................Jock Blair Laboratory................................................VFL Prod, accountant...................................VinceSmits two men who struggle to conquer differences Editor.........................................................TedOtton Director............................... Donald Crombie Length................................................ 90 mins 1st asst director............................. John Wild of culture, temperament and values in order Assoc, producer.................................... SteveKnapman Scriptwriter.......................... Graham Hartley Shooting stock..................................... Kodak 2nd asst director................. Michael McIntyre to survive the dangers of their adventures Prod. Story editor................................Peter Gawler Cast: Chris Waters (David), Amanda Mc 3rd asst director.....................................Anne Walsh and achieve their goal. The action moves manager........Catherine Phillips Knapman Based on the novel by..................... Ruth Park Namara (Wendy), Bronwyn Gibbs (Chrissie), Continuity................................................... Liz Perry from the vast expanses of the Australian Unit manager............................... Dixie Betts Exec, producer................................Jock Blair Christine Andrew (Claire), Peter Tabor Lighting cameraman............... David Connell desert to the peaks of treacherous, snow Prod, secretary......................... Julia Ritchie Assoc, producer.............................Bruce Molr (George), Susan Mantell (Stephanie), Martin Camera operator.....................David Connell capped mountain ranges. Prod, accountant................. Elaine Crowther Studios................................ Hendon Studios Trainor (Barry), Esme Gray (Bea), Con Focus puller............................................ GregRyan Continuity........................................ ElizabethBarton BURKE AND WILLS Budget..........................................$4.4 million Babanoitis (taxi driver), Margaret Younger Clapper/loader.........................Bruce Phillips Producers secretary.............................BaslaPlacheki Gauge...................................................35 mm (disco lady). Key g rip................................... Greg Wallace Prod, com pany.............. Hoyts Edgley Prods Extras’ casting................................ Jo Hardy Synopsis: The game is called Beatie Bow Synopsis: Contemporary drama set in Asst g rip................................................. BarryBrown in association with Camera operator................................ AndrewLesnie and the children play it for the thrill of scaring London and Melbourne. Gaffer...................................... Robert Young Graeme Clifford Focus puller............................................ ColinDeane themselves. But when Abigail is drawn in, 3rd electrics............................. Bruce Towers Producers............................Graeme Clifford, Key g rip ................................................. BruceBarber the game is quickly transformed into an BLISS 4th electrics.............................Guy Hancock John Sexton G affer........................................... Simon Lee Boom operator........................Scott Rawlings extraordinary, sometimes horrifying, adven Director................................ Graeme Clifford Prod, company...... ..............Window III Prods Boom operator.........................................PaulGleeson ture, as she finds herself transported to a Art director................................................Neil Angwin Scriptwriter.......................... Michael Thomas Producer............... ..............Anthony Buckley Art director........................................... RobertDein Asst art director.................... Harvey Mawson place that is foreign yet strangely familiar. Sound recordist................... Syd Butterworth Director................. .................. Ray Lawrence Costume designer.............................AnthonyJones Costume designer................................. ClareGriffin Editor......................................... Tim Wellburn Scriptwriters...........................Ray Lawrence, Make-up................................................LesleyVanderwalt THE SHIRALEE Make-up...................................................Jose Perez Prod, designer.............................Ross Major Peter Carey Hairdresser.......................................... LesleyVanderwalt Make-up assistant................ Lynette Harding Exec, producers..................Michael Edgley, Prod, company........................ SAFC Prods Based on the novel by.................Peter Carey Standby wardrobe................................. Fiona Nicholls Terry Jackman Standby wardrobe............Margot McCartney Scriptwriter..............................Tony Morphett Photography......... ....................Paul Murphy Props buyer....................................... ClarissaPatterson Assoc, producer.................. Greg Ricketson Standby props......................................... John Stabb Story editor....................... Graeme Koetsveld Sound recordist.... ....................Gary Wilkins Set decorator/artist................................DavidMcKay Special effects......................... Brian Pearce Prod, co-ordinators................................. Julie Forster, Based on the novel b y ............. D’Arcy Niland Editor......................................Wayne Le Clos Construction manager............................ AlanFleming Lynda House Exec, producer...............................Jock Blair Prod, designer...... ................Wendy Dickson Asst editor........................................ MargaretPixelScenic artists............................John Hedges, Prod, manager....... Carolynne Cunningham David Francis, Studios.................................Hendon Studios Composer............. ........................ Peter Best Musical director..................... Cameron Allan Martin Kelloch Unit manager.......................... Ron Stigwood Gauge...................................................35 mm Prod, manager...... ................... Carol Hughes Dialogue editor............................ Les Fiddess Carpenter................................. Hugh Bateup Prod, accountant............... Spyros Sideratos Synopsis: To Macauley, the child was his Unit manager....................... Roxanne Delbar Editing assistants..................................CathyChase, Asst prod, accountant......... Margaret Finch Set construction........................................KenHazlewood “ shiralee” : a burden and a handicap, and Location manager......................Robin Clifton Stephanie Flack Stunts co-ordinator................................. ChrisAnderson 1st asst director...................................... MarkTurnbull also a constant reminder of bitterness and Prod, secretary..... .................Meredyth Judd Sound post-production............Roger Savage 2nd asst director.....................................TonyMahood Still photography....................................... Bill Bachman failure. It was in his nature to do things the Prod, accountant................ Debbie Eastwood (Soundfirm) 3rd asst director..................................... Craig Sinclair Publicity...................... Chris Day Enterprises hard way: the way he saw it, there was no (Moneypenny Services) Best boy................................Michael Adcock Laboratory...............................................Atlab Continuity............................................... MoyaIceton other choice. What he hadn’t taken into Prod, assistant.............. ........Kate Jarman Runners............................... Annie Peacock, Lab. liaison...............................Peter Willard Casting.................................... M & L Casting account was the child’s overwhelming need 1st asst director............. ..... Keith Heygate Michael Fanning Gauge................................................... 35 mm Casting consultants................ M & L Casting for love. 2nd asst director........... ...Marcus Skipper Mixed a t ........................................ Soundfirm Shooting stock...................................... Kodak Lighting cameraman............... Russell Boyd 3rd asst director............. ....Paul Callaghan Laboratory........................................Colorfilm SHORT CHANGED Synopsis: A group of schoolchildren and Camera operator..................... Nixon Binney Continuity...................... .Therese O'Leary Lab. liaison..........................................RichardPiorkowski their teacher arekidnapped by four men. Focus puller.................... Peter Menzies Jnr Prod, company.........................Magpie Films Casting......................... Budget......................................................$1.7million ......Susie Maizels The story tells of their fight to escape. Clapper/loader.........................Garry Phillips Producer................................Ross Matthews Lighting cameraman..... ........Paul Murphy Length.......................................................... 90mins Key g rip ......................................... Ray Brown Director............................................... GeorgeOgilvie Camera operator........... David Williamson Gauge...................................................35 mm FROG DREAMING Asst grips..................................Stuart Green, Scriptwriter........................................... RobertMerritt Focus puller.................. .... Geoff Wharton Shooting stock.........................Eastmancolor ' BrendonShanley Based on the original idea Prod, company................. Middle Reef Prods Key g rip ......................... ..Graeme Mardell Cast: Joy Smithers (Terri), Martin Sacks Gaffer...................................................... PeterO'Brien Producer................................................. BarblTaylorb y...................................................... RobertMerritt Gaffer............................. .........Mick Morris (Des). Electrician...................... John Bryden Brown Director................................................ RussellHagg Photography........................................... DeanSemler Boom operator.............. ....Mark Wasiutak Synopsis: A contemporary Australian Boom operator............................. Phil Tipeny Scriptwriter.........................Everett De Roche Assoc, producer................................ BarbaraGibbs Art director..................... ...Owen Paterson comedy. Art director...............................................BrianHocking Photography............................ John McLean Budget.......................................... $1.2 million Asst art director............ ........Dale Duguid Costume designer.................. George Liddle Editor.................................... Brian Kavanagh Length.................................................95 mins Costume designer......... ......Helen Hooper FAIR GAME Make-up................................Bob McCarron, Prod, designer.......................... Jon Dowding Gauge...................................................35 mm Make-up........................ ........Jenny Boost Prod, company......................Southern Films Wendy Sainsbury Composer...................................... Brian May Synopsis: A young aboriginal shearer Hairdresser................... ...Penny Morrison International Limited Wardrobe co-ordinator...........................AnnaWade Prod, co-ordinator.............................. BarbaraRing struggles to see his son again after a sixWardrobe....................... ......Helen Hooper Props master...............................................IanAllenDist. company.......................................C.E.L. year, forced absence. Prod, manager...........................................JanTyrrell Ward, assistant............. ....Pauline Walker Producers.............................. Ron Saunders, Props buyer............................................. PetaLawson Prod, accountant................................HowardWheatley Props buyer................... .Michael Tolerton Harley Manners TERRA AUSTRALIS Standby props........................................... IgorLazareff 1st asst director..................................... TerryNeedham Standby props............... ........Jenny Miles, Director............................Mario Andreacchio Scenic artist................................................ IanRichter Producer’s secretary............... Lesley Parker Prod, company.............. .... Yoram Gross Colin Gibson Scriptwriter................................Rob George Asst scenic artist......................Peter Collias Art director.............................Paddy Reardon Special effects make-up .... Bob McCarron Film Studio Budget....................................... $1.26 million Construction m anager.......................... DenisDonelly Costume designer........... Aphrodite Kondos Producer........................ Set dresser.................... ....Alethea Deane .... Yoram Gross Synopsis: A young woman, alone on an Asst editor............................................. JanineChialvo Length.................................................95 mins Director.......................... Construction.................. ............. Bill Howe .... Yoram Gross isolated farm, becomes unwillingly involved Sound edito r..............................................LeeSmith Gauge...................................................35 mm Musical director............ Scriptwriters................... ...... Greg Flynn, ........... Peter Best in a series of vicious games with a group of Still photography...................... David Parker Shooting stock............. Kodak Eastmancolor Sound editor.................. .......Dean Gawen Yoram Gross kangaroo shooters which invades her Dialogue coach........................................ GinaPioro Cast: Henry Thomas (Cody Walpole), Tony Photography................. Mixer.............................. .......Peter Fenton Graham Sharpe property. Livestock.................................. Heath Harris, Barry (Gaza). Assoc, producer............ Stunts co-ordinator........ ..........Guy Norris ....Sandra Gross Evanna Harris Synopsis: Fourteen-year-old Cody Walpole Consultant zoologist..... Still photography........... ..... Dr M. Archer ........Jim Townley Unit runner................................ Lionel Curtin overcomes all odds to solve the mystery of Director of model design Runners......................... ..... Mark Keating, ..Norman Yeend Unit publicist....................Santina Musumeci Donkegin Hole. Length............................ ............. 80 mins Paul Manos

PRE-PRODUCTION

PRODUCERS AND PRODUCTION COMPANIES

PRODUCTION

CINEMA PAPERS October — 347

Production Survey

Gaffer...................................... Gary Scholes Electrician..........................................DouglasWood Asst g rip ....................................Phil Shapeira THE COOLANGATTA GOLD Boom operator...................... John Wilkinson Asst electrics......................................MichaelWood Gaffer.......................................... Mick Morris Prod, company............................... Angoloro Boom operator........................................... IanGrant Make-up..................................Pietra Robbins Boom operator...................... Jack Friedman Producer..................................... John Weiley Art director............................... Philip Warner Hairdresser............................. Pietra Robbins Art director........................................Igor Nay Director....................................... Igor Auzins Costume designer......................... Robin Hall Wardrobe.....................................Anna Jakab Asst art director..........Michael Scott-Mitchell Scriptwriter............................ Peter Schreck Props...................................... Paddy Reardon Costume supervisor................ Ron Williams Art department Photography..........................Keith Wagstaff Props buyer........................... Paddy Reardon Make-up................ .......... Margaret Lingham co-ordinator..................................... SandraAlexander Sound supervisor............................Phil Judd Asst make-up..........................................AnneHeathcote Sound editor............................ David Hipkins Costume designer......................... Roger Kirk Editor.........................................Tim Wellburn Still photography............. Oggy Photography Ward, assistant....................................... JaneBoalch Make-up.....................................Viv Mepham, Prod, designer................................... Bob Hill Runner.................................... Bruce Nicholls Props buyer........................... Brad Campbell Robern Pickering Composer........................................ Bill Conti Catering..................................Emerald Diner Standby props...................................... ShaneRushbrook Hairdressers............................................. JanZeigenbein, Exec, producers..................................... TerryJackman, Studios.........................................Pan Pacific Special effects...................................GrahamBlackmore Willi Kenrick Michael Edgley Construction manager........David Thompson Laboratory.........................................Cinevex Wardrobe supervisor.................. Jan Hurley Assoc, producer..................................... BrianBurgess Asst editor.............................................. PippaAnderson Length..........................................................90mins Ward, assistant......................................KerryThompson Prod, executives..................................... JohnDaniel!, DOT AND KEETO Gauge....................................... Super 16 mm Still photography........... Carolina Haggstrom Standby wardrobe................................LesleyMcLennor Bill Macartney Horse wrangler...................Glen MacTaggert Shooting stock......................................Kodak7291 Asst standby wardrobe......... Annie Peacock Prod, company.....................................YoramGross Prod, co-ordinator............Rosslyn Abernathy Scheduled release......................... December1985 Film Studio Asst horse wrangler...............Barry Rainbow Props..................................... Nick McCallum Cast: Jay Hackett (Mike), Kim Scally Logistics manager.................................. John Chase Producer...............................................YoramGross Props buyers.............................. Lissa Coote, Prod, co-ordinator (2nd unit).................................... RosemaryProbyn (Kookie), Lyn Semmler (Helen), Clive Hearne Transport manager................................... Ken Collins Sue Hoyle Director................................................. YoramGross Prod, manager (George), Peter Thompson (Sir Ninian Best boy................................................. PhilipGolombich Standby props....................... Nick McCallum Scriptwriter................................ John Palmer (2nd unit)..............................................Greg Ricketson Runner................................... Colin Gillespie Richards). Asst standby props................Alison Goodwin Photography........................ Graham Sharpe Location manager.................................. KeithHeygate Synopsis: Comedy set in a television Catering....................The Katering Company Choreography.........................Ross Coleman Assoc, producer..................................SandraGross Location manager station, based around a television series, Laboratory.............................................. Atlab Set decorator................................Lissa Coote Length.................................................80 mins (2nd unit)........................Roxanne Delbarre Lab. liaison.............................................PeterWillard Copfile. Scenic artist................................ Peter Harris Gauge...................................................35 mm Prod, accountant...................................... LeaCollins Budget....................................................$2.75million Construction m anager..............Alan Fleming Synopsis: After shrinking to insect size, Dot EPIC Length................................................ 90 mins Asst editor...........................Amanda Sheldon Asst prod, accountant.......... Candice Dubois finds herself in a terrifying world of huge Prod, assistants........................Kim Vercera, Asst sound recordist.............................ShaneWalker spiders and massive ants. Desperately, she Gauge...................................................35 mm Prod, company........................ Yoram Gross Fiona Sullivan Cast: John Stanton (Lance Dillon), Rebecca Musical director.............................. Ray Cook and her friend, Keeto the Mosquito, hunt for Film Studio 1st asst director...................................... ColinFletcher Music co-ordinator................. Bruce Rowland Producer.................................. Yoram Gross the magic bark that will return her to her Gilling (Mary Dillon), Ivar Kants (Sgt Neil Adams), Tommy Lewis (Mundaru). Stunts.............................................Max Aspin 1st asst director Director.................................... Yoram Gross normal size. (2nd u nit)............................... Tom Burstall Synopsis: The story of a woman’s fight for Still photography..................... Carolyn Johns Scriptwriters............................. John Palmer, love and independence in Australia’s North. DOT AND THE KOALA Best boy................................. Shaun Conway 2nd asst directors................................. DeuelDroogan, Yoram Gross Marcus Skipper Runner........................................... Grant Lee Based on the original idea Prod, company..........................Yoram Gross NIEL LYNNE Art dept runner..........................Sam Trumble 3rd asst directors................................... TonyMahood, b y .......................................... Yoram Gross Film Studio Sue Wiley, Unit runner........................Roxanne Delbarre Assoc, producer................................. SandraGross Prod, company...................Niel Lynne Prods Producer....................................Yoram Gross Colin Oddy Publicity......................................... Roadshow Director of animation................... Athol Henry Exec, producers....................Gilda Baracchi, Director......................................Yoram Gross Continuity.............................................. LindaRay,Photography........................Graham Sharpe, Catering....................................Kaos Katering David Baker Scriptwriters................................ Greg Flynn, Therese O'Leary Laboratory...............................................Atlab Jan Carruthers, Yoram Gross Producer.................................................. TomBurstall Facilities co-ordinator........................... DianaKelly Lab. liaison.............................................PeterWillard Ricky Vergara D irector...................................... David Baker Based on the original idea Additional photography............ Dean Semler Budget......................................................... $5 million Production manager.............. Jeanette Toms b y........................................... Yoram Gross Scriptwriters..............................David Baker, Camera operator................................... DavidBurrCo-ordinator............................................. MegRowed Length............................................... 105 mins Paul Davies Photography........................Graham Sharpe Steadicam operator.................. Toby Phillips Gauge ................................................. 35 mm Administration.........................................KylieWhipp Based on the original idea Assoc, producer.......................Sandra Gross Shooting stock...................................... Kodak Water cam era................ George Greenough Production accountants..... Libay de la Cruz, by............... ............................. David Baker Animation d irector................. Gairden Cooke Focus pullers..........................................GeoffWharton, Cast: Matt Dillon (Rebel), Debbie Byrne Peat Marwick Mitchell & Co. Photography.................. Bruce McNaughton Length................................................ 80 mins Ben Seresin (Kathy), Bryan Brown (Tiger), Ray Barrett Asst editor.................................Stella Savvas Sound recordist.......................... Phil Sterling Gauge...................................................35 mm Clapper/loaders.......... Geraldine Catchpool, (Bubbles), Bill Hunter (Det. Sgt Browning), Animators........................................... GairdenCooke, Editor........................................................ DonSaunders Synopsis: Dot and her pai, Bruce the Koala, John Platt, Julie Nihill (Joycie), Kim Deakin (Hazel). Ariel Ferrari, Prod, designer..................................... RobbiePerkins try to stop a group of domestic animals from John Lomax Synopsis: The story of an American marine Murray Griffen, Composer..................................... Chris Neal a tiny town from building a dam across a who, while recuperating from injuries in Key grip ....................................... Ray Brown Nicholas Harding, Assoc, producer..................... Brian Burgess local river. The “ townspeople” — a strange Grips.......................................................TonyLarkins, Sydney during World War 2, meets and falls Andrew Szemenyei, Prod, co-ordinator..........Rosslyn Abernathy mixture of haughty cows, ruthless pigs and Roy Mico, in love with a singer in an all-girl band. Rowen Avon Unit manager...........................................PaulHealey dopey dogs — need the dam and its power to Geordie Dryden, Additional animation............................... PaulBaker, Prod, assistant....................................... MariaPannozzo catapult their town into the 21st Century. Max Worral YOUNG EINSTEIN Zbigniew Bilyk, Prod, accountant..................Graeme Wright Gaffer...........................................Mick Morris EMPTY BEACH Lucinda Clutterbuck, Prod, company........................Serious Prods Asst prod, accountant..... Pauline Montagna Electrics................................... Matt Slattery, Koichi Kashiwa, Producers.............................................Yahoo Serious, Prod, com pany..........................Jethro Films 1st asst director....................................... TomBurstall Jonathan Hughes Wayne Kelly, David Roach Art director.............................................OwenPaterson Producers................................................JohnEdwards, 2nd asst director................................. MarcusSkipper Boris Kozlov, Director................................................. Yahoo Serious Timothy Read 3rd asst director...................... Stephen Saks Asst art director......................... Dale Duguid Domingo Rivera, Scriptwriters......................................... YahooSerious, Director................................................... ChrisThomson Continuity............................... Shirley Ballard Costume designers........................Lea Haig, Vicky Robinson, David Roach Scriptwriters........................................... PeterCorris, Casting........................................................ JoLarner Camilla Rountree Liu Ruo, Photography................................ Jeff Darling Make-up.................................................. SallyGordon Keith Dewhurst Casting consultant....................................LeeLarner Phillip Scarrold, Sound recordist........................Geoffrey Grist Additional make-up.......... Margaret Lingham Lighting cameraman..... Bruce McNaughton Based on the novel by................. Peter Corris Jan de Silva, Composer.............................................RobertDickson Photography..................................John Seale Camera operator................................... DavidWilliamson Hairdresser..............................................WilliKenrick Bela Szeman, Location manager................... Bryan Young Sound recordist........................ Max Hensser Focus puller........................Peter Van Santen Standby wardrobe................................SandyBeach, Min Xu, Prod, assistant.........................................PaulFogo E ditor..................................... Lindsay Frazer Clapper/loader.................................... KattinaBowell Julie Constable Gennady Kozlov, 1st asst director.......................... David Roach Ward, assistant...................Kerry Thompson Prod, designer...................... Larry Eastwood Key g rip ..................................................DavidCassar Maria Haren Comic associate........................... Ian J. Taite Exec, producer..........................................BobWeis Asst g rip ...............................Marcus McLeod Props buyer............................. Alethea Dean Painting and tracing...................... Mimi Intal, Lighting assistants.............. Mark Freedman, Prod, manager................................. AdrienneRead Gaffer................................... Paul Dickenson Standby props..........................Colin Gibson, " John Lee, Corallee Munro, Prod, coordinator............................. Melanka Comfort Asst electrics.............................. Greg Wilson Shane Rushbrook Glen Pead Rooftop lighting effects..................Gary Hill, Robyn Drayton, Location unit manager..... Corrie Soeterboek Boom operator............................. Ray Phillips Joseph Cabatuan Camera assistant........... Robert MacDonald Prod, accountant....................... Lea Collins Costume designer...................... Jennie Tate ’ Graham Beatty Boom operator............... Jacqueline Lawson Asst prod, accountant......... Candice Du Bois Make-up.................................................. KarlaO’Keefe Choreography......................................RobertRayBackgrounds..............................Amber Ellis, Gennady Kozlov, Art director........................................... Steven Marr 1 st asst director........................Colin Fletcher Hairdresser..............................................PaulPattison Storyboard artist.......................................SueMaybury Norman Yeend, Asst art director............ Christine Robertson 2nd asst director......................................Jake Atkinson Standby wardrobe..............Geanie Cameron Art dept co-ordinator.............................DebraCole Graham Binding Costume designer.................................. Mishi Watts 3rd asst director...................................... LeahCocks Props buyers...................... Colin Robertson, Construction manager............................. RayPattison Graphics..........................................Eric David Make-up........................Klarenz von Deusing Steven Jones-Evans Continuity........................................... PamelaWillis 4sst construction Hairdresser.................. Klarenz von Deusing Special effects painting....................... AmberEllis, Casting............................................... MichaelLynch Standby props..........................................NickSeymour manager........................................... DannyCorcoran W ardrobe............................................... Mishi Watts Jeanette Toms, (Forcast) Special effects...........................Chris Murray Asst editor............................................... VickiAmbrose Make-up assistant.....................................SueBurns Gennady Kozlov Focus puller.............................................. BenSeresin Choreography........................................ TonyBartuccio Asst sound recordists.............................. PhilTipene, Set construction...................................Steven Marr Publicity.............................Helena Wakefield Key grip................................Paul Thompson Set dressers................ Steven Jones-Evans, Ian Grant Still photography.................. Brian Gallagher (International Media Marketing) Asst grip............................... George Tsoutas Martin Perkins Sound editor.................... Marc Van Buuren Horse master............................................ Max Foster Special projects manager.... Margaret Lovell G affer........................................ Reg Garside Asst editor....................................... CatherineSheehan Dialogue editors...............Karin Whittington, Catering..................................................LindaPead Laboratory........................................Colorfiim Electrician..................................Craig Bryant Sound edito r............................................. LesFiddess Tim Jordan Laboratory............................ Cine Film Labs Lab. liaison.................................................Bill Gooley Boom operator.......................................DavidLeeMixer......................................................JulianEllingworth Editing assistants..................................PaulaLourie, Length..........................................................90mins Length.................................................80 mins Costume designer.............................MirandaSkinner Still photography........................Suzy Wood Lynne Williams Cast: Yahoo Serious (Albert), Peewee Gauge...................................................35 mm Mobile bus driver........................Kevin Bryant Ward, assistant..................................HeatherMcLaren Dubbing mixers........................................ PhilJudd, Wilson (Mr Einstein), Su Cruickshank (Mrs Cast: Robyn Moore, Ross Higgins (character Props buyer......................................... MurrayPope Best b o y ...............................James Mathews Julian Ellingworth Einstein), Roxanne Wilson (Honey), Antoin Dialogue re-recording.............. Palm Studios voices). Runner.................................................. StuartBeatty Set decorator..........................................MartaStatescu ette Byron (French nurse), Ian J. Taite (Tas Synopsis: In a legend full of fantasy and Unit publicist............................. Pierre Perrett Neg. m atching...^.....................Chris Rowell Effects re-recording..............................SoundFirm manian Devil), Robert Dickson (Walt), Ray Stunts co-ordinator...................................BobHicks mystery, two babies are saved from the Sound e dito r........................................... GregBellC atering...............................Beeb Fleetwood Fogo (clerk), Warwick Teece (boss), Don Great Flood and reared by the king and Post-prod, accountant......... Joan Macintosh Still photography..................................RobbieGribble Pyrotechnics......................... Bernie Corfield Carson, Walter Blundel (neighbours), queen of a pack of wild animals. The children Best boy..................................... Craig Bryant Mixed a t.................................................. Atlab Stunt riders............................Jonny Wonder, Warren Coleman, Stephen Abbott, Glen grow up with a burning ambition to find the Publicity.............. The Rea Francis Company Laboratory...............................................Atlab Kim Noyes Butcher, Russel Cheek, Angela Moore secret of life. Lab. liaison.................................Peter Willard Catering.................................................. JohnWelch Still photography....................................DavidParker (asylum characters). Laboratory........................................ Colorfiim Budget.......................................... $1.9 million Boats co-ordinator..................................PeterWeiley THE GREAT GOLD SWINDLE Synopsis: The incredible, untold story of Budget...................................................... $1-8million Length.............................................. 125 mins Australia's most unsung hero, the Tas Camera boats................................ Shark Cat Prod, company...............Indian Pacific Films Length........................................................ 100mins Gauge................................................... 35 mm Tech, adviser..................................... HaydenKenny manian genius, Albert Einstein. A comedy Producer............................................ Barbara Gibbs Gauge.......................................................... 35mmCast: Sigrid Thornton (Fennimore), Paul that reveals his birth to a Tasmanian apple Helicopter camera.................................. JohnHaddy Director....................................................JohnPower Williams (Niel Lynne), Judy Morris (Patricia), Helicopter pilot...............................Terry Lee Shooting stock...................................... Kodak farmer, the premature discovery of rock and Scriptwriter............................................ DavidWhite Brandon Burke (Eric), David Argue (Reg), Best boys..........................Brendan Shanley, Cast: Bryan Brown (Cliff Hardy). roll, and the joys of the birth of relativity. It is Based on an original idea Sam Bienstock Tony Rickards (Tim Marsh), Nicki Pauli Synopsis: Cliff Hardy meets organized also the saga of his love affair with a beauti by........................................................ David White (Melissa), Alan Cinis (Mather), John Howard Runner....................................... Murray Pope crime in Bondi. ful but, sadly, highly intelligent woman. Photography......................David Sanderson Unit nurse................................................. MegBailey (Read), Marie Redshaw (Phillipa). Sound recordist.......................................Mark Lewis Unit publicists................ Santina Musumeci, THE NAKED COUNTRY Synopsis: The story of two boyhood friends Editor....................................................... SaraBennett Prue Ryan tracing their fates and loves from the Prod, company............ Naked Country Prods Art director.........................................BernardHides C atering.................................. Kaos Catering turbulent era of the late 1960s to 1980. Dist. company..................................Filmways Exec, producer...................Michael Thornhill Mixed a t.................................................Atlab Producer.................................. Ross Dimsey Assoc, producer.................................... DavidWhite Laboratory............................................. Atlab REBEL Director......................................................TimBurstall Prod, co-ordinator.............................. PamelaBorain Lab. liaison............................... Peter Willard Scriptwriters............................................RossDimsey, Prod, company........... Phillip Emanuel Prods Location manager...................................TonyBarrett Length...............................................120 mins Tim Burstall Dist. company............................... Roadshow Prod, secretary....................................MaggieHegarty THE COCA-COLA KID Gauge............................ 35mm anamorphic Based on the novel by......................... MorrisWest Producer...............................Phillip Emanuel Prod, accountant........Moneypenny Services Shooting Prod, company............. Grand Bay Films Inc. Photography............................ David Eggby D irector................................Michael Jenkins 1st asst director...................................... MarkTurnball stock...... Kodak Eastmancolor 5247, 5293 Producer........................................David Roe Scriptwriters....................... Michael Jenkins, Sound recordist....................... Max Bowring 2nd asst director..................Sue Pemberton Cast: Joss McWilliam (Steve Lucas), Nick Director.............................. Dusan Makavejev Bob Herbert Editor....................................................... TonyPatterson Continuity............................ Chris O’Connell Tate (Joe Lucas), Colin Friels (Adam Lucas), Scriptwriter.............................................FrankMoorhouse Based on the play b y ................................BobHerbert Prod, designer......................... Philip Warner Casting................................................... M & L Josephine Smulders (Kerry Dean), Robyn Based on the short stories Photography........................................... PeterJames Composer.............................................. BruceSmeaton Focus puller............................................ JohnBrock Nevin (Robyn Lucas). Sound recordist.......................................MarkLewis b y ....................................................... FrankMoorhouse Prod, co-ordinator...........................RosemaryProbyn Clapper/loader......................... Geoff McKell Synopsis: A young athlete's conflict with his Photography........................................... DeanSemler Editor..................................................MichaelHoney Prod, manager......................... Patricia Blunt Key g rip ............................... Karel Akkerman Sound recordist............................ Mark Lewis ambitious father. Prod, designer.....................Brian Thompson Location unit manager............................. TomHoffie G affer....................................... Craig Bryant Editor....................................................... John Scott Exec, producer.................Village-Roadshow Prod, secretary.....................................BrionyChapel Boom operator....................... Jack Friedman COPFILE Co-producer............................................. SueWildProd, designer..................... Graham Walker Office manager..........................................KikiDimsey Make-up........................................Jan Stokes (Working title) Composer................................................... BillMotzing Prod, co-ordinator............Suzanne Donnelly Prod, accountant....................................... Jim Hajicosta Hairdresser.................................. Jan Stokes Prod, manager..........................................SueWildAdditional composition............................ TimFinnProd, company.......................... Hatful Prods Wardrobe...........................Lesley McLennan Prod, accountant Exec, producer...................................CinemaEnterprises Producer................................................. ChrisKielyWard, assistant....................................... StevRiches Unit manager.......................................... ChrisJones attachment...................................... JoanneMason Co-producer.........................Sylvie Le Clezio Director...................................................BarryPeakProps buyer....................... Philip Monaghan Prod, secretary................................... BelindaWest Prod, office attachment.........Mark Valemont Laboratory.............................................Atlab Prod, accountant.......Moneypenny Services Scriptwriters........................................... ChrisKiely, 1st asst director....................................... John Warran Standby props....................Michael Tolerton Lab. liaison............................................. PeterWillard Barry Peak 1st asst director..................................... DavidEvans 2nd asst director......................................MarkClayton Special effects..............................Brian Cox, Gauge...................................................35mm Photography..................................... MalcolmRichards 2nd asst director............. Hamish McSporran 3rd asst director................................... WayneMoore Michael Simpson Scheduled release..................................Early1985 Sound recordist....................................... JohnRowley 3rd asst director......................Henry Osborne Continuity...........................................JenniferQuigley Carpenter.....................................Alex Dixon Cast: Eric Roberts (Becker), Greta Scacchi Editor......................................................DavidHipkins Continuity.................................................... JoWeekes Casting...................................................SusieMaizels Asst editor.................................... Emma Hay (Terri), Bill Kerr (MacDowell), Max Gillies Prod, designer............................................ IanMcWha Casting....................Michael Lynch (Forcast) Camera operator................................... DavidEggby Still photography...................... Skip Watkins (Frank), Kris McQuade (Juliana), Tim Finn Exec, producer..........................................PhilDwyer Extras casting..............................................JoHardy Focus puller................................................ IanJones Story consultant.................Shirley Windham (Phillip), Chris Haywood (Kim), Paul Chubb Prod, supervisor............................. Ray Pond Lighting cameraman.............................. Peter James Clapper/loaders..................................JoanneErskine, Best boy......................... Guy Bessell-Brown (Fred), Tony Barry (the Bushman), Colleen Continuity........................ Joanne McLennon Camera operator.............. Danny Batterham Brad Shield Runner......................................Kelvin Sexton Clifford (Mrs Haversham), Rebecca Smart Lighting cameraman......... Malcolm Richards Focus puller........................................ Andrew McLean Key g rip .................................................. PeterMardell Catering....................................Big Belly Bus Clapper/loader........................................ ChrisCole(DMZ), Esben Storm (country hotel Camera operator............................... MalcolmRichards Grip.......................................................... GolinTulloch Laboratory........................................ Colorfiim manager). Camera assistant...................... John Ogden Steadicam operator................................ TobyPhillips Asst g rip...................................................TontiConnolly Lab. liaison.................................. Bill Gooley Key grip......................................................OrvMudie Key grip....................................................RossErikson Gaffer..................................................... RogerWood Budget..............................................$750,000 Mixed a t...................................United Sound Laboratory........................................ Colorfiim Budget.......................................... $3.4 million Length............................................... 115 mins Gauge...................................................35 mm Shooting stock.......................... Eastmancolor Cast: Barry Otto (Harry Joy), Lynette Curran (Bettina), Helen Jones (Honey Barbara). Synopsis: Throughout history many great artists have depicted the tortures of hell. But never before has anyone dared to suggest that hell is a place where an elephant sits on your motor car.

POST-PRODUCTION

348 — October CINEMA PAPERS

Production Survey

Length.................................................96 mins Gauge................................................... 16mm Cast: John Hargreaves, Tony Rickards, Robert Hughes, Chris Haywood, Brian Marshall, Barbara Llewellyn, Barrie Barkla. Synopsis: Dramatized account of the swindling of the Perth Mint of more than $1 million in gold, in 1982.

Boom operators.................Chris Goldsmith, HOOKED ON ROWING Eric Briggs Prod, company............................ Di Net Films 2nd unit sound recordist.......... Toivo Lember Dist. company..........Educational Media Aust RESTLESS Asst art director.......................................VickiNiehus Producer.................................................DianaNettlefold Costume designer.................................. AnnaSenior Prod, company.............................Wyndcross Director...................................................DianaNettlefold Principal make-up a rtist.......... Karla O’Keefe Dist. company.................... Endeavour Prods Scriptwriter............................................ DianaNettlefold FANTASY MAN Make-up artists............. ............Jane Surrich, Producers................................. John Barnett, Based on the original idea Egon Dahn Brian W. Cook Producers............................... Basil Appleby, by........................................................ DianaNettlefold Principal hairdresser.............Christine Ehlert Director................................... Denis Lewiston Darrell Lass MELVIN, SON OF ALVIN Photography.......................................... DianaNettlefold Hairdressers............................................SashLamey, Scriptwriter............................. Denis Lewiston Director.................................. John Meagher Sound recordists..........................John Ertler, Prod, com pany................McElroy & “McElroy Beverley Freeman Based on the story b y ............................GerryO’Hara Scriptwriter.............................John Meagher Nic Lyon Dist. company...............................Roadshow Photography............................................ AlecMillsCostume supervisor.......................... GrahamPurcell Photography.......................... Andrew Lesnie Editor.................................Mike Woolveridge Producer....................................................Jim McElroy Wardrobe standby.............Heather Williams Sound recordist.......................................GaryWilkins Sound recordist......................... Ross Lindon Composers...................................John Ertler, Director.................................................... JohnEastway Editor............................. MichaelHortonWard, mistress...................Louise Wakefield Editor...................................... Rodd Hibberd Nic Lyon Scriptwriter..........................Morris Gleitzman Prod, designer...............................Josephine FordWard, assistants...................... Paula Ekerick, Prod, designer...................................... DarrellLassCamera operator................................... DianaNettlefold Photography.......................Ross Berryman Peter Sevan Composer................................. Adrian Payne Composer................................................... GilMelle Neg. matching................. Victorian Film Labs Editor....................................................... GregRopert Props buyers...............Christopher Webster, Prod, manager......................Howard Grigsby Prod, supervisor............................... Sue Wild No. of sh ots............................................. 374 Prod, designer.........................................John Dowding Marta Statescu Prod, supervisor................... Howard Grigsby 1st asst director.................Michael Bourchier Music performed by..................... John Ertler, Composer................................................ColinStead Standby props........................................ JohnDaniell Unit manager............................................DanHennah Continuity............................... Jenny Quigley Nic Lyon Assoc, producers......................................TimSanders, Asst standby props..................... Liam Liddle Prod, secretary.................................. JenniferBarty Gaffer......................................Alleyn Mearns Sound editor......................Mike Woolveridge Wilma Schinella Special effects................................ Briao Cox Prod, accountant................Keith MacKenzie Art director.............................Louatla Hatfield Mixer....................................................... PeterMcKinley Prod, m anager.......................................... TimSanders Set decorator......................... Barry Kennedy Asst accountant...................................... TonyWhyman Mixed a t..................................... Phil Tipene Opticais................................................... VFL Unit manager......................................... LeighAmmitzboll Asst set dresser......................... Nicki Roberts Prod, assistant...................................... PennyGarland Laboratory.............................................Atlab Title designers.......................................DavidStephen, Location m anager...................................MarkCanny Scenic artists................................ Ian Richter, 1st asst director.................... Terry Needham Length.......................................................... 80mins ' DianaNettlefold Prod, secretary....................................... Sally Blaxland Peter Harris Gauge...................................................16mm 2nd asst director...............Jonothan Barraud Mixed a t........... Tasmanian Film Corporation Prod, accountant.............................. KathleenRushton Art dept runner.....................Daniel Morphett 3rd asst director......................... Geoffrey Hill Shooting sto ck............ Kodak Eastmancolor Length.................................................27 mins Financial controller.................................KevinWright Art dept co-ordinator.....................Janet Hay Continuity...................................... Linda Ray Scheduled release.................................... Mid1984Gauge................................................... 16 mm 1st asst director...................................... DavidClarke Set construction Producers assistant........................ Rose Lai Cast: Harold Hopkins (Nick Bailey), Jeanie Shooting stock.............................Kodak 7247 2nd asst director..........................John Titley supervisor................................Derek Mills Casting............... Onorato and Franks (U.S.), Drynan (Liz Bailey), Kate Fitzpatrick (Betty), Progress..............................Awaiting release 3rd asst director.......................................BrettPopplewell Set construction M&L Casting (Aust.) Kerry Mack (Donna). Cast: Stuart Nettlefold (Big Brother), Sam Casting............................. Mitch Consultancy m anager........................... Keith McAloney Focus pullers..........................................BarryHelleren, Synopsis: Human comedy about a man who Nettlefold (Little Brother), Michael McAdditional casting............................Jo Lamer Asst editor.............................Denise Haratzis Ian Turtill has a fantasy love affair with a waitress as he Laughlan (The Fat Boy), The Hutchins 1st Camera operator................ Stephen Dobson Edge numberer..........................................PipKarmel Clapper/loader................................. VaughanMathews is approaching 40 and a mid-life crisis. Eight (Rowing Crew). Focus puller........................ Brian Breheney M usic............................................ Starsound Key grip.................................................. GeoffJamieson Synopsis: Stuart rows as number two in the Clapper/loader.................................... Felicity Surtees Sound editors........................................ Craig Carter, Asst g rip ..................... Rourke Crawford-Flett first eight for his school. The fat boy in the Key g rip...................................................BarryHanson Frank Lipson Gaffer....................................Warren Mearns class is the butt of practical jokes and he Grip......................................... Joel Witherden Editing assistant.......................................RexWatts Electrician...................................... Brett Mills blames Stuart even though the jokes are not Asst grip........................................Ken Conner Post sync, edito r.................................... PeterBurgess Genny operator..............................Ian Beale his fault. The fat boy becomes nasty and See Cinema Papers, No. 46, for details G affer.................................................. LindsayFoote Post sync, assistant.............................. LauraAlcock Boom operator........................Mark Wasiutak tries to retaliate, unsuccessfully, because Best boy.................................................. PeterMoloney of Abra Cadabra. M ixer.................................................... JamesCurrie Art director............................. Kirsten Shouler Sam saves the situation. Runner................................................. MarcusLambert Asst m ixer.............................................. PeterSmith Costume designer.................... Patrick Steel See Cinema Papers, No. 47, for details Electrician............................................... GarySholes Stunts co-ordinators................................... BillStacey, Make-up.............................. Anne Pospischil of The Boy Who Had Everything, TO HOOK FISH IN FIJI Art dept supervisor............................... PaddyReardon Glen Boswell, Hairdresser........................... Francia Smeets Second Time Lucky, Sky Pirates and Costume designer...............................SandraTynan Dennis Hunt Prod, company............................ Di Net Films Wardrobe................................................. Julia Mansford The Winds of Jarrah. Make-up............................................... KirstenVessey Armourer...................................................RobMousley Ward, assistants.............. Glen Christensen, Dist. company..........Educational Media Aust Hairdresser........................ Felicity Schoeffel Stunts................................................... CsabaSzigeti, Sally Hennah Producer.................................................DianaNettlefold Wardrobe consultant.............Marta Statescu Glen Boswell, Props buyers............................... Paul Dulieu, Director...................................................DianaNettlefold Wardrobe supervisor............................... GailMayes Beni Ballint, Warren Hoy Scriptwriter............................................ DianaNettlefold Props buyer..................... Keith Handscombe Gerald Egan, Standby props..................... Trevor Haysom, Based on the original idea Standby props......................................... John Stabb Bill Willoughby, Amanda Lane by........................................................ DianaNettlefold Set decorator...............................................JillEden Ric Boue, Scenic artist............................. Paul Radford Photography.......................................... DianaNettlefold Set construction....................................... KeniHazelwood Jamie Hunt, Standby carpenter................... Henry Wilcox Sound recordist...................................... JohnErtler Stunts co-ordinator................................DenisHunt Billy Dean, Set construction....................... Trevor Major Editor................................. Mike Woolveridge Still photography....................................GeoffMcGeachin Dee Jones Carpenters..........................................GordonScouler, Composer................................................ JohnErtler Runner.....................................................LeighAmmitzboll Still photography.......................... Bliss Swift, Frank Burney, Camera operator................................... DianaNettlefold Publicity..........................................Gary Daly Greg Noakes, Peter Burney Neg. matching.................Victorian Film Labs Catering..................................Catering About Asst editor......................................Rex Potier Corrie Ancone No. of sh ots............................................. 400 Studios...........................................CambridgeFilms Safety officer......................... Zev Eleftheriou Neg. matching......Negative Cutting Services Music performed by.................................JohnErtler HOOKED ON HONEY Laboratory...............................................Atlab Horsemasters......................... Ray Winslade, Musical director....................... Dave Fraser Sound editor........................................... PeterMcKinley Prod, company............................ Di Net Films Budget.......................................................$2.3 million Bill Willoughby Sound editor............................. John McKay Mixer....................................................... PeterMcKinley Dist. company..........Educational Media Aust Length........................................................... 91mins W ranglers................................Gerald Egan, Editing assistants................Ross Chambers, Opticais....................................................VFL Producer................................................ DianaNettlefold Gauge.................................................. 35 mm Jim Willoughby, Tony Johnston Title designers.......................................DavidStephen, Director.................................................. DianaNettlefold Cast: Graeme Blundell (Alvin Purple), Gerry Mixer...................... Les McKenzie (Colorfilm) Malcolm Pritchard, Diana Nettlefold Scriptwriter............................................DianaNettlefold Sont (Melvin Simpson), Lenita Sillakis Unit drivers............................................RobinHosking, Tony Jablonski, Mixed a t........... Tasmanian Film Corporation Based on the original idea (Gloria Giannis), Tina Bursill (Dee Tanner), BJ Elliott, Roger Preston Length.................................................27 mins by........................................................ DianaNettiefold Jon Finlayson (Burnbaum), David Argue Camp commandant................... Tony Forster Greg Luke Gauge...................................................16 mm Photography..........................................DianaNettlefold (Cameraman), Abigail (Mrs Simpson), Col Flight co-ordinator.................... Robert Bruce Best boy.............................. Graeme Shelton Shooting stock.............................Kodak 7247 Sound recordists......................... John Ertler, McEwan (Col Simpson). Runners................................... Mason Curtis, Still photography.........................Ken George Progress..............................Awaiting release Spectangle Synopsis: A young man, with a problem, David Field Best boy....................................... Don Jowsey Cast: Stuart Nettlefold (Big Brother), Sam Editor.................................Mike Woolveridge finds he has inherited it not from King Kong Lighting dept runner................................BrettJarmen Nurse....................Patsy Buchan-Hearnshaw Nettlefold (Little Brother), Mirima Koroi Composers.................................. John Ertler, or Frankenstein but from Alvin Purple. Publicity..................... Suzie Howie Publicity Publicity.....................................Tony Noble, (Fijian Girl), Saki Koroi (Fijian Boy), Judy Don Kay Catering ....................................Frank Manley Consultus (NZ) Watkins (Aunt), Barry Foster (Petrol Thiety MESMERIZED Camera operator................................... DianaNettlefold Studios..................... SAFC Hendon Studios Catering..................................................DavidWilliams, Synopsis: Sam and Stuart are sent to Fiji to Neg. matching.................Victorian Film Labs Prod, company.................. Orinward Limited Mixed a t.................... SAFC Hendon Studios Location Catering stay with an aunt. Sam, as usual, wants to be No. of shots............................................. 400 for RKO/Challenge Unit nurse................................. Toni Okkerse Laboratory........................................Colorfilm with his big brother rather than the other Music performed by.....................John Ertler, Dist. company..................Thorn-EMI Screen Lab. liaison.................................................BillGooley Mixed a t ............................Colorfilm (Sydney) children. On a fishing trip alone in a small Lyrian String Quartet ' Entertainment Laboratory............................... Colorfilm (NZ) Budget...................................................... $7.3million boat, they become marooned because their Sound editor...................... Mike Woolveridge Producer.......................... Antony I. Ginnane Length.............................6 x 60 mins (series), Lab. liaison...............................................RickShields, petrol has been stolen and try survival Mixer....................................................... PeterMcKinley Director.............................. Michael Laughlin ‘ 145 mins (feature) Grant Miller tactics. Opticais....................................................VFL Scriptwriter........................ Michael Laughlin Gauge...................................................35mm Length.................................................90 mins Title designers.......................................DavidStephen, Based on the story by......Jerzy Skolimowski Shooting stock...................................... Kodak5294, Gauge...................................................35mm ' DianaNettlefoldWHO TOOK THE BISHOP’S Photography............................Louis Horvath Shooting stock.........................Eastmancolor ~ Agfa 682 CROOK? Mixed a t........... Tasmanian Film Corporation Cast: Sam Neill (Captain Starlight), Steven Sound recordist........................................ Tim Lloyd Cast: Simone Griffeth (Christine Weber), Length.................................................27 mins Prod, company........................... Di Net Films Editor..................................Petra von Oelffen Vidler (Dick), Christopher Cummins (Jim), Steve Marachuk (Greg Sandford), Bryan Gauge...................................................16 mm Dist. company..........Educational Media Aust Liz Newman (Gracey), Deborah Couils Visual consultant................. Susanna Moore Marshall (Clive Weber), Elizabeth Haw Shooting stock.............................Kodak 7291 Producer................................Diana Nettlefold (Kate), Susan Lindeman (Jeannie), Tommy Exec, producers..........................Mark Seiler, thorne (Suzanne Maxwell), Ray Henwood Progress..............................Awaiting release Director..................................Diana Nettlefold Christopher J. Kirkham (Douglas Maxwell), Peter McCauley (Detec Lewis (Warrigal), Ed Devereaux (Ben), Jane Scriptwriter........................... Diana Nettlefold Menelaus (Aileen), Elaine Cusick (Mary), Cast: Stuart Nettlefold (Big Brother), Sam Assoc, producers............................... HowardGrigsby, tive-Inspector Nolan). Nettlefold (Little Brother), Toni Kallend Based on the original idea Richard Moore Synopsis: A passionate thriller. Andy Anderson (George). (Girl’s Gang), Tania Whelan (Girl’s Gang), by....................................... Diana Nettlefold Post-prod, supervisor...Sylvia Walker-Wilson Synopsis: Based on Rolf Boldrewood’s Joan von Bibra (Mother). Photography......................... Diana Nettlefold Unit manager...................................... MichaelFuller famous novel about two bushranging ROBBERY UNDER ARMS Synopsis: Stuart goes away on holiday with Sound recordists........................ John Ertler, Prod, secretary......................................JennyBarty brothers and their legendary leader, Captain Prod, company......................... SAFC Prods out Sam who is so lonely that Granny buys Spectangle Starlight. Prod, accountant......................... Shirley Gill Dist. company...................ITC Entertainment him a new pup because the family dog has Editor.................................Mike Woolveridge Prod, assistants.................... Penny Garland, Producer........................................Jock Blair died. Sam and his mother go to the seaside Catherine Madigan Composers.................................John Ertler, WRONG WORLD Directors..............................Donald Crombie, where he builds a cubby and stares into his Don Kay 1st asst dire cto r......................................TerryNeedham Prod, company.................... Seon Film Prods “ Glass-ball” . Local children spy on Sam and Ken Hannam Camera operator.................. Diana Nettlefold 2nd asst director..................................... Jonty Barraud Producers..............................Bryce Menzies, Scriptwriters.......................... Tony Morphett, wreck his cubby and break the glass, while a Neg. matching................. Victorian Film Labs 3rd asst director........................ Geoffrey Hill Ian Pringle group of girls kidnaps the pup. Graeme Koetsveld No. of sh ots...............................................400 Continuity...........................................ThereseO’Leary Director..........................................Ian Pringle Story editor................................Peter Gawler Producer's assistant.................... Ann Lyons Scriptwriters................................. Ian Pringle, Based on the novel b y........ Rolf Boldrewood Camera operator.......................... David Burr Doug Ling Photography.............................. Ernest Clark Focus pullers.......................................... BarryHelleren, Photography............................................. RayArgali John Mahaffie Sound recordist...................................... LloydCarrick Sound recordist.....................................Bruce Emery Editor............. '....................................Andrew Prowse Clapper/loader......................................... RexNicholson Editor........................................................ RayArgali Prod, designer........................George Liddle Key grip........................... Grahame Litchfield Prod, designer................................. Christine Johnson Exec, producer.............................. Jock Blair Asst g rip.....................................Evan Woods Composer................................ Eric Gradman Assoc, producers......... Pamela H. Vanneck, G affer...................................................WarrenMearns Exec, producer........................Basia Puszka Bruce Moir Electricians................................................. IanPhilp, Assoc, producer......................................JohnCruthers Prod, co-ordinator................... Barbara Ring Brendon Mune, Prod, manager.................. Andrew Wiseman James Newman Location manager................... Ron Stigwood Unit manager........................... Daniel Scharf Prod, accountant.....................................John Burke Boom o perator.............................Phil Tipene Prod, secretary.........................................JudiJoske Accountant trainee............................. BrendaSharrad Supervising art director........ John Wingrove Prod, accountant..................... Caroline Fyfe 1st asst directors...............Philip Hearnshaw, Art director.................................Dan Hennah 1st asst director....................................... LucyMaclaren Brian Giddens Costume designer...............................Patricia Norris 2nd asst director................................ CristinaPozzan 2nd asst director.......... Christopher Williams Make-up................................................... Judy Lovell C ontinuity.............................................. FionaCochrane 3rd asst director................................. Lindsay Smith Hairdresser..............................................JudyLovell Focus p ulle r...........................Jenny Meaney 2nd unit director.....................................DavidEggby Wardrobe mistress................Julia Mansford Clapper/loader....................... Mandy Walker 2nd unit prod, manager/ Ward, assistants...............Glen Christensen, Grip..........................................................BrianMcKenzie 1st asst director.....................................GusHoward Philippa Kerruish, Gaffer.......................................................GregHarris Continuity..................................................AnnWalton Cheryl Woods Boom operator........................ Simon Wilmot 2nd unit continuity.............................. Maggie Boyd Props buyer......................... Sandy Wingrove Asst art director...................................... ChrisKennedy 2nd unit prod. Standby props.....................Trevor Haysom, Wardrobe.................................................JaneHowat assistant............................................MargoTamblyn Tim Smith Musical director........................................ EricGradman Producer’s secretary..............................ChrisHoward Set construction................................... TrevorMajor Still photography............Francine McDougall Casting............................. Audine Leith (S.A.) Asst editor.............................. David Coulson Best boy...................................................John Cummings Camera operator................................... DavidForeman Sound editor........................... David Coulson Editor’s assistant......................Bettina Petith Focus puller........................................... MartinTurner Best b o y ................................. Alleyn Mearns Runners...............................................Odette Snellen, Clapper/loader....................................... DavidWolfe-Barry Laboratory.........................................Colorfilm Jane Godwin Key g rip ...................................Robin Morgan Budget................................. U.S.$4.2 million Catering..............................................CristinaFrolich 2nd unit grip.......................................Ian Park Length................................................. 95 mins Additional catering.............................MelindaWalker Asst grip..................................................... Jon Goldney Gauge............................... 35 mm Panavision Length.............................................. 100 mins 2nd unit photography.............................DavidEggby, Shooting stock.......................... Eastmancolor Gauge........................................ Super 16 mm David Graham Scheduled release................. February 1985 Shooting stock................................. Fuji 8521 2nd unit focus pullers.................................Ian Jones, Cast: Jodie Foster (Victoria), John Lithgow Cast: Richard Moir (Trueman), Jo Kennedy John Foster 24 Carlotta St (Thompson), Michael Murphy (Wilson), Dan (Mary), Esben Storm (Laurence), Robbie Shor (Edward), Harry Andrews (Old Thomp 2nd unit clapper/loader.........................DarrylWood Artarmon N.S.W. 2064 (02) 439 3522 McGregor (Robert), Nic Lathouris (Rangott). G affer........................................TrevorToune son), Reg Evans, Beryl Ti Wiata, Phillip Synopsis: A contemporary drama. 2nd unit gaffer......................... Keith Johnson Holder. Synopsis: A colonial romance set in New Zealand at the turn of the century.

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Resource Manual Listing F i Im news D on 't dela /. PO Box 217 Please reply as a m atter o f urgency!! Kings Cross NSW 2011

P.O . BOX 417, PA D D IN G TO N 2021

The Australian Film Commission is pleased to advise that the Federal Government has provided a further $5 million this year for the Special Production Fund. The Special Production Fund offers investment in non-deductibles, distribution undertakings, production loans and underwriting facilities for Australian film and television projects. In 1983/84 the Special Production Fund provided finance for 16 feature films, seven mini-series, 14

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documentaries and four one-off television dramas with a total budget value of $70 million. Application forms and guidelines for applicants are available from:

FI LM

Supervising Consultant Special Production Fund Australian Film Commission 8 West Street North Sydney NSW 2060 Tel: (02) 922 6855 Toll free: (008) 22 6615

COMMI SSI ON

Production Survey

Presenters..............................Dr John Veron, Music performed by.....................John Ertler, (Marie), John Unicombe (Murray), John Based on the original idea Mixers...................................... Peter Fenton, Peter Harrison, Lyrian String Quartet b y ......................................................JamesKnox United Sound Clayton (Anderson), Barry Kay (Thommo), Vicki Harriott Sound editor...................... Mike Woolveridge Sound recordist.................. George Weis Title designers........................ Peter Newton, Jack Rheinburger (Thommo’s Father), Ian Animation...............................................XTO? Mixer........................................................PeterMcKinley Exec, producer........................ Richard Davis Optical & Graphic Burk (Gestapo officer). Opticals.............................................Colorfilm Opticals.................................................. VFL Synopsis: Two public servants, one of Camera operator................. Preston Clothier Mixed a t ...................................United Sound Laboratory........................................ Colorfilm Title designers.......................................DavidStephen, Length..........................................................48minsLaboratory....................................... Colorfilm Italian and one of Australian origin, apply for Length.................................................47 mins Diana Nettlefold a senior public service post in Canberra. On Progress........................................Production Lab. liaison...............................Kerry Jenkin Gauge...................................................16 mm Mixed a t........... Tasmanian Film Corporation Synopsis: Documentary which looks at the Length................................................ 54 mins paper, their qualifications are well matched, Shooting stock.............................Kodak 7291 Length...................:............................ 27 mins co-operation between Australia and Sarawak Gauge...................................................16 mm but the choice between them finally depends Progress..............................Awaiting release Gauge...................................................16 mm to develop Northern Australia’s agricultural Shooting stock..... Eastmancolor 7247, 7293 on less obvious factors from the past and Synopsis: A film for television and educa Shooting stock....................................... 7291 resources, especially the Kimberleys which present of both men. Progress............................. Awaiting release tional video markets. It covers the lifecycle of Progress........................................... Awaitingrelease has the potential to become a major supplier Synopsis: “ Sunny” Bancroft is the experi a coral polyp, the reef and its diversity and Cast: Stuart Nettlefold (Big Brother), Sam IN SEARCH OF THE BASKING of food to the western Pacific. enced and charismatic manager of “ Collum richness, and the impact of man. Nettlefold (Little Brother), Maureen MiyaCollum” , an Aboriginal-owned cattle station SHARK guchi (Japanese Girl), Matthew Bryan (MG in northern New South Wales. Over a period MISTER B. SAYS NO Prod, company................................. SeawestProds A TEST OF ENDURANCE Driver), William Reynolds (Trumpet Player), of six months the film explores his philo Dist. company............................. Film Victoria Producer......................................... Walt Deas Matthew Bale (Choir Boy), Bishop Davies sophy of learning and teaching: through his Prod, company.... de Montignie Media Prods Producer........................................... Anthony Heffernan Director...........................................Walt Deas (The Bishop). work with stockmen and animals, his own Dist. company............All Media Enterprises Director.....................................Tony Mahood Scriptwriter.............................................DavidFlatman Synopsis: Sam hears the squeal of his words and the guidance he gives to Shane, a Producer.................... Philippe de Montignie Scriptwriter........................................... MartinSharman Based on the original idea puppy and a screech of brakes, and sees a 16-year-old trainee who begins working on Director............................. Anthony Bowman Based on the original idea by................................................. Walt Deas red sports-car disappearing. The pup has a the station. Scriptwriter...........Anthony Bowman b y .......................................... Tony Mahood Photography........................................... Walt Deas, broken leg and Sam searches for the driver Photography.............................. Alex McPhee Jim Buchanan, Photography.............................. David Parker to have revenge. Sam and Will are enemies. TREASURE ISLAND Sound recordist........................................ RobCutcher Crawford Grier, Sound recordist.........................Sean Meltzer One day, after church, the pup’s lead drags Editor..................................... David Pulbrook Prod, company....................................NomadFilms Edie McConnell, Editor........................................... Adrian Carr the Bishop’s Crook into the leaves in the Exec, producer.......... Philippe de Montignie International Jean Deas, square unobserved because of a commo Assoc, producer........................... JacquelineTalbot Laboratory.........................................Cinevex Dist. company.....................................NomadFilms Andy Lucas Prod, manager.................................. AnthonyHeffernan tion. Will blames Sam. Budget............................................... $42,000 International Sound recordists....................................LouisKramer, Unit manager........................................ SimonJames Length..........................................................24mins Producer............................................DouglasStanley 1st asst director......................................PeterAskew John Scobie Gauge...................................................16 mm Director..............................................DouglasStanley 2nd asst director......................... Nadia Tass Editor..................................................JeremyMann Shooting stock.... Eastmancolor Kodak 7247 Scriptwriter......................................FrederickFolkard 3rd asst director..................Barbara Sawyer Assoc, producer.....................................LarryFreels Progress........................................................In release Based on an original idea 4th asst director..........................Phillip Elms Prod, manager......................................... SueFlatman Synopsis: An Australian racing driver b y .....................Nomad Films International Continuity............................................. RobynCrawferd, Prod, secretary.......................................NireeCreed breaks more than 30 national and inter Martin Sharman, Photography........................ Martin McGrath Prod, accountant............................... DouglasHarris national speed and endurance records Liz Perry Sound recordist.........................John Phillips Prod, assistant...............................Jean Deas during a secret, three-day drive in Queens Editor......................................... Paul Howard Producer’s assistant...................................JoMoore Underwater director land. FEATURES Composer...............................Frank Strangio Casting....................................... Nadia Tass of photography........................... Walt Deas Prod, co-ordinator............................... StevenTillman Camera operator........................David Parker Underwater photography...... William Bryan, TOURISM Prod, secretary....................................AngelaWest Focus puller............................................. RexNicholson Crawford Grier, Prod, company............................. TasmanianFilm Prod, accountant..................Nell Manthorpe Camera assistant......................................RexNicholson Gordon Ridley COLLUM CALLING CANBERRA Corporation Asst editor..............................................SergeZaza Key grip....................................... Steve Irving Dive assistants.............. Christopher Wyche, Dist. company.............................. TasmanianFilm Prod, company...................... AIAS Film Unit, Neg. matching............. Cinevex Laboratories Asst grip.................................................... RoyMcDougal Maxine Grisley, Australian Institute of Corporation (Sydney) Title designer.....................................StephenPascoe Gaffer............................ Stephen Henderson Jack Jackson, Director....................................................JohnHoney Aboriginal Studies Mixed a t ...............................Film Soundtrack Boom operators.................................... SteveHaggerty, Tom Craig Scriptwriter............................................. JohnHoney Dist. company.................Australian Institute Gregory Steel Laboratory........................................Cinevex Script assistant...............................Walt Deas Photography.......................Russell Galloway of Aboriginal Studies Length............................................... 50 mins Art director........................................ MaureenFitzgerald Producer's assistant...................... Jean Deas Editor.................................. Alvin de Quincey Producers........................David MacDougall, Gauge....\.............................................16 mm Asst art director............................. JosephineMoore Camera assistant..................Andy Fairgrieve Judith MacDougall Prod, manager..................................... WayneCowen Shooting stock..........................................Fuji8521 Make-up......................................Kate Archer Technical advisers............. Dr Monty Priede, Directors.......................... David MacDougall, Prod, assistant.................................... WendyRimon Progress....................................................... In release Wardrobe.................................... Cathy Little Dr Sigmund Myklevoll, Judith MacDougall Camera assistant...................................AdamKropinski First released...................... September 1984 Ward, assistants.........................Gail Mayes, Walt Deas Photography.....................David MacDougall Sound editor............................... Julian Scott Mark Little Synopsis: For the first time since 1938, a Narrators.................. ...David Attenborough, Sound recordist...............Judith MacDougall Runner............................................... MichaelHampton documentary about the Li people of Hainan Standby props............................Jim Mavridis Dr Monty Priede Editors............................. David MacDougall, Mixed a t........... Tasmanian Film Corporation Island, the original inhabitants of China’s Still photography........................... Walt Deas Props consultant...................................... RobMcCloud Judith MacDougall Length................................................ 12 mins second largest island. Set decorators......................... Anne Gunner, Animation...........Centre Spatial de Toulouse Prod, secretaries....................Beverly Ross, Gauge.................................................... 1-inchvideotape Jo Vrachnas Opticals........................Cine Film Laboratory Norma Briscoe Progress..........................................In release VOICES Set construction......................................... IanMcLay Laboratories ...Studio Film & Video (London), Neg. matching....................Marilyn Delaney, (for education only) Asst edito r............................................ SimonJames Colorfilm (Sydney), Prod, company...............Independent Prods Negative Cutting Services Cast: Mark Kounnas (Kid). Neg. matching.................................. WarwickDriscoll Cine Film Laboratory (Sydney) Dist. company.......Independent Distributors Mixer.......................................................PeterFenton Synopsis: A junior version of “ Paul Hogan” Music co-ordinator....................................RodParker Length................................................ 50 mins Producer..............................................James Knox Narrator.............................. Philip Robertson discusses the value of Tourism to Tas Sound editors........................................BruceLamshed, Gauge.................................................. 16 mm Director................................................JamesKnox mania’s economy. Ideas covered include the Title designers........................Peter Newton, Adrian Carr Shooting stock..................Kodak 7247, 7291 Scriptwriter.......................................... JamesKnox Optical & Graphic increased share of leisure in our lives, the Mixer......................................................BruceLamshed Progress..............................Post-production Based on the original idea Mixed a t ............................................... UnitedSound ideas of holidays, special facilities for Stunts......................................................MaryMurrayb y ..................................................... JamesKnox Scheduled release...............November 1984 Laboratory........................................Colorfilm tourists and the multiplier effect of the tourist Still photography........... Stephen Henderson Synopsis: The Basking Shark of Scotland, Exec, producer........................ Richard Davis dollar on the economy. Lab. liaison............................................. KerryJenkin Titles art w ork....................................... OliverStreeton Ireland and Japan is the second largest fish Length......................................................... 50mins Length.................................................59 mins Best boy.................................................... RodParker in the world. This documentary examines the Gauge..................................1-inch videotape WHAT’S THE SCORE? Gauge...................................................16 mm Publicity................................................ NadiaTass, sharks, observes their lifestyles and history, Progress.................................Pre-production Shooting stock......Eastmancolor 7293, 7247 Jacqueline Talbot Prod, company...... Metalworkers Video Unit Synopsis: Schizophrenia affects about one and follows the scientist who knows them. Progress............................. Awaiting release Catering................................................... AnnConning, Dist. company....................................AMFSU person in 100 at some time in his or her life. Synopsis: Three years ago, an Aboriginal Moira Dempsey, Producer.............................. Bob Richardson KNOWING THE ROAD co-operative in northern New South Wales (Wholemunch Health Foods) Director......................................................KarlZwicky Prod, company................................... Nomad Films received land to start a cattle station — but Mixed a t .........................................Soundfirm Scriptwriters..............................................KarlZwicky, International no cattle, nor the funds to buy any. This film Laboratory......................................... Cinevex Alan Healey SHORTS Producer............................... Jeremy Hogarth chronicles their often frustrating encounters Length................................................ 57 mins Photography............................................ AlanHealey Director................................. Jeremy Hogarth with government bureaucracy and how, with Gauge................................................... 16 mm Sound recordists......................................RodSewell, Scriptwriters....................................Frederick Folkard, patience, humor and political acumen, they Shooting stock...................................... Kodak Russ Hermann Jeremy Hogarth overcome obstacles to achieve their Progress........................................... Awaitingrelease ABORIGINAL EMPLOYMENT AND Editor........................................................ RodSewell Photography.......................................... TerryCarlyon ambitions for the station. Cast: RegEvans (Jack Bungey), Doug Prod, designer................ Margarita Tassone TRAINING Sound recordist...................................... SeanMeltzer Bennett (Eric), Cliff Ellen (Det. Sgt SamuelComposer............................................Rossini Prod, company............................. TasmanianFilmEditor.................................... Jeremy Hogarth DIAMANTINA son), Adrian Van Der Drift (Uland). 1st asst director...................................... ColinSlack Corporation Composer.............................................. FrankStrangio Synopsis: A comedy-drama about a pen Casting............. Mary Huntington Associates Prod, company.... de Montignie Media Prods Exec, producer..................................DouglasStanley Director............................................... DamianBrown sioner, Jack Bungey, who after his wife’s Dist. company....... ^...All Media Enterprises Prod, co-ordinator............................... AngelaWestCamera operator.........................Alan Healey Scriptwriter.................................................IanBerwick death, has to do battle with a nephew who Producers......................... Suzanne Wagner, M ixer........................................................ RodSewell Prod, manager......................Steven Tillman Photography...................... Russell Galloway wants him to sell out and go into a nursing Philippe de Montignie Narrator....................................... Noel Hodda Prod, secretary........................................ VikkiBerry Sound recordist.................................... JulianScott home. Jack fight back by inspiring a “ mad Tech, adviser.........................................NixonApple Director........................................Rhys Jones Prod, accountant.................. Neil Manthorpe Editor...................................Ross Thompson geriatric rampage” . Scriptwriters.............. Philippe de Montignie, Asst editor..............................................SergeZazaStudios................................. Metro Television Prod, manager.....................................WayneCowen Suzanne Wagner Art director............................Sango Services Neg. matching...................... Richard Carroll Prod, assistant....................................WendyRimon QUEST FOR HEALING Scenic artist................................... Greg Hoy Photography............................. Terry Carlyon Neg. Cutting Camera assistant................ Adam Kropinski Laboratory.......................................Videopak Sound recordist...................................... SeanMeltzer Prod, company............... Independent Prods Sound e ditor......................................... SergeZaza Video operator.................. Peter Richardson Length................................................ 24 mins Editor.....................................David Pulbrook Dist. company....... Independent Distributors Mixer...................................................... DavidHarrison Runner...............................Michael Hampton Gauge............................................ Videotape Exec, producer.......... Philippe de Montignie Producer.................................Roger Hudson Title designer........................ Steven Pascoe Mixed a t...........Tasmanian Film Corporation Progress....................................................... Inrelease Mixer.......................................David Harrison Director................................Robert Davidson Mixed a t............................. Film Soundtrack Length..........................................................14mins Cast: David Kerslake, Marty O’Neill, Laurie Sound editor............................................ JohnJacobs Scriptwriter............................. Roger Hudson Laboratory........................................ Cinevex Gauge........................................... Videotape Cruickshank, Frank Curtin, Phillip de Carle. Laboratory.......... Cinevex Film Laboratories Based on the original Idea Lab. liaison............................................... KenUnwin Progress........................................ In release Synopsis: What the Prices and Incomes Budget............................................ $140,000 b y ......................................................DanaeBrook Synopsis: A production for the Common Length...............................................30 mins Accord means for workers and the economy. Length.................................................50 mins Exec, producer................................... RichardDavis Gauge.................................................. 16 mm wealth Employment Service aimed at Has the Government kept its election Gauge....................................16 mm Stereo Length.......................................... 8 x 60 mins encouraging unemployed aboriginals to Shooting stock.................................. Fuji 8521 promises? Is consensus anything more than Shooting s to ck........... Eastman Kodak 7291 Gauge...................................1-inch videotape register with the CES and take part in the rhetoric? All this and more in an entertaining, Progress..........................................In release Progress................................. Pre-production NEWS GATHERING — A special assistance programs available for non-Film Australia way. Synopsis: Australia’s dry red centre is cut Synopsis: Global investigation of alternative DIFFERENT PERSPECTIVE their re-training and employment. once or twice each century by floodwater healing. Prod, company............. ABC Training Centre from the tropical north. In 1984, the floods HEROES (Brisbane) again rushed down the Diamantina River THE RACE SOUTH Prod, company..................... Tasmanian Film Producer................................................ PeterCooke and into Lake Eyre. This program looks at Prod, company............... Independent Prods Corporation for the Director...................................................PeterCooke the incredible metamorphosis of the desert Dist. company....... Independent Distributors 0-28 Network Scriptwriter.............................................PeterCooke during a raft trip down the Diamantina with Producer................................................... RaySinclair Photography..................... Michael Fanning, Producer............................................... AustinSteele renowned artist Clifton Pugh, naturalist Director..................................................... Ray Sinclair Peter Cooke Director....................................................John Honey Vincent Serventy and cartographer John Scriptwriter...............................................RaySinclair Sound recordists.................................... ColinHertzog, Scriptwriter..............................................GaryDeacon Manning. Based on the original idea Julian Mather Script editor............................................. JohnHoney by...........................................................RaySinclair Editor..................................................... DavidHalliday FILM AUSTRALIA Photography........................................RussellGalloway THE IMMIGRANTS Exec, producer...................................RichardDavis Assoc, producer..................................... DavidHalliday Sound recordist.................................... JulianScott Prod, company............... Independent Prods Length................................................ 50 mins Prod, supervisor.....................................JohnScanlon Editor...................................................... RossThompson Dist. company........Independent Distributors Gauge...................................1-inch videotape Prod, assistant.................................... Di Parr Exec, producer....................................... John Martin Producer...................................... Ray Sinclair Progress..................................Pre-production GLASS CRAFT Camera assistants................................ DavidRussell, Prod, co-ordinator..................................PeterCass Director........................................ Ray Sinclair Synopsis: Theworld’s resource-hungry Roger Carter Prod, manager.........................Wayne Cowen Prod, company.........................................FilmAustralia Scriptwriter..................................Ray Sinclair eyes are ontheriches of Antarctica, and Editing assistant...........................Bryce Dean Continuity............................................WendyRimon Dist. company...........................................FilmAustralia Based on the original idea long-standing claims face international Narrator......................................... John Knox Camera assistant.................................. AdamKropinski Producer.............................. Pamela Paddon b y............................................. Ray Sinclair challenge. Mixed at....................ABC Studios (Brisbane) Key grip................................................... GaryClements Director................................... Paul Humfress Sound recordist.............................Geoff Grist Laboratory.................................... Cinecolour Boom operator........................................MarkTomlinson Photography.................................. Ross King E ditor.................................................Michelle Cattle STOCKMAN’S STRATEGY Length................................................. 8 mins Make-up................................................. AstraPalkovs S ounirecordist.......................... Ralph Steele Exec, producer......................... Richard Davis Gauge......................................... 16 mm, BVU Set construction..................................AspectDesign Prod, company...................... AIAS Film Unit, Editor......................................................DavidLourie Prod, manager _ ..................................... JenniDawes Shooting stock.............................. 7240, 7250 Australian Institute of Asst editor..............................................KarenWeldrick Asst producer...........Margaret-Rose Stringer Camera operator...................Garry Maunder Aboriginal Studies Music performed b y ............ Tassos lonnides Progress.......................................... In release Lighting..................................................BruceGailey Length.......................................... 2 x 50 mins Synopsis: An explanation of the role of the Still photography................................Jacquie Gardner Dist. company................................ AustralianInstitute Camera assistant......................................RodHinds Gauge.................................. 1-inch videotape cameraman in the news gathering opera of Aboriginal Studies Title designer..........................................PeterWhyte Length.................................................20 mins Synopsis: The greatest human adventure: tions of the ABC. Runner............................................... MichaelHampton Producers..........................David MacDougall Gauge...................................................16 mm five weeks in the life of a Chilean family as Judith MacDougall Studios............ Tasmanian Film Corporation Shooting stock.......... Eastmancolor negative they prepare to leave their homeland, cross THE REEF BUILDERS Mixed a t..........Tasmanian Film Corporation Directors.................................................DavidMacDougall, Progress.............................. Post-production the vast Pacific and face the first weeks in Judith MacDougall Laboratory......................................... Cinevex Prod, company............. Cinetaur Film Prods Synopsis: Stained glass artist Kevin Little Australia. Lab. liaison.............................................BruceBraun Photography..................... David MacDougall Producer..................................................John Heyer explains the techniques, tools, glass and Length..........................................................28mins Sound recordist.....................................Judith MacDougall Director...............................Jamie Robertson lead used to restore the main east window of JACK THE GIANT Gauge...................................................16 mm Editors.................................................... DavidMacDougall, Photography........................... Edwin Scragg the Garrison Holy Trinity Church in The Prod, company............... Independent Prods Shooting stock......Eastmancolor 5247, 5294 Judith MacDougall Sound recordist.....................Robert Curcher Rocks, Sydney. Episode 1 in the series Dist. company........Independent Distributors Progress............................... Post-production Editor....................................................... PaulMaxell Artisans of Australia, devised for the Aus Prod, secretaries................................BeverlyRoss, Cast: Oslvaldo Maione (Alberto), Adriana Underwater photography.............. Walt Deas Producer.............................................. JamesKnox Norma Briscoe tralian Heritage Commission to promote the Frosi (Marisa), Gino B. Tomisichi (Pino), Dive assistant........................................LionelAitken Director.................................................JamesKnox authentic restoration of old Australian Neg. m atching....................................MarilynDelaney, Peter Cummins (Peter), Noreen le Mottee Macro photography................................... Jim Frazier Scriptwriter........................................... JamesKnox Negative Cutting Service buildings.

DOCUMENTARIES

GOVERNMENT FILM PRODUCTION

CINEMA PAPERS October — 351

Production Survey

IRONBARK BILL

Prod, secretary..................Tracey Robinson WOMEN OF UTOPIA GLASS BABIES LOSING 1st asst director.....................John Markham Prod, company.........................................FilmAustralia Prod, company......................................... PBLProds Prod, company........................................ABC 2nd asst director......................................Julie Phillips Dist. company...........................................FilmAustralia Producer....................................Peter Herbert Producer................................................. ErinaRayner 3rd asst director.................................DorothyFaine Producer.......................................... ElisabethKnight Director.................................Brendan Maher Director............................................CatherineMillar Continuity............................................... KerryBevan Director......................................... Keith Gow Scriptwriters........................................... Greg Millin, Scriptwriter........................................ StephenSewell Producer’s assistant............................. KerryBevan Photography........................................ WayneTaylor Graeme Farmer Photography..........................................Julian Penney Casting....................................................GregApps Sound recordist........................................LeoSullivan Script editor........................... Barbara Bishop Sound recordist.............................Ben Osmo Extras' casting....................... Marian Pearce Editor.......................................................... IanWeddell Photography..........................................ElleryRyanEditor............................................. Bill Russo Lighting cameraman.............................. ChrisDavis Length................................................ 19 mins Sound recordist.......................................... IanRyanProd, designer...................................... NeaveCatchpoole Camera assistants.................John Hawley, Gauge...................................................16 mm Editor........................................... Cliff Hayes Prod, manager.........................................JohnMoroni Trevor Moore Progress........................................ In release Exec, producer........................................... IanBradley Prod, secretary............................ Padma Iyer G rip s.......................................................TonyHall, Synopsis: With jokes and good humor, the 1st asst director.................................. GrahamMiller Tony Woolveridge, Prod, supervisor......................................MikeMidlam Aboriginal women of Utopia Cattle Station 2nd asst director....................................DavidMcClelland Phil Oysten Prod co-ordinator.................................... VickiPopplewell show how they make their beautiful and Prod, manager............................John Jacob Continuity...................................Anthea Dean Electricians..............................................Mick Sandy, exotic batik fabrics. Produced for the Casting...............................................JenniferAllen Les Frazier, Unit m anager............................... Philip Corr National Aboriginal Employment Develop Lighting cameraman.............................JulianPenny Malcolm McLean Prod, secretary.............................. Sue Evans ment Committee as part of the On the Job Prod, accountant....................................Peter Kadar Focus puller.........................................RussellBacon Genni operator......................................DarcyEvans series. 1 st asst director...................................... Euan Keddie Clapper/loader......................... Brett Joyce Special effects..........................................RodClack 3rd asst director.....................................CraigGriffin Boom operator.......................... Geoffrey Krix Asst sound recordist...............................Gary Lund WORKING TOGETHER Continuity.................................. Ann McLeod Make-up................................................. BrittaKingsbury,' Publicity.......................................... GeorginaHowe Sandy Bushell Prod, company.........................................FilmAustralia Mixed a t.................................................. ABC Casting........................................Joy Sargant Lighting cameraman..............................Ellery Ryan Wardrobe............................Beverley Powers Dist. company.......................................... FilmAustralia Length......................................................... 75mins Publicity.............................. Lesley Jackson Producer..........................................ElisabethKnight Gauge.................................................. 16 mm Focus puller........................................... LeighMcKenzie Clapper/loader........................ Kattina Bowell Mixed a t...................................................ABC Asst producer................................Judith Fox Shooting stock..................................... Kodak7291 Laboratory.......................................Colorfilm Director................................Raymond Quint Synopsis: A tele-feature set in and around Key grip..................................Barry Hansen IRON CRAFT Asst g rip.................................Darryn Hansen Length.................................................75 mins Photography..............................Kerry Brown the Austin Hospital Spinal Unit, depicting the Boom operator....................................... Craig Beggs Gauge...................................................16 mm Sound recordist..................Noel Cunnington emergence into society of Steve McNair, a Prod, company........................Film Australia Art director..............................................Peter Tyers Shooting stock.............................Kodak 7247 Editor......................................... Ian Weddell paraplegic. Catalyst is Halley Birchfield, an Dist. company..........................Film Australia Asst art director......................................Chris Porter Cast: Richard Moir (Bob), Genevieve Picot Length................................................12 mins actress who captures attention, then involve Producer.............................. Pamela Paddon (Robin), Peter Kowitz (Graham), Joanne Gauge................................................ ,16 mm ment when she appears in Cripple Play at the Make-up.....................................Kathie Maher Director................................... Paul Humfress Hairdresser............................... Kathie Maher Samuel (Julie). Progress.............................. Post-production Photography.................................. Ross King hospital. Wardrobe.................................................. EffyGeorge Synopsis: The story of two Vietnam Synopsis: A film about the Community Sound recordist..................................... RalphSteele Ward, assistant........................................ Kim Donaldson veterans trying to come to terms with their Employment Programme and how it can A FORTUNATE LIFE Editor......................................................DavidLourie Props buyer........................................... LeoreRoseguilt and anger as a result of the war. They assist Aboriginal communities to provide Asst producer..........Margaret-Rose Stringer Prod, company............................. PBL Prods Standby props............................Jodi Borland go on a supposedly spontaneous journey employment. Produced for the National Lighting................................................. BruceGailey Dist. company.............................. PBL Prods Set dresser........................ Stanley Dalliston into the back-blocks of New South Wales, Aboriginal Em ploym ent Developm ent Camera assistant......................................RodHinds Producer..................................................... BillHughes Runner...................................... Kris Grintowt taking with them their families and their Committee. Length................................................ 17 mins Directors.............................................Marcus.Cole, Publicity.....................................................LynQuayle rifles. Gauge...................................................16 mm Henri Safran Length.......................................... 2 x 96 mins Shooting stock........ Eastmancolor negative Scriptwriter................................... Ken Kelso Gauge.................................................. 16 mm PALACE OF DREAMS Progress.............................. Post-production Based on the autobiography Shooting stock..........................Eastmancolor Synopsis: Foundry moulder Jack Thomas Prod, company........................................ABC by....................................................... AlbertFacey Cast: Gary Day, Debra-Lee Furness, Belinda Producer.......„...........................Sandra Levy explains the techniques, tools and materials Photography.................................Peter Levy Davey, Andrew Sharp, George Mikell, Directors.........Denny Lawrence (Episode 1), used to restore cast-iron balcony lacework in Sound recordist...................................... RossLinton Rowena Wallace. John Misto, one of Sydney’s oldest iron foundries at Editors................................................RichardHindley, Synopsis: Love, lust and greed weave John Upton, Newtown. Episode 3 in the series Artisans Kerry Regan tangled webs when a dynasty turns for its Ian David of Australia Prod, designer...................................... DavidCopping survival to test tube babies. Scriptwriters.......................... Debra Oswald, Composer...................................... Mario Milo PRE-PRODUCTION STONE CRAFT Marc Rosenberg Exec, producer...........................................IanBradley Based on the original idea Prod, company.........................Film Australia Assoc, producers................................... MikeMidlam, THE HENDERSON KIDS b y..........................................Sandra Levy Dist. company........................... Film Australia Ken Kelso Prod, com pany.................... Crawford Prods ACT TWO Script editor.......................................... DennyLawrence Producer.............................. Pamela Paddon Prod, co-ordinators................Antonia Legge, Producer...................................... Alan Hardy Prod, designer...................................GeoffreyWedlock Director................................. Paul Humfress Prod, company.........................................PBLProds Sue Pemberton Directors...............................Chris Langman, Exec, technical producer...........Barry Quick Photography.................................. Ross King Dist. company.......................................... PBLProds Prod, manager...................................... TerrieVincent Paul Moloney Prod, manager......................... Carol Chirlian Sound recordist..................................... RalphSteele Producer............................ Richard Brennan Unit managers........................................... LizKirkham, Scriptwriters.......................... Roger Moulton, Prod, secretary..................Regina Lauricella Editor......................................................DavidLourie Director..................................:.Rodney Fisher Hugh Cann Peter Hepworth, Casting..................................... Jennifer Allen Asst producer..........Margaret-Rose Stringer Scriptwriter.................................Ray Harding Prod, accountant..........................Craig Scott John Reeves, Studios...................................ABC Channel 2 Lighting................................................. BruceGailey Based on the original idea (Moneypenny Services) Galia Hardy Length.........................................10 x 50 mins Camera assistant......................................RodHinds b y ............................................ Ray Harding Asst accountant................... Jane Corden Script editor............................. Susan Smith Shooting stock...............................Videotape Length................................................ 15 mins Cast: John Waters (Robert Marks). Prod, assistant.................................. CarmenGalan Based on the original idea Synopsis: An inner-city hotel, during the Gauge...................................................16 mm Synopsis: Talented, witty and more than a 1st asst directors........... Charles Rotherham, b y ................................................. CrawfordProds early years of the Depression, is run by a Shooting stock..........Eastmancolor negative little self-centred, Robert Marks is the author Michael Bourchier, Photography........................................ JamesDoolan family of Russian Jewish emigres. A young Progress...............................Post-production of a successful first novel. Success, and the Eddie Prylinski Sound recordist..................... John Wilkinson man from a country town comes to live in the Synopsis: Master stonemason George lifestyle that followed it, have since dried up 2nd asst directors..............Michael Faranda, Editor........................................................ Ken Swallows hotel and share their life. Proudman explains the techniques, tools his talents. Act Two tells with humor and Tom Blackett Exec, producers..................................HectorCrawford, and stone used by banker masons and charm the effects of failure on one man's 3rd asst director.......................................NickAlimede THE RIVER KINGS Ian Crawford, apprentices to restore the facade of the marriage and reveals the confidence he Continuity......................................Pam Willis, Terry Stapleton Prod, company................Independent Prods Sydney Technical College in Ultimo. finds with another woman. Judy Whitehead, Assoc, producer.......................Michael Lake Producer....................................Jim George Episode 2 in the series Artisans of Roz Berrystone Prod, co-ordinator ....Bernadette O’Mahoney BUTTERFLY ISLAND Scriptwriter................................ Rob George Australia. Casting......................................... Maura Fay, Prod, manager.......................Ray Hennessy Based on the novel b y .............Max Fatchen Prod, company...............Independent Prods Joy Sargant, Location manager............................... JamesLegge Exec, producer......................... Richard Davis THIS IS WORKING Dist. company....... Independent Distributors Connie Mercurio Prod, accountant.......... Robert Threadgold Length........................................ 10 x 30 mins Producer..............................Brendon Lunney Focus puller............................................... BillHammond Prod, company.........................................FilmAustralia 1st asst director......................................PhilipJones Gauge...................................................16mm Director..................................... Frank Arnold Clapper/loader..........................................NeilCervin Dist. company...........................................FilmAustralia 2nd asst director................................Jacquie Radok Synopsis: A young boy runs away to take a Scriptwriter.............................. David Phillips Key g rip ................................Karel Akkerman Producer.......................................... ElisabethKnight Continuity............................................ KristenVoumard job on an old river boat, trading on the River Script e ditor.............................Hugh Stuckey Asst g rip ..................................................John Otago Director..........................................Keith Gow Casting................................. Bunney Brooke Murray at the turn of the century. Based on the original idea Gaffer....................................................... SamBienstock Photography............................... Kerry Brown Focus puller............................................ LouisPuli Boom operator..........................................PhilKeros Sound recordist..................................HowardSpry by............................................ Rick Searle Clapper/loader..................... Gary Bottomley SINN FEIN Exec, producer........................ Richard Davis Art director................................................KenJames Editor........................................... Ian Weddell Key grip..................................Joel Witherden (OURSELVES ALONE) Length.........................................10 x 30 mins Asst art directors..................Julie-Anne Mills, Asst grip................................. John Seargent Length.................................................27 mins Gauge.................................................. 16mm Phil Peters Gaffer...................................................... JohnIrving Producer.....................................Peter Beilby Gauge...................................................16 mm Synopsis: A resort island on the Great Art dept assistants..................................TobyCopping, Scriptwriter............................. Glen Crawford Progress........................................................Inrelease Boom operator......................John McKerrow Barrier Reef owned, run by the Wilson Peter Armstrong Art director..............................................PhilipEllisScript editor................................. Roger Dunn Synopsis: Aboriginal people suffer an un family, is the unwilling home of Vietnamese Costume designer.................................BruceFinlayson employment rate six times higher than the Based on the original idea Asst art director........................ Murray Kelly refugee teenager and the desired prize of Make-up.................................................. JaneSurrich white community. This film shows four b y ........................................ Glen Crawford Costume designer.................... Claire Griffin avaricious businessman who has oil on his Hairdresser........................................... SuzieClements projects in New South Wales where Abori Exec, producer...................... Robert Le Tet Make-up................................................. FionaSmith mind. Wardrobe master...................... Steve Riches Hairdresser...................................... ChristineMiller ginal people have created employment for Assoc, producer.............................Trish Foley Standby wardrobe...................... Julie Barton Ward, assistants....................................CathyHerren, themselves. Produced for the National Abori Synopsis: A 12-year-old boy of Irish descent CALL ME MR. BROWN Model maker................................. Bill Dennis ginal Employment Development Committee strives to understand the reason for his com John Shea munity’s hatred of The Empire during World as part of the On the Job series. Prod, company................................ ChrysalisFilmsProps construction................................DavidDuncan Props buyer........................................... ElenaPerotta Assistant model m aker................ Kim Sexton Standby props...........................Tara Ferrier War 1. Dist. company..............................Network 10 Props buyer.........................Derrick Chetwyn A TICKET TO RIDE Producer............................... Terry Jennings Set decorators........................................ GregNelson, Standby props........................................ JohnDaniel STOCK SQUAD Director................................................... ScottHicks Richard Clendinnen Prod, company.........................................FilmAustralia Asst standby props.................. Kelvin Sexton Asst editor.............................Aileen Soloway Scriptwriters......................... Terry Jennings, Prod, company...............Independent Prods Dist. company...........................................FilmAustralia Set decorator/finisher................John Gibson Stunts.......................New Generation Stunts Scott Hicks Dist. company........Independent Distributors Producer.......................................... ElisabethKnight Carpenters....................... David Boardman, Length................................................ 90 mins Dialogue coach...................................... Chris SheilProducer.................................... Tom Jeffrey D irector..........................................Keith Gow Alex Dixon, Wrangler................................................. JohnBaird Synopsis: A drama based on the extra Scriptwriter.............................Hugh Stuckey Photography...........................................KerryBrown, Marcus Erasmus Best b o y ........................Richard Rees Jones ordinary events surrounding the 1971 ~ WayneTaylor Exec, producer.......................Richard Davis Construction manager.............................. PhilWorth Qantas bomb hoax. Runner.................................................... MarkFarrLength.................................................92 mins Sound recordists................................ HowardSpry, Asst editors..........................................DebbieRegan, Catering............................................... BandeAid Synopsis: Stark visual beauty of Australia is Leo Sullivan Amanda Holmes Laboratory.............................................. Atlab COLOUR IN THE CREEK a backdrop to an exciting, compelling and Editor........................................... Ian Weddell Neg. matching..... Negative Cutting Services Lab. liaison................................Peter Willard unusual outback police story. Length................................................ 34 mins Prod, company.........................................PBLProds Mixer................................. Julian Ellingworth Length........................................12 x 48 mins Gauge...................................................16 mm Producers....................................PBL Prods, Still photography............. Lawrence Marshall Gauge.................................................. 16 mm A THOUSAND SKIES Progress......................................... In release Michael Midlam Animation...............................................FlicksAnimation Shooting stock......................... Eastmancolor Synopsis: Four Aboriginal people who have Scriptwriter................................ Sonia Borg Dist. com pany........................Network Seven W ranglers................................................ RayWinslade, Synopsis: The story of two teenagers from achieved positions of influence in the com Based on the novels Producers................................................Ross Dimsey, Wayne Murray the inner city suburbs who go to live with munity: Pat O’Shane, Secretary of the NSW Colour in the Creek and . Robert Ginn Asst wrangler......................Jenni Winslade their uncle, the local policeman, in a small Department of Aboriginal Affairs; Wesley Shadow of Wings b y ..........Margaret Paice Director.................................................. David Stevens Best b o y ........................Guy Bessell-Browne country town. Lanhupuy, MLA, Northern Territory; Ernie Exec, producers......................... Ian Bradley, Scriptwriter.............................................DavidStevens Runner..................................... Glen Williams Bridge, MLA, Western Australia; Marcia Penny Spence Based on the novel b y ......... Tasman Beattie Unit publicist.............................................LynQuayle Langton, Institute of Aboriginal Studies. Assoc, producer.......................... Jim Badger AN INDECENT OBSESSION Editor....................................Tony Patterson Catering......................... Take One Catering, Produced for the National Aboriginal Length........................................ 10x30 mins Prod, designer................................ Tel Stolfo Anne Harris Prod, company............................ PBL Prods Employment Development Committee as Gauge...................................................16 mm Composer.............................Bruce Smeaton Studios..................PBL Prods/Kewdale W.A. Dist. company..............................PBL Prods part of the On the Job series. Synopsis: Set in Northern Queensland Budget.........................................$4.4 million Mixed a t..................................................Atlab Producer...................................... Ian Bradley during the depression years of the early Synopsis: The story of Australia’s most Laboratories.......................................... Atlab, Director..................................................... RodHardy TIMBER CRAFT 1930s, Colour in the Creek is the story of famous aviator, Sir Charles Kingsford-Sm'rth. Omnicon Scriptwriter............................ Denise Morgan the Fletcher family’s struggle to survive the Prod, company.........................................FilmAustralia Lab. liaison.............................................PeterWillard, Based on the novel hard times. Following news of a gold strike, Dist. company...........................................Rim Australia Jan Holloway b y ...............................Colleen McCullough the family moves to a remote location called Producer...............................Pamela Paddon Budget.........................................$6.3 million Photography........................................... ErnieClarke Coorumbong Creek. The central figure is Director................................. Paul Humfress Length........................................ 4 x 95 mins Prod, designer........................ Michael Ralph PRODUCTION 12-year-old Alec. Photography.................................. Ross King Gauge.................................................. 16 mm Assoc, producer.......................... Maura Fay Sound recordist...........................Ralph Steele Shooting stock...................................... Kodak Prod, co-ordinator............... Sally Ayre-Smith EMERGING Editor........................................... David Lourie Cast: Bill Kerr (Old Albert), Dominic Prod, manager............................. Irene Korol AFTER MARCUSE Asst producer...........Margaret-Rose Stringer Sweeney (adult Bert), Benedict Sweeney 1st asst director........................... Rob Kewley Prod, company........................................ABC (adolescent Bert), Valerie Lehman (Bert's Costume designer............................. GraemePurcell Lighting.......................................Bruce Gailey Producer................................................. KeithWilkes Prod, company....................................... ABC Camera assistant........................... Rod Hinds Director....................................Kathy Mueller mother), Dorothy Alison (Bert's grand Synopsis: In the closing stages of World Dist. company..................................... ABC Length.................................................18 mins Scriptwriter.............................. Max Richards mother), Martin Vaughan (Frank Phillips), War 2, in an isolated ‘troppo’ ward in Producer......................................Alan Burke Script edito r............................................... BillGarner Gauge...................................................16 mm Bill Hunter (Mr Bibby), Leslie Wright (Jack Northern Australia, five inmates of disparate Director......................................................TedRobinson Shooting stock...........Eastmancolor negative Based on the original idea Lander), John Ewart (Bentley), Frank backgrounds are bound together by the Scriptwriter............................. Alma de Groen Progress...............................Post-production b y ......................................... Max Richards Gallagher (Bill Oliver). routine of their days and a shared over Based on the original idea Synopsis: Axemen Bill Boyd and Mark Sound recordist....................... John Boswell Synopsis: Based on the best-selling auto powering devotion to Sister Langtry. Honor b y ........................................ Alma de Groen Garner explain the techniques, tools and Editor........................................Ruide Sousa biography of A.B. Facey. A story of survival Langtry and her five men view themselves as Prod, designer........................Graeme Gould timber used to restore a pioneer slab hut, Prod designers..................... Gunars Jurjans, and triumph in a vast, inhospitable wilder a family unit. They have arrived at a delicate Exec, producer.............................Alan Burke Alwyn Harbott “ Coolamine Homestead” , in the Kosciusko ness. A pioneering saga about a man who balance among themselves which is Prod, manager........................................ JohnMoroney National Park. Episode 4 of the series Exec, producer....................................... KeithWilkes battles incredible odds and near impossible shattered by the unexpected arrival of a new Prod, secretary.............................Padma Iyer Prod, manager....................................... GeoffCooke Artisans of Australia. circumstances, and wins. admission. 1st asst director......................... David Young Prod, company........................ Film Australia Dist. company.......................... Film Australia Producer...................................... Don Ezard Director..................................... Philip Pepper Scriptwriter............................... Lisa Noonan Animators..................................... Don Ezard, Philip Pepper Editor.......................................... Sue Horsley Asst producer.............................. Judith Fox Background artist...................... Lisa Pfanner Animation assistant............. Cathy O’Rourke M usic........................................Philip Powers Length............................................. 5 x 1 min. Gauge...................................................35 mm Shooting stock............................Kodak 5247 Progress....................................... Production Narrator......................................John Clarke Synopsis: Cut-out animation and laconic narration support this animated interpreta tion of Australian writer Dal Stivens' “ Ironbark Bill” stories. The legendary Ironbark meets his first challenge with a high-spirited horse who bucks her riders so far up they vanish.

TELEVISION

352 — October CINEMA PAPERS

Production Survey 2nd asst director................................... LanceMellor Dist. company........Hanna Barbera Australia Focus puller...........................Kim Batterham John Tuttle, Head wrangler....................... Danny Baldwin Producer’s assistant..........Rhonda McAvoy Producer..................................... David Salter Clapper/loader........................Darrin Keogh Ian Margocsy, Wranglers.................................Laurie Norris, Casting............................................... JenniferAllen Director..............................Chris Cuddington Key grip....................................Lester Bishop Roger McAlpine Gary Amos, Lighting director.................................... DavidArthur Editor.......................................Robert Ciaglia Asst g rip ..........................................Geoff Full Sound recordists...................John Beanland, Brian Rourke Technical producer............... Brian Mahoney Prod, supervisor...................................... JackPietruska Gaffer.........................................Ian Plummer David Redcliff Best b o y ................................................... KenMoffat Make-up............................. Britta Kingsbury, Prod, manager......................................... RozWiseman Electrician.............................. David Nicholls Editors...................................... Gary Watson, Location nurse...........................Julie Rourke Robert Wasson Prod, secretary............................... Pat Burke Boom operator.......................................SteveJames Ken Tyler Catering................................... Kate Roach Wardrobe............................... Patricia Forster Prod, accountant................................. WayneDearing Art director.......................Virginia Bieneman Prod, designers....................Robert Walters, (Katering Co.) Length................................................. 7 5 mins Animation..............Hanna Barbera Australia Costume designer........................ Terry Ryan Frank Earley, Tutor.............................Deborah McCormack Gauge............................................ Videotape Laboratory...............................................Atlab Make-up...........................Lesley Vanderwalt Dale Mark, Mixed a t..................................................Atlab Cast: Diane Craig (Liz), Penne HackforthLength.........................................13 x 30 mins Hairdresser............................Cheryl Williams Rudi Joosten Laboratory...............................................Atlab Jones (Gillian), Grigor Taylor (Warren), Gauge...................................................35 mm Wardrobe co-ordinator.......... Anthony Jones Composer............................. Greg Sneddon Post-production..................................CustomVideo David W h itn ey (Paul), Paul Mason Shooting stock.............................Kodak 5247 Ward, buyers..........................................JenniBolton, Exec, producer..............................Noel Price Length........................................13 x 46 mins (Laurence), Jim Kemp (Ron), Muriel Hopkins Scheduled release.......................September, Kerri Barnett Prod, manager................Lorraine Alexander Gauge................................................... 16mm (Helen), Carmen Warrington (Kate), Anna Standby wardrobe..................................FionaNicolls Prod, secretary............................. Sarah Hall NBC Network (U.S.) Shooting stock........................................ 7247 Phillips (Sally Tate), Margaret Maddock Set dresser............................................DallasWilson Cast: Pink Panther, Pinky, Panky, Rocko, 1st asst directors....................................PeterMurphy, Cast: Liz Burch (Kate Wallace), Louise Clark (Elly). Chatta, Murfel, Annie O’Gizmo, Punkin, Props buyers.............................................. IanAllen, James Lipscombe, (Maggie Scott), Rod Mullinar (Jack Taylor), Synopsis: A woman artist’s affair with a Howl, Liona, Finko. Mark Dawson Graeme Cornish, Jay Kerr (Con Madigan), Gus Mercurio (Ben younger man jeopardizes her marriage, her Synopsis: The legendary Pink Panther, first Standby props......................George Zammit Bill Smithett Jones), Michael Caton (Paddy Malone), career and her child's future. He personifies devised by Friz Freleng, now has a family of Set finisher............................ Frank Falconer 2nd asst directors.............................. DorothyFaine, Martin Lewis (Sam), Priscilla Weems the nihilistic philosophy of Herbert Marcuse street-wise kids who get themselves into Scenic artist...........................Len Armstrong Don Ryan, (Hannah Scott), Peter Carroll (Mr Withers), and tries to manipulate her. Her dependence endless trouble either by themselves or with Carpenters............................... Frank Phipps, Ann Bartlett Tony Blackett (Backer Bowman). on him forces her to reassess all the values Chris Norman, the help of an opposing gang of toughs led Continuity..................................................LeeHemlng, Synopsis: Television series made for Disney of her art and her life./ John Room by Finko, the punk lion. Kay Hannessy, Channel. The story of two women, one Aus Set construction.........................................BillHowe Sue Overton, tralian, one American, who run a stage stop WINNERS Asst editors.......................................... LouiseInnes, Ann Dutton ANZACS station at Five Mile Creek for the Australian Pam Barnetta, Producer’s assistants............................... LeeHeming, Prod, company............................ACTF Prods Express. Five Mile Creek dramatizes the Prod, company....................... The Burrowes Claire O’Brien Kay Hannessy, Producers............................Jane Ballantyne, lives and experiences of these frontier Dixon Company Sound editor................................. Tim Jordan Sue Overton, Tom Jeffrey, people in the 1860s. Producer..............................Geoff Burrowes Still photography....................................... Jim Townley Ann Dutton Sandra Levy, Directors...................................... John Dixon, FLIGHT INTO HELL Best boy............................... Patrick O’ Farrell Casting......................................... Greg Apps Richard Mason, George Miller Runner................................................ MichaelFanning Lighting directors.............. Peter Simondsen, Julia Overton, Prod, company........... ABC Forest's StudiosScriptwriters.................................John Dixon, Catering..............................CJ & DJ Catering Peter Lewis Revcom (France) Jane Scott John Clarke, Studios.............................................. Kennedy Miller Technical producers........... Steve Pickering, Producer................................................... Ray Alehin Directors..........................................Paul Cox, James Mitchell Laboratory........................................Colorfilm John Bennett John Duigan, Director................................................GordonFlemyng Photography.......................... Keith Wagstaff Lab. liaison................................................ BillGooley, Camera operators....................... John Tuttle, Michael Pattinson, Scriptwriter.............................................PeterYeldham Sound supervisor................... Terry Rodman Richard Piorkowski Ian Margocsy, Carl Schultz, Based on a true story Editor............................................. Philip Reid Length.........................................10x60 mins Roger McAlpine Esben Storm, Photography........................... Peter Hendry Prod, designer.......................... Lesley Binns Gauge..................................................16 mm Key g rip .................................................... Max Gaffney Chris Thomson, Sound recordist.......................... Ron Moore Composer..............................................BruceRowland Shooting stock......................................Kodak Electrician.........................................Jo Mitzal Stephen Wallace Prod, designer......................................LaurieJohnson Assoc, producer....................... Dennis Wright Boom operators...................... Ernie Everett, Cast: Alan David Lee (Stan), Tracy Mann Scriptwriters.....................Anne Brooksbank, Exec, producer........................... Chris Muir Prod, supervisor..............................Bill Regan Harry Harrison (Sally), Simon Chilvers (Hordern), Andrew John Duigan, Assoc, producer.......................... Ray Brown Unit manager......................... Ray Patterson Art director.................................................BobWalters Lloyde (MacDonald), Max Cullen (Hook), Bob Ellis, Prod, manager.........................Judy Murphy Prod, manager........................Andrew Morse Asst art directors...................................Frank Earley, Norman Kaye (Dad), Carol Skinner (Dot), Morris Gleitzman, Unit manager...............................Val Windon Prod, co-ordinator............................Jan Stott Dale Mark Junichis Ishida (Junji), Kenji Isomura Terry Larsen, Prod, secretary..................................Maureen Charlton Location manager..................Phil McCarthy Costume designer................................... Julie Skate (Shimoyama), Sokyo Fujita (Minami). Tony Morphett, Continuity.............................Larraine Quinell Unit manager............................................RayPattison Make-up................................Jurjen Zielinski, Synopsis: A 10-hour dramatization of the Casting.................................... Jennifer Bruty Jan Sardi Prod, secretary..............................Jan Irvine Ian Loughnan prisoner of war breakout in Cowra in 1944. Prod, supervisor...................... Damien Parer Camera operator..................... Roger Lanser Prod, accountant..................................... StanSeserko W ardrobe............................. Beverly Jasper, Designer............................................. Andrew Blaxland Budget..........................................$3.8 million 1st asst directors................. Bob Donaldson, Ann Brown DISPLACED PERSONS Costume designer...................... Jim Murray Length......................................... 8 x 60 mins Phillip Hearnshaw, P rops...........................................Nell Dyster, Length......................................... 4 x 7 5 mins Synopsis: Television series of eight Prod, company........................................ABC John Powditch Karl Miller Gauge................................................... 16mm separate stories based on the theme of Producer................................. Jan Chapman 2nd asst director................................... StuartWood Props buyer.......................... Helen Williams C ast: Anne Tenney (Kate), Dennis "young people winning over their circum Director...............................Geoffrey Nottage Continuity...................................... JenniTosi Special effects.......................................... RodClark, Grosvenor (Maxwell), Serge Lazareff stances, accepting challenges, gaining con Scriptwriter............................................. LouisNowra Casting...........................Maizels and Assoc. Terry Burrow (Charlie), Tim McKenzie (Anderson), Phillip fidence, making their own decisions, coming Based on the original idea Camera operator.....................................JohnHaddy Music performed b y............. Greg Sneddon Hinton (Supt. Wilson), Peter Whitford (Father to terms with life, growing up” . b y .............................................Louis Nowra Mixer..................................... John Beanland Focus puller...................................Phil Cross Thomas), Phillip Quasi (Chris), Brian Syron Lighting.................................................. PeterKnevitt Clapper/loader....................... David Stevens Still photography...................Lindsay Hogan (Father Cubero). Technical producer................ Merv Manthey Key g rip ..................................Ian Bennallack Title designer.......................... Phil Cordingly Synopsis: The true story of two German Sound recordists.................................... JohnSegal, Gaffer..................................... Stewart Sorby Publicity................................ Maggie Sefton, aviators, Hans Bertram and Adolf Klaus POST-PRODUCTION Michael Roberts Electrician..............................Peter Moloney ABC mann, lost in the Australian bush for 53 days. Video editor.............................................John Patrick Boom operator.......................................... JoeSpinelli Catering............................................... BandeAide Prod, designer................................... QuentinHole Asst art directors.................................... PeterKendall, FRAN Studios..................................................... ABC Composer.............................. Martin Armiger David O’Grady, CHILDREN OF TWO COUNTRIES Length.......................................... 9 x 50 mins Prod, company.......................... Barron Films Prod, manager......................Michael Collins Robert Leo Gauge.......................................... 1 inch (OB), Producer................................................ DavidRapsey Prod, company................................. KingcroftProds Prod, secretary.............................Padma Iyer Costume designer.................................. Jane Hyland 2 ins (studio) Director............................... Glenda Hambley (Australia) 1st asst director...................... Graham Millar Make-up................................ Fiona Campbell Shooting stock............................... Videotape Scriptwriter.........................Glenda Hambley Producer................................................. TerryOhlsson 2nd asst director................................... DavidMcClelland Hairdresser.............................................DaryiPorter Cast: Terry Bader (Bryce), Richard Healy Photography..............................................JanKenny Director................................................... TerryOhlsson Continuity............................................ DanutaBlachowlcz Wardrobe mistress............... Margot Lindsay (Ken), Debra Lawrance (Pat), Peter Hosking Sound recordist.............................. Kim Lord Scriptwriter.............................Terry Ohlsson Casting.....................................Jennifer Allen Military dresser......................Phil Chambers (Blair). Editor........................................Tai Ten Chen Photography...........................Michael Kings, Camera operators................... Richard Bond, Synopsis: The events surrounding a pair of Props buyer..................... Keith Handscombe Exec, producer........................................ Paul Barron John Mounsey Murray Tonkin, down-at-heel private eyes. Standby props....................... Barry Kennedy, Prod, co-ordinator..................Susie Cambell Sound recordist.........David McConnachie Tony Conolly, John Whitfield-Moore Prod, manager........................... Lee Beston Editors..........................................Bill Stacey, Denis Forkin, Special effects...................Conrad Rothman FIVE MILE CREEK Prod, accountant........................Eric Sankey Liz Irwin Glen Traynor, Armorer.................................................... MikeWarwick 1st asst director.....................................Steve Jodrell Composer...................................................Pat Aulton Series 2 Ross Milligan, Set construction..................................... BruceMichell 2nd asst director................. Lynn McGuigan Prod, manager............................. Terry Slack Peter Roberts Stunts co-ordinator.................................... BillStacey Prod, company....................................Valstar Continuity........................... Fiona Cochrane Unit manager............................... Terry Slack Key g rip ...................................................BoydDuurland Still photography.................................... GregNoakes Producers.......................... Henry Crawford, Lighting cameraman.................................JanKenny Prod, secretary.......................... Marina Seeto Lighting assistant..................................LaurieDonaldson Title designer.................... David Lancashire Doug Netter Focus puller........................ Jeremy Robbins Prod, accountant........Moneypenny Services Asst art director.......................Leigh Tierney Dialogue coach..................Lt Col. Mike Clark Directors................................................. GaryConway, Clapper/loader...................Mark Edgecombe Prod, assistant........................... Mike Caiger Costume designer.................................JanetPatterson Army liaison................. Major Tony Webster Kevin Dobson, Key g rip ....................................Maury Rogers 1st asst directors........................Bill Stacey, Make-up.........................................Val Smith, Brendan Maher, Gaffer....................................................... RayThomas Horse master........................................ GeraldEgan Liz Irwin Sandy Bushel! Robert Stewart Art director............................. Theo Mathews Publicity...................... Suzie Howie Publicity 3rd asst director............................Peter Doig Wardrobe............................................Carolyn Mathews, Story consultant..............Patsy Adam Smith Scriptwriters....................... Sarah Crawford, Make-up.................................Monica Brown Continuity..................................Marina Seeto Ron Dutton Graham Foreman, Catering................................................. FrankManley Props........................................................ TishPhillips Casting......................................... Terry Slack Props buyer.................................Max Bartlett David Boutland, Laboratory................................................VFL Asst editor...........................Brian McLelland Lighting cameramen.......................... Michael Kings, Standby props....................................... TerryBayliss, Keith Thompson, Budget...................................................... $6.5million Runner................................Michelle French John Mounsey Peter Moroney Denise Morgan, Length......................................... 5 x 120 mins Studios................................................Taimac Focus puller..........................................Martyn Goundry Musical director.................................... MartinArmiger David Stevens, Gauge...................................................16 mm Laboratory...............................................Atlab Clapper/loader..................................... MartynGoundry Mixed a t...................................................ABC Gwenda Marsh Shooting stock.............Kodak Eastmancolor Budget..............................................$700,000 Camera assistants..............................Russell Dortty, Length.................................................90 mins Script editor............................................. TomHegarty Progress........................................ Production Length.............................................. 94 mins Andrew McLean Gauge............................................Videotape Photography..........................................KevanLindGauge...................................................16 mm Scheduled release........................... Mid-1985 Electrician............................................. RogerWood Cast: John Wood (Dr Thomas), Dasha Sound recordist........................................ SydButterworth Cast: Paul Hogan (Pat Cleary), Tony Bonner Shooting stock...................................... Kodak Wardrobe..................................Ron Williams Blahova (Anna), Steven Vldler (Alexander), Editor.................................................... StuartArmstrong (Harold Armstrong), Martin Barrington Cast: Noni Hazlehurst (Fran), Danny Adcock Mixer.......................................................... JonMarsh Annie Byron (Sister Evans), Urszula Golka Composer..............................Bruce Smeaton (Andrew Clarke), Patrick Ward (Tom Mc (Ray), Alan Fletcher (Jeff), Annie Byron Still photography...................................... RonFumer, (Teresa), Anna Golka (Irena), Slawomir Prod, supervisors..................................DavidLee,(Marge), Colin McEwan (Graham), Rose Arthur), Shane Briant (Kaiser Schmidt), Cliff Frith Wabik (Tadeusz), Halina Abramowicz Jan Bladier mary Harrison (Carol). Megan Williams (Sister Mabel Baker), Noel Runner.....................................................Greg Ohlsson (Krystyna), John Orcsik (Miklos), Joe Spano Prod, co-ordinator...................................DaleArthur Trevarthen (Field Marshal Haig), Rhys McSynopsis: A contemporary drama about a Publicity.................................................... ReaFrancis (Federico), Hans Farkash (Hans), Eva Sitta Connochie (Lloyd George), Christopher Location m anager.............Steve Maccagnan welfare mother whose need for a man's Studios........................Kingcroft (Melbourne) (Annette), Tony Taylor (Pliyards), Reg Gillam Cummins (Roly Collins), Bill Kerr (Lt Gen. Sir Prod, accountant....... Moneypenny Services, attention conflicts with her need to love and Post-production............................... Kingcroft(Sydney) (Harris). John Monash), Ilona Rodgers (Lady Barring Val Williams care for her young children. Mixed at...................................Sound On Film Synopsis: In November 1945, a small group ton), Jim Holt (Dingo Gordon), Jonathan Prod, assistant.................... Elizabeth Hagan Laboratory........................................Colorfilm of European refugees arrived in Australia. A Sweet (Bill “ the Pom” Harris), Jon Blake 1st asst directors..................................AdrianPickersgill, GOLDEN PENNIES Length..........................................2 x 60 mins deadly disease, mysterious in its origins, (Flanagan). Keith Heygate Prod, company..........Revcom (France)-ABC Gauge..................................................16 mm random In its choice of victims, has broken 2nd asst director.................................... PeterKearney Synopsis: A dramatization of Australia’s Shooting stock......................... Eastmancolor Producer............................Oscar Whitbread out amongst them. A nervous government participation in World War 1. 3rd asst director...........................G. J. Carroll Director.............................. Oscar Whitbread Synopsis: A television special based on the kept the refugees secretly at Sydney Continuity..............................Jackie Sullivan premise that, whatever the differences in cul Scriptwriter........................................ GraemeFarmer Quarantine Station, racing against time to Casting.................................................... VickiPopplewell ture, background or language, children will Based on the original idea COWRA BREAKOUT find an antidote and stop the disease from Focus puller........................................... TracyKubler always find a way to communicate with and by.................................................... GraemeFarmer spreading to the Australian populace. Prod, company.................................KennedyMiller Clapper/loader........................................ChrisCole understand each other. Photography...............................................IanWarbuton Producer...........................................MargaretKelly Key grip....................................................BrettMcDowell Sound recordist.........................John Boswell THE DUNERA BOYS THE FACTS OF LIFE Directors............................................... Phillip Noyce, G rip ............................... “ Nobby” Szafranek Editors........................................................ BillMurphy, Chris Noonan (The Winners series) Gaffer.............................Graham Rutherford Prod, company.....................................Jethro Films Barry Munroe Scriptwriters..................................... MargaretKelly, Producer....................................................BobWeisBoom operator.................................. GrahamMcKinney Prod, company.......................................ACTF Prods Prod, designer........................................CarolHarvey Chris Noonan, Art director................................................ LisaElvy Director......................................... Ben Lewin Producers........................................... SandraLevy, Prod, manager...................................... FrankBrown Phillip Noyce, Costume designer................................ JennyArnott Scriptwriter....................................Ben Lewin 1st asst director.....................Peter Trofinovs Julia Overton Russell Braddon, Make-up...............................................FelicitySchoeffel Based on the original idea Director..................................... Esben Storm Continuity...............................Christine Lipari Sally Gibson Hairdresser................................. Joan Petch b y ...............................................Ben Lewin Scriptwriter............................................ MorrisGleitzman Casting..........................................Greg Apps Photography.......................................... GeoffBurton Standby wardrobe....................... VTv Wilson, Synopsis: 1939: German Jews in exile in Photography............................ David Gribble Lighting cameraman............ Ian Warburton Sound recordist.................John Schiefelbein Judy-Ann Fitzgerald Art director............................... Carol Harvey England, suspected to be Nazi sym Sound recordist........................................ KenHammond Editors...................... Richard Francis-Bruce, Ward, assistant..................... James Watson pathizers, are sent by Churchill’s govern Publicity................................................... ABC Editor........................................................ PaulHealy Henry Danger, Props buyers........................Brian Edmonds, ment to an unknown destination on the ship Prod, designer...................... Robert Flaherty Studios..................................................... ABC Neil Thumpston, Michael Tolerton Mixed a t................................................... ABC “ Dunera". Composer............................. Michael Norton Marcus D’Arcy Standby props..................... Nick Reynolds, Length..........................................8 x 30 mins Exec, producer.............Australian Children’s THE FAST LANE Prod, designer....................................Bernard Hides Gary Freeman Gauge....................................................16mm Television Foundation Prod, manager.................................. BarbaraGibbs Set dressers.........................Brian Edmonds, Prod, company........................................ ABC Prod, m anager.......................Cathy Flannery Shooting stock...................................... Kodak Unit manager............................................ KimAnning Michael Tolerton Synopsis: An English family come to the Producer.................................................. NoelPrice Location unit manager............ Bevan Childs Prod, secretary............................. Dixie Betts Scenic artist.................................Ray Pedler Directors....................................... Noel Price, Australian goldfields in the 1850s to seek Prod, accountant......................Jill CoverdaJe Prod, accountant...................Alistair Jenkins Construction m anager..........Denis Donelly Lindsay Dresden, their fortune. In the family, mother, step 1st asst director................................ Phil Rich Asst accountant............................Peter Dons Asst editor........................ Danielle Weissner Richard Sarell, father and the young son and daughter, 3rd asst directors...................... Paul Manos, 1st asst director........................................ BobHoward Neg. matching.................................Delaneys animosity exists between the step-father and Colin Budds Shephan Elliott 2nd asst directors.................................. Chris Webb, Music editor......................... Garry Hardman Scriptwriters..........................Andrew Knight, the son. The children then meet the family of Continuity.............................. Roz Berrystone Ian Kenny (Australian Screen Music) a travelling sideshow and it is against the John Clarke Extras’ casting.......................Manage-a-Trois 3rd asst director............................... ElizabethLovell Sound editor...........................Hugh Waddell Based on the original idea background of the family’s struggles that the Camera operator...................... David Gribble Continuity.................................................SianHughes by............................................ John Clarke, Asst sound editor.........................Mike Jones Focus puller.....................Peter Menzies Jnr children’s adventures are set. C asting.................... Michael Lynch (Forcast) Andrew Knight Mixer.................................Julian Ellingworth Clapper/loader......................... Garry Phillips SONS OF PINK PANTHER Extras casting............................................SueParker Photography.....................Peter Simondsen, Stunts co-ordinator......................Guy Norris Camera dept Lighting cameraman............................. GeoffBurton Still photography........................ Jim Townley Peter Lewis, Prod, company.......Hanna Barbera Australia attachment................... Nicolette Freeman

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Production Survey

G rip .................................................. Roy Mico Mixer....................................... Gemini Sound (Neville Jackson), Nicole Kidman (Bridgette Synopsis: A story of adventure and romance Editors.................................. Bruce Hancock, Asst g rip.................................. Guy Williams Elliot), Gregory Fleet (Jim Finn), Con Still photography........................ Mark Burgin John Morris based on the contemporary Royal Flying Gaffer.......................................Miles Moulson Mathious (Jacko Ross). Catering..........D.J. & C.J. Location Catering Doctor Service. Prod, designer..................................... RobertLloyd Boom operator.......................................... JoeSpinelli Synopsis: Matthew Caine is trying to Length......................................... 1 3x25 mins Composer (titles)............................... ThemosMexis THE LAST BASTION balance dual roles of parent and police Make-up.................................................. LloydJames Gauge............................... 1 in. PAL C format Exec, producer............................. EricTayler Hairdresser.............................................LloydJames surgeon, jobs that can call him any hour of Shooting stock............................... Videotape Assoc, producer.................................MichaelMcKeag Prod, company......................... Classic Films Wardrobe supervisor......Jennifer Carseldine the day or night. Cast: Justine Clarke (Tina), Adam Willits Prod, co-ordinator.................Roz Berrystone Producers..................................Brian Rosen, (Johnny), Ross Browning (The Baron), Alan Standby w ardrobe...................... Suzy Carter Unit manager.........................Richard Hobbs David Williamson, POSSESSION Highfield (Carlo), Ben Franklin (Jacques), Art dept assistant......................Annette Reid Prod, secretary.................................. JenniferWard Denis Whitburn (pilot) Props buyers..................... Jock McLachlan, Dasha Blahova and Clella Tedeschi (Lotte), Prod, accountant............................... JenniferWard Director.................................. Chris Thomson Peter Seaborn (Maestro), Janet Ashelford Glen Medley Prod, company.................Grundy Television 1st asst directors.................................. SorenJensen, Scriptwriters...................... David Williamson, Dist. company..........................................NineNetwork (Maria), Alan Highfield (Renato Del Cardo), Standby props...................................... RobertMoxam Rod Allen Denis Whitburn Exec, producer.............................Don Battye Mazz Appleton (Weazel). Asst editors.................................................GaiSteele, 2nd asst director....................................... KenRichardson Photography................................ Louis Irving Director............................................. Phil East Synopsis: Two children, who are Ignorant of Mitzi Goldman 3rd asst director............. Klaus-Peter Mueller Sound recordist........................Peter Barker Scriptwriter....................................Bevan Lee Dubbing edito r............................... Lee Smith the Directors’ assistants...................................JillMcGlashan, Editor....................................................... SaraBennett world of opera, become involved with a Based on the original idea group of eccentric would-be opera stars, por Still photography........................Jim Sheldon Llndy Edgley Prod, designer........................................LarryEastwood b y ........................................... Reg Watson trayed by puppets. T u to r...................................Joanne Kennedy C asting............................................FerrymanTelevision Prod, co-ordinator.....................Lynda House Cameraman.............................. Phil Balsdon Safety officer......................................... BernieLedger Casting consultants (crowds)........... Studio J Prod, manager........Carolynne Cunningham ONE SUMMER AGAIN Sound recordist..................... Max Alexander Best boy.............................. Mark Freidman Lighting cameraman...............................GaryMoore Unit manager..........................................MardiKennedy Editor......................................... Frayne Dyke (THE HEIDELBERG SCHOOL) Publicity..................................... Suzie Howie Camera operators.................................. ColinPurnell, Financial Composer................................. Mike Harvey Catering...............................Jeanette Bonner Graeme Ross controller.... Richard Harper Management Prod, company........................................ABC Prod, supervisor.................................... PeterPinne Laboratory........................................Colorfil m 2nd unit camera operator........... Jim Walpole Prod, accountant............................... MicheleJames Producer................................................. KeithWilkes Prod, co-ordinator................................ SusanCourtney Lab. liaison...................... Richard Piorkowski Key g rip ............................................. GrahamYoung 1st asst director.......................................ColinFletcher Director....................................................MarkCailan Prod, manager...........................Brenda Pam Cast: Dennis Miller (Ron Guthrie), Anne 2nd unit photography............................... PhilDority 2nd asst director..................................... TonyMahood Scriptwriter....................................Bill Garner Location unit manager............Eddie Prylinski Grigg (Di Guthrie), Ken Talbot (Ben Guthrie), 2nd unit sound recordist............Ralph Steele 3rd asst director.................................. MurrayRobertson Based on the original idea John Clayton (Wal), Candy Raymond (Jean), TCN-9 prod, manager...............Judy Dupont Gaffer..................................................... GeoffMaine Asst unit b y ............................................... HumphreyMcQueen 1st asst director................................ StephenJones David Downer (Barry), Sheila Florance Electrician.............................................ShaunConway manager........Christiaan Hoppenbrouwers Senior cameraman..................Ian Warburton (Esme), Toni Allaylis (Claire), Sharon Miller 2nd asst director...........................John Titley Production facilities...................................HMProductions Continuity.......................................Pam Willis Sound recordist............................... Bill Doyle Continuity........................................... DaphneParis chip (Amanda), Mark Kounnas (Jason). Technical director................................... JoshKirkProducer’s assistant..................... Rosie Lee Editor............................................ Bill Murphy Synopsis: Ben’s parents, who are con Casting...................................... Sue Manger 2nd unit technical Casting................... Forcast (Michael Lynch, Prod, designers....................Gunars Jurjans, Casting assistant...................... Helen Salter cerned at Ben shutting himself away with director............................................GeorgeGryllis Rae Davidson) " MaxNicolson Technical producer.................... Paul Cooke video cassettes and magazines, assume he VTR operator.......................................... GintsVietnieks Extras casting..................................Jo Hardie Exec, producer....................................... KeithWilkes OB manager........................ Warren Berkery Boom operator.......................................... PhilCole is researching a more common 12-year-old Lighting cameraman..............................LouisIrving Prod, manager........................................GeoffCooke Key g rip .................................... Bruce Barber preoccupation. Dad is sent in to explain “ the 2nd unit boom operator.............................SueKerr Focus puller.................................. Derry Field Unit manager.............................. Geoff Cooke Art director............................................RobertLloyd Facts of Life” , only to find the questions Ben Gaffers................................. Nick Alexander, Clapper/loader......................................LaurieKirkwood Prod, secretary............................. Sarah Hall Robert Thomson Asst art director....................................... TonyHunt asks are far tougher than he expected and Key g rip ................................................. BruceBarber 1st asst director.......................................... BillSmithett Electrician.................................Ted Williams Costume designer................................ JennyCampbell he doesn’t have the answers to them. Asst grip..............................Brendan Shanley 2nd asst director.................................DorothyFaine Boom operator...........................................PhilKerros Make-up............................................ JohanneSantry Gaffer........................................Peter O'Brien Continuity............................................... KerryBevan THE FIGHTING GUNDITJMARA Art director................................. Ken McCann Make-up assistant.................................. SusieLaurie Electrician...................... John Bryden-Brown Producer’s assistant..............................KerryBevan Ward, assistant....................................... SuzyCarter Prod, company.................Gunditjmara Prods Make-up supervisor.................. Lloyd James Boom operator.............................. David Lee Casting......................................... Greg Apps Hairdresser..............................Robin Maxted Standby props.......................................KerrieReay Producer.................................... Robert Brow Wardrobe designer................................ DavidRowe Extras’ casting....................... Marian Pearce Wardrobe............................................HeatherMcLaren Set construction......................................John Denton Director...................................... Robert Brow Make-up.................................................... BobMcCarron Lighting cameraman.............. Ian Warburton Ward, assistant......................................... LynAskew Music editor............................ Gary Hardman Scriptwriters...............................Jim Poulter, Make-up assistant............................... WendySainsbury Camera operator.....................................JohnHawley Videotape sound editors..... Trevor Harrison, Robert Brow Props buyer/dresser........................ MargaretSlarke Hairdresser................................ Jenny Brown Focus puller.............................. Trevor Moore Standby props..................... Robert Moxham Martin Oswin, Wardrobe supervisor..............................AnnaWade Based on the original ideas Key g rip .............................Tony Woolveridge Music editor......................... Garry Hardman Keith Newman Standby wardrobe..............................AndreaBurns by............................................. Jim Poulter, Electrician............................................... MickSandy Mixers...................................Trevor Harrison, Ward, assistant............................ John Shea Robert Brow Sound editor........................ Andrew Stewart Boom operator.............................. Gary Lund Stunts co-ordinator............. Dee Arlen-Jones Martin Oswin, Standby props...........................................IgorLazareff Photography............................Barry Malseed Costume designer.................. Alwyn Harbott Armou rer...................................................BobColby Keith Newman Asst props buyer...........................Kim Darby Sound recordists................Laurie Robinson, Make-up................................................ JurjenZielinski, Runner.................................NoelCunnington Stunts co-ordinator.......................Peter West Design assistant...............................RebeccaRaft John Rowley, Linda Washbourne Publicity.................................................... TomGreer Wolf Becker Still photography............... Geoff McGeachin Art dept administrator.............................LeahCocks Wardrobe.........................Rhonda Shallcross Catering........................ Take 1 Film Caterers Editor......................................... Robert Brow Best boy................................. Robert Verkerk Art dept runner.....................................MurrayPope Props buyers..........................................Norm Jones-Ellis, Post-production facilities............'............VTC Videotape editor..................... Mark Sanders Publicity.....................................Network 0-28 Set decorators..................... Sally Campbell, Max Lawler Length..........................................................95mins Composer.................................. Red Symons Catering............................. Janette’s Kitchen Llssa Coote Special effects...............................Rod Clack G auge....................................................1-inch Prod, co-ordinator................................... NolaBrown Studios........Ferryman Television (Granville) Scenic a rtist............................................PeterHarris Scenic artists........................................... OttoBoron, Shooting stock............................... Videotape Prod, secretary........................................NolaBrown Mixed a t ............................Colorfilm Videolab Painter.......................................... Chris Reid John Tribilco Synopsis: Two young girls from the country Lighting cameraman.............. Barry Malseed v / t laboratory................... Colorfilm Videolab Carpenters............................................... BobPaton, Asst editors......................................... StevenRobinson, arrive in the city and meet someone who Camera operator....................Barry Malseed Lab. liaison..............................................PeterBowlay Errol Glassenbury, Nick Lee irrevocably changes the course of their lives. Dave Young, 2nd unit photography..............................GarySmith Length.......................................... 7 x 60 mins Sound editor............................................... BillMurphy Narrator................................... Reg Saunders Geoff Howe Gauge............................................ Videotape QUEEN OF THE ROAD Editing assistants.................... George Moore Mixed a t......................................Video House Scheduled release................... October 1984 Construction manager............................BrianHocking Title designer.......................................... JudyLeech Prod, company............................... JNP Films Laboratory................................................ VFL Cast: Grigor Taylor (Jack Cheney), Lex Workshop m anager.................................AlanFleming Publicity............... ABC Publicity Department Producer................................ James Davern Budget....................-.......................... $70,000 Marinos (Tim Pappas), Rebecca Gilling Asst editors..................................Emma Hay, Catering........................Bande Aide Caterers Director.........................................Bruce Best Length.................................................50 mins (Jean Cheney), Gosia Dobrowolska (Magda Margaret Sixel Length.........................................3 x 5 0 mins Scriptwriter...............................................LuisBayonnas Stancovic), Henri Szeps (Milcus Kuskis), Gauge.................................................. 16 mm Dubbing editors...................... Paul Maxwell, Cast: Chris Hallam (Tom Roberts), Michele Photography.............................Joe Pickering Shooting stock...................................... Kodak Anne Breslin Jess Ashby (Stanley Duncan), Robert Fawdon (Jane Sutherland), Huw Williams Sound recordist........................................KenHammond Hughes (George Keller). Cast: Reg Saunders. Asst dubbing editors............Margaret Sixel, (Arthur Streeton), William Zappa (Billy Editor....................................................... ZsoltKollanyi Synopsis: The Fighting Gunditjmara is Synopsis: “ Communicare” is a community Julia Gelhard Maloney), Phil Sumner (Fred McCubbin). Prod, designer....................... Michael Ralph about a young Aboriginal boxer, Graeme legal aid centre, run by barrister Jack Still photography..................... Carolyn Johns Synopsis: A radical look at the first Austra Composer...........................................MichaelPerjanik “ Porky” Brooke, and his struggle to achieve Cheney, young lawyer Tim Pappas and their Best boy..................................................CraigBryant lian art movement. Assoc, producer............................ Irene Korol success as a boxer. It also parallels the assistant, Magda Stancovic. Jack and his Unit runner............................................. PeterVoeterl Prod, supervisor............................ Irene Korol TIME’S RAGING struggle of his tribe, the Gunditjmara, to small staff attempt to cope with the Publicity.............................................. VictoriaBuchan, Prod, co-ordinator............... Sally Ayre-Smith problems of their clients who are from Channel 10 survive. Prod, company........................................ ABC Prod, manager.............................. Irene Korol Catering...................................... John Welch various ethnic backgrounds. Producer.............................. Michael Carson MATTHEW AND SON Unit manager.................................Henk Prins Studios........... ABC Studios, French’s Forest Director.............................Sophia Turkiewicz Prod, secretary................................... DebbieBraham THE FLYING DOCTORS Prod, company.........Television House Films Laboratory........................................ Colorfilm Scriptwriters....................Sophia Turkiewicz, Prod, accountant........................Matt Sawyer Prod, company................................Crawford Prods Dist. company............................Network Ten Lab. liaison................................................ BillGooley, Frank Moorhouse 1st asst director............. Charles Rotherham Producers................................. Bud Tingwell, Producer.................................. Damien Parer Richard Piorkowski Based on a short story from the 2nd asst director................................ MichaelFaranda Graham Moore Director.....................................Gary Conway Length.........................................3 x 120 mins book Futility and Other Animals 3rd asst director....................................... TomBlackett Director..................................... Pino Amenta Scriptwriters...................Christine Schofield, Shooting stock...................................... Kodak b y ................................... Frank Moorhouse Continuity.................................................NickiMoors Scriptwriters......................... Terry Stapleton, Marcus Cole Cast: Michael Blakemore (John Curtin), Photography........................... Julian Penney Camera operator...................... Wayne Taylor Vincent Moran John Wood (Robert Menzies), Robert Based on the original idea Sound recordist.............................Ben Osmo Clapper/loader......................... Conrad Slack Exec, script consultant..........Barbara Bishop Vaughn (Douglas MacArthur), Timothy b y .............................John Young and story Editor.................................... Tony Kavanagh Key grip................................Paul Thompson Photography..........................................DavidConnell by Bert Deling West (Winston Churchill), Ray Barrett Prod, designer.........................................Tony Raes Asst grip............................... George Tsoutas Sound recordist.................................. AndrewRamage and Michael Aitkens (General Blarney), Warren Mitchell (Franklin Composer....................................Bill Motzing Focus puller............................................ AnnaHoward Editor........................................ Ken Sallows Photography................................Ellery Ryan Roosevelt), Peter Whitford (Dr Evatt), Prod, manager......................................Dennis Kiely G affer....................................................... RegGarside Exec, producers................Hector Crawford, Sound recordist................................ Ian Ryan Graeme Rouse (Sutherland), Max Cullen Unit manager.............................. Val Windon Boom operator....................... Andy Duncan Ian Crawford, Editor......................................................... CliffHayes (Eddie Ward), Bill Hunter (Ben Chifley), Jon Prod, assistant................... Jennifer Couston Art director.............................. Michael Ralph Terry Stapleton Prod, designer........................Robbie Perkins Ewing (Bill Hughes), David Downer (Percy 1st asst director......................... Scott Feeney Costume designer................. Helen Hooper Assoc, producer...................................... MikeLake Composer................................................ RossBurton Spender), Tony Lleweliyn-Jones (Earle2nd asst director...................................... KateWoods Make-up......................... Margaret Alexander Prod, co-ordinator................... Janine Kerley Exec, producer........................................ JohnYoung Page), John Hamblin (Anthony Eden). Continuity............................................RhondaMcAvoy Wardrobe................................Helen Hooper Prod, manager...................................... Helen Watts Post-prod, supervisor.............................DavidJaeger Synopsis: “ The Last Bastion” are the words Casting.....................................Jennifer Allen Props buyer................................................IanGrade Unit location m anager....................Grant Hill used by John Curtin in his 1942 appeal to Prod, co-ordinator............... Jennie Crowley Lighting cameraman.............. Julian Penney Standby props........................ John Osmond Asst location manager........................ MurrayBoyd President Roosevelt not to let Australia fall. Prod, manager........................................... JanTyrrell Camera operator.....................Julian Penney Set dresser............................... Mark Clayton Prod, accountant...................................VinceSmits Australia faced a crisis as the Japanese Unit manager..................Michael McGennan Focus puller............................. Russell Bacon Asst editor...........................................LeanneGlasson 1st asst director............................. John Wild moved inexorably south. Australia, already Location manager..........Michael McGennan Clapper/loaders.......................................BrettJoyce, Sound editor........................................ AshleyGrenville 2nd asst director................................ MichaelMcIntyre marked ‘expendable’ by Britain and the Prod, accountant.....................Mandy Carter Robert Foster Stunts co-ordinator................................ GrantPage 3rd asst director........................Jack Zalkalns U.S., lay exposed. The threat of invasion 1st asst director....................................RobertKewley Key g rip .................................... Alan Trevena Still photography.................... Andrew Jacob Continuity................................................ Julie Bates was imminent. 2nd asst director.................. Marcus Skipper Asst g rip ................................................... PaulLawrence Best boy................................................... SamBlenstock Focus puller............................................ GregRyan 3rd asst director...................... Stephen Saks Gaffer.......................................Martin Perrott Runners.................................... Andrew Paul, Clapper/loader......................... Bruce Phillips THE MAESTRO’S COMPANY C ontinuity............................................JoanneMcLennan Electrician................................... Pierre Drion Kit Quarry Sound assistant.....................Scott Rawlings Casting consultant.................................... LeeLarner Prod, company...............Independent Prods Boom operator...............................Geoff Krix Publicity................................................... Lucy Jacob Key g rip ....................................Ian Benallack Camera operator....................................ElleryRyan Producer......................................Jim George Asst art director...................................... SteveGow Catering.................................. Kaos Katering Asst g rip...................................Craig Dusting Focus puller............................................ LeighMackenzie Director............................... William Fitzwater Make-up........................................... ChristineBalfour Studios.............................................. Mortbay Gaffer..................................................... DavidParkinson Clapper/loader..................................... KattinaBowell Scriptwriters........................ Marcus Cooney, Wardrobe.......................................... Christine Sadd Length.................................................98 mins 3rd electrician/ Key g rip ............................. Paul Ammitzboll Sue Woolfe, Ward, assistant.......................Wendy Chuck Gauge................................................35mm gennl operator....................................SteveBickerton G rip ......................................... Peter Kershaw Sheila Sibley, Props........................................... Dave White Cast: Joanne Samuel (Rosie Costello), Art director......................................Tel Stolfo G affer...................................... Tony Holtham Marcia Hatfield, Props buyer....................... Paddy McDonald Amanda Muggleton (Gall O’Reagan), Chris Asst art director..................... Bernie Wynack Electrician............................... Bruce Towers Rick Maier, Standby props........................................ SteveStannard Haywood (Max), Chris Hession (Len), Allan Make-up.................................Leeanne White Boom operator...........................................RayPhilips Hugh Stuckey Set decorator....................... Bob Hutchinson McQueen (Fegs), Kevin Leslie (Bronco), Asst make-up hairdresser............Pam Wright Costume designer............ Michael Chisholm Story/script editor.................... Hugh Stuckey Scenic artist........................................ GeorgeStanton Shirley Cameron (Mama Lil), Shane WithingWardrobe supervisor............................. ClareGriffin Make-up...................................Rochelle Ford Series created by................................. Marcia Hatfield Carpenter...................................................Jim Harper ton (Fred (Speedy) Norton), Al “ Herpie” Wardrobe standby....................................PhilEagles Ward, assistant.................................. LucindaMcGuigan Photography..................... Robert McDonnell Asst editor.............................................RoslynPitsonis Graves (Brian Moll). Ward, assistant............... Margot McCartney Make-up/wardrobe Sound recordist....................................... NoelQuinn Neg. matching..........................................PamToose Synopsis: A drama comedy about two Props buyer............................Bernie Wynack fa cilities.........Mobile Production Facilities Videotape editing...................................20/20Vision Sound editor............................................PeterTownend female truckles who are doing a run from Standby props................................Barry Hall Props buyer................... Steven Jones-Evans Set designer........................................ WendyDickson M ixer....................................................... PeterBarber Sydney, Brisbane and return. They are being Set dressers........................................ HarveyMawson, Standby props.........................Jody Borland Exec, producer................................... RichardDavis Still photography.....................................GaryJohnston chased by everyone from the repossessor to Murray Kelly Special effects........................ Brian Pearce Prod, co-ordinator..................... Julia Ritchie Publicity.................................................LesleyJackson thugs, not to mention the police. Construction manager..............Peter McNee Set dressers.................Steven Jones-Evans, Prod, manager........................... Brenda Pam Catering................................................. FillumCatering Asst editor............................. Warwick Crane Martin Perkins Prod, accountant................... Margaret Keefe Studios........................ ABC, French’s Forest Stunts.................................... Chris Anderson Sound editor............................................PeterPalanky Director’s asst/research............Sian Hughes Mixed-at....................... ABC, French’s Forest Still photography........................ Sterio Stills Stunts...................................................... PeterWest 1st asst director......................Stephen Jones Laboratory........................................ Colorfilm (David and Lorelei Simmonds) 3rd asst director..................................RichardJazek Best boy................................... Bruce Towers AWAITING RELEASE Length.......................................................... 75mins Best boy...............................Richard Tummel Runner..................................... Craig De Jong Casting consultants.... Malzeis & Associates Gauge..................................................16 mm Hunner....................................................PeterNathan Publicity.................................................EileenO'Shea, Camera facilities and Shooting sto ck................. Kodak 7294, 7291 Unit publicist.................................. Chris Day Kerrie Theobold (Channel Ten) operation............................................. TramVideo Scheduled release.................................. 1985 CITY WEST Catering....................... Early Morning Risers C atering.............................................. Kristina Frohllch Gaffer.....................................................ShaunConway Cast: Judy Morris (Lauren), Michael Aitkens ' (Tony Llppold) Prod, company....Ferryman Television Prods Mixed a t ....................................................AAV 2nd sound recordist................ Doron Kippen (Cam), Lewis Fitzgerald (David), Penne Dist. company..........................Network 0-28 Studios.................................................. HSV7 Laboratory..........................................Cinevex Art d irector......................... Chris Breckwoldt Hackforth-Jones (Jane), David Downer Length.......................................... 6 x 60 mins Costume designer..................Fiona Spence Producer................................... Eric Fullilove Lab. liaison............................... Bruce Braun (Jimmy), Vicki Luke (Margaret). Directors...................................... Brian Faull, Gauge...................................................16mm Budget.............................................. $800,000 Make-up............................. Sylvana Vennery Synopsis: Lauren is 38 and a successful Julian McSwiney, Shooting stock.............................Kodak 7291 Length................................................. 90mins Wardrobe.................................................. RitaCrouch solicitor. She is separated from Cam and in Cast: Andrew McFarlane (Tom Callaghan), Ward, assistant......................... Moya Calvert Brian Lennane Gauge.................................................... 16mm volved in a relationship for which she sees Lorna Patterson (Liz Drever), Keith Eden Props maker..............................Eugene Intas Scriptwriters................................. Colin Free, Cast: Paul Cronin (Matthew Caine), Paula no future, with David who is 28. Lauren (Harry Sinclair), Vikki Hammond (Beth Props buyer........................ Sandy Wingrove Cliff Green Duncan (Barbara Dean), Darius Perkins craves motherhood, and recognizes that her Drever), Steve Bisley (Andy McGregor), Bill Standby props........................ Jamie Crooks Based on the original idea by........Colin Free (Stephen Caine), Regina Gaigalas (Kate biological time is running out. Cam offers a Hunter (Dusty Miller), Linda Hartley (Diana Scenic artist.................................. Ray Pedler Photography................................ Gary Moore Trahearn), Caroline Gillmer (Gloria Doran), reconciliation, forcing Lauren to confront Sound recordist....................John O’Connell Daniels). Peter Kowitz (Jerry Ashton), Victor Kazan Set construction......................Brian Hocking difficult and urgent life options, ■flf’

CINEMA PAPERS October — 355

Film Victoria is proud to be associated with the A.F.I. awards and to be involved in

which have been nominated in the 1984 awards.

HERALDING A NEW WAVE IN AUSTRALIAN CINEMA! Premiere Seasons M ELBOURNE Russell Cinemas 131 Russell Street Telephone 63 8131

SYDNEY Academy Twin Cinema 3a Oxford Street Paddington Telephone 33 4453

C H R IS H A Y W O O D C A R O L B U R N S in a film by Richard Lowenstein

STRIKEBOUND m co-starring Hugh Keays-Byrne Rob Steele Marion Edward

. Written and directed by Richard Lowenstein TRM Productions

Util dolby stereo |

Released by Ronin Films

Released by R O N IN FILM S P .O . Box 1005 C ivic S quare A C T 2608 T e le p h o n e C a n b e rra (062) 48 0851 Telex R o n in A A 62238

S trik e b o u n d Dave Watson Any work of art which sets itself the task of dealing directly with the themes of struggle, growth and, above all, vic tory runs the risk of succumbing to its own rhetoric. Richard Lowenstein’s first feature, Strikebound, accepts that risk and brilliantly eliminates it. Lowenstein is on record as saying that among his pet hates are “ films and television programs which romanticize the trade union movement” 1. Apart from the copious technical ways in which such a romanticization can be avoided2, the principal tools to which Lowenstein has recourse are under statement and gentle, but irrepressible, humor. One of the opening titles of the film informs the audience that The film is a recreation of actual events that occurred in the South Gippsland coalfields of Australia during the 1930s. Certain charac ters, names and incidents have been altered for dramatic purposes. Strikebound is offered, then, as a document, a dramatic reconstruction of events which directly influenced and encouraged the growth of the Austra lian trade union movement. Wattie and Agnes Doig (played in the film’s central section by Chris Haywood and Carol Burns) are a Scottish immigrant couple in the Victorian mining town of Korumburra. Wattie is militant in his fight for better working conditions in the Sunbeam Colliery: his readiness to call stop-work meetings to draw the attention of the pit management to the miners’ demands leads directly to a lock-out. The miners duly strike and the pit m anager, Birch (David Kendall), retaliates by importing scab labor. The conflict becomes acute and, after such strong-arm tactics as the intervention of the police and an attempt, by management-hired thugs, on Doig’s life, more overtly militant measures are called for. The mine pump is sabotaged, the scabs refuse to work and the strikers barricade them selves in the pit. After two-and-a-half days, the men re-emerge, and a closing title tells that six weeks later the mining company agreed to their demands. It must be said that such a pithy synopsis does scant justice to a film whose uncompromising humanism far transcends the immediacy of the his torical facts it relates. The Doigs are, initially at least, as politically diverse as any couple can be. Wattie is a card carrying member of the Australian 1. “ R ic h a r d L o w e n s te in : d i r e c t o r ” , i n t e r v ie w b y S c o tt M u r r a y , Cinema Papers, N o . 47, A u g u s t 1984, p . 212. 2 . T h e s e a r e e x te n s iv e ly c a ta lo g u e d in “ A n d r e w d e G r o o t : d i r e c to r o f p h o t o g r a p h y ” , in te r v ie w b y S c o tt M u r r a y , a n d “ D e a n G a w e n , G e th in C r e a g h , R ic h a r d L o w e n s te in : s o u n d ” , in te r v ie w b y P a t F is k e , Cinema Papers, ibid., p p . 2 1 4 -1 5 , 2 8 7 a n d p p . 2 1 6 -1 7 , 2 8 8 -8 9 .

Richard Lowenstein’s Strikebound, recreating “the truth as Wattie and Agnes [DoigJ saw it”. Here the Doigs are played by Carol Bums and Chris Haywood.

Communist Party; Agnes, an ex-Pres byterian, is a member of the Salvation Army. The two worlds are structurally counterpointed from the outset and their eventual fusion — when Agnes dispenses with her Salvation Army uniform and organizes a women’s auxiliary group in material support of the striking miners — lifts the film’s discourse beyond party politics and into the realms of social consciousness. As the real Wattie Doig suggests at the beginning of the film, the prevail ing mood of pessimism and defeatism in the workers’ movement during the Depression inhibited the growth of social consciousness: the workers needed leaders to mobilize them as a unified social force to be reckoned with. In so far as Wattie was instru mental in this mobilization, it must have been tempting for Lowenstein to make a hero-figure of Doig’s counter part in his dramatic reconstruction. Instead, Haywood gives such a balanced and quietly incisive perform ance that one is allowed to see the warts-and-all version of Wattie Doig: the militant who stands idly by (when he is not an active participant) at incidents of scab-bashing; and who is blind to the problems of members of

the local police force (and of his own class), whose sympathy with the strikers is suggested at more than one point in the film, but who are forced by the nature of their job to keep order — in apparent support, therefore, of scabs and management. (Credit for the suggestive articulation of this dilemma must surely go to Tony Hawkins’ Police Sergeant.) To elaborate, however, the afore mentioned injustice which any brief résumé of Strikebound must do to the film, and to air some of the difficulties which such a work, by its very nature, presents to the reviewer, one must examine the network of images on which the film is based. For it is these images, and the technical expertise with which they are brought to the screen, which confer on the film an in disputable artistic validity. This is over and above the socio-political validity to which the film can justifiably lay claim and which has, in any case, been long since historically sanctioned. Lowenstein has chosen to place his representation of events between two excerpts from interviews with the real Agnes and Wattie Doig (still alive, and still socialists, in their eighties). The purpose of this technique is twofold.

First, it lends a documentary veracity to the central, “ dramatic” section of Strikebound: introductory titles alone — “ This film is based on events which actually happened” , etc. — would have been inadequate. Second, the comments which the Doigs make, and which run on as voice-over into the opening sequences of the reconstruc tion, immediately validate, historically and through the eyes of the two main characters, the events the audience is about to witness. As Lowenstein has said: I had made up my mind to stick to reality rather than dramatize it too much. I wanted to recreate the truth as Wattie and Agnes saw it.3 In addition to the interview-excerpts, Lowenstein offers, again on the fringes of the film’s central dramatic section, a set of working-class portraits (in powerfully stark black and white), accompanied by singer Declan Affley’s poignant reflections on mining life. These reflections also spill over into the film ’s dram atic sequences: explicitly, as when the Welsh singer 3.

“ R ic h a rd

L o w e n s te in : d ire c to r” , p . 212.

Cinema Papers, op. cit.,

CINEMA PAPERS October — 357

Strikebound

My First Wife

.Avoiding “closed and self-defeating rhetoric”: Strikebound. Wattie and union organizer Idris Williams (Hugh Keays-Byrne).

(Affley) exhorts “ dirty blackleg miners” to join the union while they still can, and implicitly, as in the frequent episodes of community sing ing in the film. It is worthy of note, too, that these episodes, and their ideological import, are all the stronger for their being not only understated (at the level of artistic expression), but also necessary (at the historical, factual level), since they played an active role in keeping up the morale of the mining community during strike action. A salutary parallel with analogous inclusions of popular cul tural expression in, for instance, Bernardo Bertolucci’s Novecento (1900, 1976), leaves Lowenstein a clear winner. Bertolucci’s film also charts the growth of the socialist movement, albeit in a European context. But it carries with it the stigma of ideological compromise as the pastoral sequences, for all their good intentions, are mythicized and, therefore, prone to a closed and self-defeating rhetoric which Lowenstein, for his part, has skilfully avoided. In the central section of the film, the conflict in class interests — the two dialectical poles out of which the third term, socialist consciousness, is of necessity spawned — is, for the most part, articulated obliquely, and with out the intervention of the docu mentary-type comment that the Doigs provide at beginning and end. Cer tainly, the more explicit passages, for all their undoubtedly necessary inclu sion (given their basis in fact), fall away from this suggestive canon. For example, Wattie’s distribution of leaflets down the pit early on in the film establishes his militancy in no un certain terms and, indeed, needs no metaphorical extension. The early sequences, however, which trace Agnes’ growing awareness of the in humanity of a system which offers its workers appalling conditions and no established minimum pay, are rich in eloquently silent close-ups and sugges tions of tacit solidarity. A striking example would be when Agnes (brilliantly played by Carol Burns), during a bout of Salvation Army hymn-singing, stands on the hand of a fleeing scab — a wonderfully incon gruous passage, and a high point in the film’s quiet humor. The fact that Lowenstein has seen fit to include many such episodes, and to great effect, is testimony to the success of his anti-rhetorical stance. It is this 358 — October CINEMA PAPERS

stance, detectable at every moment of the film, which allows the work to suc ceed where such well-intentioned pro jects as Waterfront failed. Lowenstein has innovated, and Strikebound repre sents a new departure in Australian filmmaking. Strikebound: D ir e c te d b y : R ic h a r d L o w e n s te in . P r o d u c e r s : M ir a n d a B a in , T im o th y W h ite . S c re e n p la y : R ic h a rd L o w e n s te in . D ir e c to r o f p h o to g r a p h y : A n d r e w de G r o o t. E d ito r : Jill B ilc o c k . P r o d u c tio n d e s ig n e r: T r a c y W a tt. M u s ic : D e c la n A f fle y . S o u n d r e c o r d is t: D e a n G a w e n . C a s t: C h ris H a y w o o d ( W a ttie D o ig ), C a ro l B u rn s (A g n e s D o ig ), H u g h K e a y s -B y rn e ( Id r is W illia m s ) , R o b S te e le ( C h a rlie N e ls o n ), N ik F o s te r ( H a r r y B e ll), D a v id K e n d a ll (B irc h ), A n th o n y H a w k in s (P o lic e S e r g e a n t), M a r io n E d w a r d (M e g ), J o C a m ille ri ( I ta lia n m in e r ), J o h n F la u s ( m ilita n t m in e r ), R e g E v a n s ( E r n ie ), T irie l M o r a ( m ilita n t m in e r ), D e c la n A f fle y (W e ls h s in g e r). P r o d u c tio n c o m p a n y : T R M P r o d u c tio n s . D is tr ib u to r : R o n in F ilm s . 16 m m . 101 m in s . A u s tr a lia . 1984.

My First W ife Brian McFarlane A marriage foundering on emotional negligence and infidelity; an older couple, parents of the wife, com placent and ineffectual; a third couple, the husband’s parents, whose marriage has survived an early affair of the m other’s; and the relationships between each set of parents and their children: this all sounds like the basis for a realist film of middle-class emotions on the edge. However, My First Wife is directed by Paul Cox who, after Lonely Hearts (1982) and Man of Flowers (1983), has clearly moved away from the more or less naturalist treatment that, say, a Douglas Sirk might have brought to such material; or from his own more straightforward approach in Kostas (1979). This is not to say that he is stylistically adrift from his subject but that he is willing to be adventurous in attacking it. “ European, ornate and empty” , is how someone unkindly described Cox’s latest film. This is unkind in the sense that, in the ch a racteristically literal-m inded

‘‘In the end the family is important; in the end the family is everything. ” Paul Cox’s My First Wife. Top: Helen (Wendy Hughes) and John (John Hargreaves). Above: Lucy (Lucy Charlotte Angwin) and Helen.

realism of so much Australian cinema, Cox is prepared to be ambitious, to risk charges of floridness and preten tion (and sometimes to deserve them), and to make use of screen space in quite daring ways. “ In the end the family is im portant,” says John’s dying father (Robin Lovejoy); “ in the end the family is everything” , and the film moves tow ards an unem phatic affirmation of this belief. In the last scene, as the mourners move away from the grave-side, John (John Har greaves) and Helen (Wendy Hughes) are together, not with any certainty of reconciliation perhaps, but taking tentative steps towards it. It has cost a death and John’s failed suicide attem pt to achieve even these, curiously connected with John’s remark about how a hanged man ejaculates: “ They force the sperm of life out of him.” If there is something portentously symbolic about this,

there is also the suggestion of a film with ideas, of a film that wants to move beyond careful representation of bourgeois lives in crisis. The film’s structure depends on the parallels and contrasts between the couples concerned, the relationship between each partner and the other, and that between each set of parents with its offspring. In spite of the excel lent performances from Hughes and, especially, Hargreaves, in the central roles, the presentation of their marriage is the least convincing. It is never wholly clear why and how their marriage has reached the breaking point which is the linch-pin for the film’s narrative. One is forced to accept this as a cardinal function in the drama, setting in train what follows, and drawing in the responses of John’s parents and Helen’s parents, without ever being given a clear sense of how the marriage has gone wrong. The first post-credits shot shows a

My First Wife

Identification o f a Woman

couple making love in a darkened bed posturings as John comes to kidnap his is, Cox is a highly self-conscious film Id e n tific a tio n o f a W oman room, intercut with what proves to be daughter Lucy (Lucy Charlotte maker and highly conscious of what a choric image of trees rushing past as Angwin) from their house. film can do that other narrative modes if viewed from a speeding train, then And so the structuring pattern of cannot. His methods foreground the Dave Watson cutting to a man with ear-phones in a parents and children is developed, its artificiality of film as a system rather radio station, announcing Glück’s last two exempla involving Lucy and than seek to suppress this fact in the John Fowles has said that the only real “ Orpheus and Eurydice’’ as the next the funeral of John’s father. Lucy is classic Hollywood narrative style. In record. There is a good deal of cross playing in a children’s orchestra (the this respect, he is nearer in spirit to the subject to which modern fiction should cutting between the studio and the musical motifs that run through the Peter Weir of Picnic at Hanging Rock address itself is the difficulty of writing exterior with the train speeding by film are more effective than one can do or The Last Wave than to any other of modern fiction. Michelangelo Antoni (with the suggestion of parallel lives? justice to in this review) watched by the major Australian filmmakers of oni’s Identificazione di una donna heedlessness? connections?), until the their parents. John arrives and the past decade. Cox is interested in (Identification of a Woman, 1982) offers a cinematic elaboration of the man, John, returns home to find his quarrels loudly with Helen while the the erotic and in its power to disturb wife asleep (or is she?). This is all done child concentrates on her ’cello. The orderly surfaces, and the visual style of same problem. The film represents an with economy and a pleasing enigmatic scene then cuts to a close-up of the My First Wife — and its opposition of extended reflection on the medium quality, but the actual scene in which clergyman at the funeral at which John a musical high culture to uncivilized used — in short, a meta-film. But it is Helen confronts John with the fact speaks the farewell words, “ The farce passions — points to an impressively not simply a film about making films that she wants to leave him fails to is almost over.” These words may cinematic talent at work. The risks of as was, for instance, Francois maintain the tensions so far built up. perhaps be read as applying to the state the occasional dip into banality are Truffaut’s La nuit américaine (Day for Cox knows when to keep his camera of his marriage which, one tentatively worth taking for the rewards, which Night, 1973). Rather, it is a film about still and concentrates on the faces here assumes, is to be given another try. are of a kind not common in the Aus the difficulty of making a film, about in a long two-shot, but as a director he the arduousness of conception. The film is, in fact, less schematic tralian cinema. is let down by himself and Bob Ellis as than it has been made to sound here, If one bears in mind that there can be few countries (France would be screenwriters. The dialogue in this the structure’ fleshed out with a firmly crucial scene is insistently banal (“ We detailed sense of families and relation M y First Wife: D ir e c te d b y : P a u l C o x . P r o another prominent example) in which the literary and cinematic traditions never make love any more” , “ For ships and places. As well, a prose d u c e r s : J a n e B a ll a n t y n e , P a u l C o x . God’s sake say what you’re feeling for account of the film’s structures also A s s o c ia te p r o d u c e r : T o n y L le w e lly n -J o n e s . run parallel and, indeed, actively once” ). The preceding scene has fails to do justice to the visual style S c e n a r io : P a u l C o x . S c re e n a d a p t a t i o n : overlap as much as they do in Italy, shown Helen with her lover Tom which transforms the film and gives it B o b E llis , P a u l C o x . D ir e c to r o f p h o t o then a consideration of Antonioni’s film in a specifically Italian context is (David Cameron) but nothing prepares a richer, more allusive texture: flash g r a p h y : Y u ri S o k o l. E d ito r : T im L e w is. the audience for the confrontation, back montage sequences recalling P r o d u c t io n d e s ig n e r: A s h e r B ilu . M u s ic : not only salutary but necessary — and this in spite of the manifestly universal and the inadequacy of the dialogue John and Helen’s wedding; symbolic C h r i s t o p h W i l l i b a l d G l i i c k , J o s e p h suggests that the background to the intercuts of rushing trains and trees H a y d n , C a rl O r f f , A n n B o y d , R e n é e repercussions of the film’s statement. Such literary-cinematic parallels can be break has not been fully imagined. If acting as a kind of emotional punctua G e y e r , F r a n z S u s s m a y r. S o u n d r e c o r d is t: the whole sense of a marriage failing tion of the present realities; and an K e n H a m m o n d . C a s t: J o h n H a r g re a v e s readily found, for instance, in the after 10 years is to be achieved in one ambitious attempt to render the down ( J o h n ) , W e n d y H u g h e s ( H e le n ) , L u c y diversified work of Pier Paolo Paso scene, it needs to be more tightly and ward spiral of John’s blurred thoughts C h a r l o t t e A n g w in (L u c y ), D a v id C a m e r o n lini, whose socio-political commitment and emotions during his suicide (T o m ) , C h a rle s “ B u d ” T in g w e ll ( H e le n ’s is articulated not only through his resonantly written than this. However, if one accepts that Helen attempt. These will no doubt attract f a th e r ) , B e tty L u c a s ( H e le n ’s m o th e r ) , films but also, and some would say to is tired of John’s negligence or of his the criticism of “ arty” , that favorite R o b in L o v e jo y ( J o h n ’s f a th e r ) , L u c y a greater extent, though his novels, U ra lo v ( J o h n ’s m o t h e r ) , R on F a lk poetry and essays. It is no accident being unforgiving and that this has Australian term of abuse. la y s o n ( c o n d u c to r ) , pushed her into her affair, then much My First Wife does indeed have a J( pu slyi ac h iaBtrlisa kt)e, J o( Kn i rFs in that, in Italy, Pasolini is best known tin ), R enée G eyer of the rest of the film is an affecting more “ European” feel to it than most ( b a r m a id ) . P r o d u c t io n c o m p a n y : D o f in e . and remembered for these latter account of his attempts to produce a Australian films (not surprising D is tr ib u to r : V illa g e R o a d s h o w . 35 m m . activities, rather than for the films for reconciliation. In the hospital scenes perhaps since Cox is Dutch) and it is 100 m in s . A u s tr a lia . 1984. which he is appreciated abroad. The with his Russian father, who is dying more “ ornate” visually than Austra neo-realist films of Roberto Rossellini of cancer, the film’s structural pattern lian films characteristically are. That and Vittorio De Sica, too, promulof marriages which offer a commen tary on each other is strengthened by the father’s account of his own marriage. This has survived his wife’s affair when they first came to Aus tralia, after which he grew to love her, then “ settled for something more or less” . The film contrasts John’s father’s gently urged belief in the value of the family with the middle-class platitudes that pass for advice from Helen’s parents (Betty Lucas and Charles Tingwell). Her father wants a man-to-man talk with John; her mother doesn’t “ understand you young people” , re proaches Helen for leaving John when his father is dying, and can’t suppress an element of “ I told you so” . The camera pans and prowls around their expensively upholstered house, full of the artifacts of bourgeois prosperity, and the inadequacy of Helen’s parents to real feeling is a continuing refrain in the film. Its final manifestation is in her mother’s apology to John for her husband’s absence from the funeral at the end: “ He’s terribly sorry he couldn’t be here. He had a board meeting.” By contrast, John’s mother is inco herent with non-‘WASP’ grief at the funeral. Not only does she reveal depths of feeling beyond the under standing of Helen’s family, but the genuineness of this grief recalls that she, like Helen, was once unfaithful to her husband but returned to him and grew to love him. There has, as far as one knows, been no such “ formal” betrayal of trust in the case of Helen’s parents, but all the signs point to the mother’s emasculation of her hus band. Their ineffectuality as a pair is dramatized in their dim, suburban A face searched for, a body found. Mavì (Daniela Silverio) in Michelangelo Antonioni’s Identification o f a Woman. CINEMA PAPERS October — 359

Identification o f a Woman

gated very much the same artistic tenets and committed world-view as did their novel-writing contem poraries: Elio Vittorini, Vasco Prato lini, Cesare Pavese, etc. But to return to Identification of a Woman: it is more than a little tempt ing to continue the literary parallel and locate, at least, the generic roots of the film in one of Italo Calvino’s early short stories, “ L’avventura di un foto grafo” (“ Adventure of a Photo grapher” )1. Short synopses of story and film will serve to reinforce the parallel, in addition to clarifying its validity. C alvino’s protagonist, Antonino Paraggi, having become obsessed with photography, feels driven to record on film, and with maniacal comprehensiveness, every thing he physically can. His obsession alienates his lover, Bice, who, unable to stomach even the thought of another pose, leaves Antonino to his ever-shrinking celluloid universe. Antonino, however, is only momen tarily at a loss for a photographic sub ject; having religiously recorded Bice’s presence, he is now left to photograph the infinite permutations of the only thing she has left behind: her absence. Then, not sated even by this process, it occurs to him that the only possible way to free himself from the need to photograph any- and everything lies with the meta-photograph, the one, definitive photograph of all possible photographs. At a distance of more than 25 years, and whether consciously or not, Identification of a Woman develops a similar argument, though the ultimate 1. T h e s to r y is o n e o f a c o lle c tio n e n title d Gli amori difficili, E in a u d i, T o r in o , 1970 (.Difficult Loves, tr a n s l a t e d b y W illia m W e a v e r, S e e k e r a n d W a r b u r g , L o n d o n , 1 9 8 4 ). T h e ta le s c o lle c tiv e ly r e p r e s e n t n o th in g less th a n a p o ly p ty c h o f th e v e ry s o r t o f s o c ia l a n d in te r p e r s o n a l a lie n a tio n t h a t A n to n io n i h a s b e e n a t p a in s to e x p re s s a n d e x o rc iz e in s u c h f ilm s a s Deserto rosso (The Red Desert, 1 9 6 4 ), a n d th e tr ilo g y (L’awentura, 1 9 6 0 , La notte, 1 9 6 1 , a n d L’eclisse, 1 9 6 2 ).

360 — October CINEMA PAPERS

philosophical implications of its cine matic treatment are, in Antonioni’s case, at least, rather different. Niccolò Farra (Tomas Milian) is a film director caught in a crisis between two films and with only the certainty that he needs a particular female face for his next film to sustain his search for a new story. One of the cruces of Calvino’s pithy tale is that Antonino wants/needs to photograph all poss ible variants of Bice, as a substitute for the Ur-photo which would include all other possible images.2 In like manner, Antonioni’s Niccolò frequently wor ships before his artistic altar: a noticeboard filled with press cuttings and photographs, each of which is a varia tion on the same physiognomic theme. Having tracked down, and remark ably quickly3, the face that his film requires, and enjoyed the sexual favors of the body to which it is attached, Niccolò quietly proceeds to wallow in the nearest thing to love he has experi enced; and the film is shelved in favor of his new-found sexual and spiritual equilibrium. When Mavi (Daniela Silverio) abruptly disappears — and her capacity for disappearing is sug gested in scenes such as the one in 2. C o m p a r e J o r g e L u is B o r g e ’s “ T h e L ib r a r y o f B a b e l” in Labyrinths:

Selected Stories and Other Writings, e d ite d b y D o n a ld A . Y a te s a n d J a m e s E . I r b y , P e n g u in , L o n d o n , 1970, p p . 78-86; o r th e lite ra lly in n u m e r a b le p a g e s o f his “ B o o k o f S a n d ” , in th e c o lle c tio n o f th e s a m e n a m e , tr a n s l a t e d b y N o r m a n T h o m a s d i G io v a n n i, P e n g u in , 1979, p p . 8 7 -9 1 ; o r I ta lo C a lv in o ’s “ P a d r e dei R a c c o n ti” ( “ F a th e r-o f-A ll-P o s s ib le S to r ie s ” ) in h is m o r e r e c e n t n o v e l, Se

una notte d ’inverno un viaggiatore (If on a Winter’s Night a Traveller, tr a n s la te d b y W illia m W e a v e r, S e e k e r a n d W a r b u r g , L o n d o n , 1981). 3. F o r th e th e m e o f c h a n c e -c o in c id e n c e in A n to n i o n i , o n e h a s o n ly to lo o k as f a r as

Professione: Reporter (The Passenger, 1 9 7 5 ): id e n tic a l (o r n e a r - id e n tic a l) m e n a r e th r o w n to g e th e r in a n A f r ic a n d e s e rt; th e s a m e w o m a n b u m p s in to th e p r o t a g o n i s t in tw o d if f e r e n t E u r o p e a n to w n s ; b u s e s a r r iv e in th e m id d le o f n o w h e r e , o u t o f n o w h e r e , b u t a t th e c o n v e n ie n t m o m e n t; a n d so o n .

which she and Niccolò lose each other, after a bitter argument, in thick fog4 — Niccolò is thrown once again into a crisis which is rendered doubly acute by his having lost not only the “ face” he needs for his film, but also the woman who had, in the meantime, brought him a relationship he had little bargained for. The rest of the film elaborates Niccolo’s search for Mavi (or for some comparable clone), although he eventually makes do with a not over familiar dancing friend called Ida (Christine Boisson), who is sexually available, but carrying someone else’s child.5 Threatened with a second-hand paternity he does not want, he is forced to leave Ida, and immediately resolves to shoot a science-fiction film, a resolution with which the audience’s film semi-optimistically closes. By a neat textual irony, the paternity he flees makes way for the paternity (authorship) he craves: that of his next film. Antonioni has commented thus on the role of women in his work: I always attach a great deal of im portance to my female characters, because I think I know women better than men . . . Female psycho logy seems so much better able to filter reality and condense it.6 It is, therefore, no coincidence that he has chosen to articulate the plight of his alter ego, Niccolo, through images of wom en/W om an. One thinks immediately of Monica Vitti’s per formances in the 1960s’ trilogy and The Red Desert, and of the lucid detachment of the Girl in The Passen ger. Yet it would be unduly restricting to see such a predilection as being peculiar to Antonioni alone. Federico Fellini (Roma, 1972, Amarcord, 1973, and La citta delle donne, 1980) and Marco Ferreri (Tales of Ordinary Madness, 1981 and L’ultima donna, 1976) have made obsessive use of the female image, while Bernardo Berto lucci has, particularly in his later work, revealed Oedipal themes to be at the heart of his narratives (the famous harvesting sequence in Novecento [1900, 1976], in which Rosina and Olmo are visually linked by a patently umbilical threshing-belt, or, in La luna, 1980, the expression of the bond between matriarch and son through a strategically unravelled ball of wool). These details, far from being inci dental, and for all the undeniable 4 . C o m p a r e th e d is a p p e a r in g a n d a p p e a r in g G irl ( M a r ia S c h n e id e r) in

The

Passenger. 5. T h e p a t e r n i t y th e m e , in its m e n a c in g a s p e c t, is p ic k e d u p n e a tly ( a n d w ith a s u b tly d is p la c e d O e d ip a lity ) in th e fig u re o f M a v i’s f a t h e r , w h o , it tr a n s p ir e s , is m o r e t h a n lik e ly to b e th e v e ry o n e w h o , t h r o u g h o u t th e f ilm , t h r e a te n s N ic c o lo w ith p h y s ic a l v io le n c e if h e d o e s n o t s to p se e in g M a v i. A s f o r th e p h y s ic a l d if f e r e n c e b e tw e e n I d a a n d M a v i, A n to n io n i h a s s a id : D u r in g h is s e a rc h [ fo r a fe m a le im a g e a r o u n d w h ic h to c o n s tr u c t h is n e x t film , N ic c o lo ] h a s r e la tio n s h ip s w ith tw o v e ry d if f e r e n t k in d s o f y o u n g w o m e n . T h is c r e a te s c o n f u s io n in his m in d , b e c a u s e it is v e ry e a s y to t r a n s f e r o n e ’s r e a lity in to im a g in a tio n . H e r e th e r e is, le t u s sa y , c o n f lic t b e tw e e n h im s e lf a n d h is life . T h is is th e b a s e o f th e film . ( F r o m a n in te r v ie w w ith J u d i t h S la tin , p u b lis h e d in th e C a n n e s d a ily e d itio n o f Screen International, 23 M a y 1982). 6 . Q u o te d b y D o n R a n v a u d in “ C h r o n ic le o f a C a r e e r ” , Monthly Film Bulletin, M a r c h 1 9 83, p . 6 1 .

differences in technique and emphasis which exist between the four directors, collectively represent a systematic con centration on the female figure (erotic, maternal, or both) as the implicit or explicit narrative matrix, the story generator par excellence. Nor, to return to the afore-mentioned literarycinematic parallel, would it be imper tinent to compare Calvino’s Ludmilla (whose literary preferences provide the narrative impetus for the collection of novel-openings, which the reading public eventually appropriates as I f on a Winter’s Night a Traveller), with Antonioni-Niccolo’s female image, the (necessarily) frustrated search for which leaves the reader with an equally marketable finished product. Both processes are, of course, skilfully incidental. Calvino offers a set of in complete novels, and, in so doing, leaves one with I f on a Winter’s Night a Traveller, a wry reflection on the in evitable defeat of fiction when faced with the linguistic expression of uncodifiable reality; Antonioni allows one an embryonic glimpse (through Niccolo’s jottings, dreamings and notice-board of photographs) of a set of possible, if unrealized, films, none of which exists in its own right, but all of which, taken collectively, comprise Identification of a Woman. In the context of such thwarted con ception^), the resolution not to find a resolution, or at least to postpone it, becomes a narrative twist which is both philosophically and artistically valid. For this reason, the film is a taut and highly accomplished exposition: every image and sequence is constructed with the impossibility of satisfactory resolu tion in mind. There are wrong move ments (Niccolo caught off-guard by his own fire-alarm); normality is defamiliarized, either by disturbing aerial shots (Niccolo’s looking down a hypnotically spiral staircase in an effort to catch a glimpse of Mavi), or by carefully engineered image-deflec tion (as in many of the conversations between Niccolo and his two lovers, when the speakers are distanced or dis torted or both by the use of mirrors and window-reflections). This latter device has been stock Antonioni since the early 1960s; it is, nonetheless, powerful for its recurrent use, and is here further reinforced by the flawless photography of Carlo di Palma (who also collaborated with Antonioni on The Red Desert and Blow-Up). Niccolo, his undeniable intellect and established creative prowess notwith standing, is, then, continually be wildered, out of control, a bewilder ment which Milian’s performance bril liantly articulates. For an artist whose real and imaginative lives are so fused as to be indistinguishable, it is inevit able that the fragmented and desultory nature of his personal life should find its correlation in only half-formulated, unfulfilled cinematic projects. The price for such spiritual and artistic in articulacy is Niccolo’s peace of mind. Yet this is a price, Antonioni would suggest, that he necessarily pays; and it is especially in this respect that Identification of a Woman is as fine a statement of artistic commitment as one is likely to see.

Identificazione di una donna (Identification of a Woman): D ir e c te d b y : M ic h e la n g e lo A n t o n i o n i . P r o d u c e r s : G io r g io N o c e lla , A n to n io M a c ri. E x e c u tiv e p ro d u c e r: A le s s a n d r o v o n N o r m a n n . S c re e n p la y : M ic h e la n g e lo A n t o n i o n i , G é r a r d B r a c h . D i r e c to r o f p h o t o g r a p h y : C a r lo d i P a lm a .

Identification o f a Woman

Nicaragua no pasaran

affects the Sandinista government, are portrayed even-handedly, in contrast to most of the media images about the struggles of the Sandinistas. Further more, it is in complete opposition to Reagan’s pathetic sabre rattling, so frequently and willingly reported on Australian television sets. That the Australian Broadcasting Corporation has bought Bradbury’s film means that a small crack will appear in the armor of dis-information that American officials insist on churning out about the Nicaraguan revolution. The film will inform and stimulate those large numbers of people who have not had cause to read the alterna tive press reports about Nicaragua. For those who have kept up with the informed opinion, Nicaragua no pasa ran may, at least at a superficial level, N icaragua no pasaran be something of a disappointment. There is no new information or Marcus Breen statistics. (That has been left to John Pilger, Alan Lowery, et al and their film Nicaragua — A Special Report The opening scenes of Nicaragua no shown at the Melbourne and Sydney pasaran depict the funeral service and film festivals this year.) Instead, the march for 17 Nicaraguans killed by film is an attempt at straight reportage CIA-backed counter-revolutionaries. The dead are described as “ 17 repre of a humane and unique revolution, in which communists have organized sentatives of dignity and love” . It is themselves into the ruling positions of both dignity and love that are the foundation for the Nicaraguan revolu the government, along with Catholic priests, and in which capitalists work tion and David Bradbury’s film. Bradbury’s previous two films, side by side with revolutionaries. The Nicaraguan revolution is a Frontline (1979) and Public Enemy popular revolution; in Central Ameri Number One (1980), were documen can terms, it seems to mean that tary studies of individual Australians who had contributed significantly to pluralism and not a one-party state is changing the consciousness of the the order of the day, a position which world by reporting war news honestly has been criticized as being too liberal and radically. The “ heroes” of these films were Neil Davis and Wilfred Burchett. In Nicaragua no pasaran, Bradbury turns the camera from individuals who have been models for Bradbury himself to an event that is remarkably similar to the events about which Davis and Burchett reported. Bradbury is a filmmaker-documenter, whose life’s work is also mediated by “ dignity” and “ love” . This position is evident in his attitude to the people of Nicaragua and his sup port for their revolution. Nowhere is the pleasant irrelevance of the “ objec tive” documentary filmmaker obvious in Nicaragua no pasaran. But the con cern for the truth is clearly evident, as is a concern for good reportage and criticism. This develops as the camera itself observes and, under Bradbury’s hand, admits the fallacies it observes. But this is to be expected, as Brad bury’s style in his previous films, especially Public Enemy Number One, admits to fallibility and failure in the heroes he attempts to portray. As Bradbury says, “ . . . when you get close to them you discover that, like all human beings, they have feet of clay.” 1 It is the development of an informed yet critical audience that Bradbury has in mind in the presentation of Nicar agua no pasaran. The film takes the audience to both the counter-revolu tionaries (contras) fighting from Honduras in the north and to Eden Pastora’s rebels in the south. Pastora, a contradictory figure, was prominent in working with the Sandinistas to oust the American-backed Somoza family in 1979 to allow the popular revolution its success, but has since rejected the path that the Sandinistas have pursued and taken to fighting his ex-comrades. Both sides of this situation, as it E d ito r : M ic h e la n g e lo A n to n io n i. A rt d ir e c to r : A n d r e a C r is a n ti. M u s ic : J o h n F o x x . S o u n d r e c o r d is t: M a r io B r a m o n ti. C a s t: T o m a s M ilia n (N ic c o lo F a r r a ) , D a n ie la S ilv e rio ( M a v i) , C h r is tin e B o is so n ( I d a ) , S a n d r a M o n te le o n i ( M a v i’s sis te r), G i a m p a o l o S a c c a r o la ( S tr a n g e r ) , A le s s a n d r o R u s p o li ( M a v i’s f a th e r ) , G ia d a G e rin i (la n d la d y ), S e rg io T a rd io li ( b u tc h e r ) , P a o l o D o m in g u in (g irl in s h o p w in d o w ) , M a r c e l B o z z u ff i ( M a r io ), I ta lo N a r d u lli ( L u c io ) , V e r o n ic a L a z a r ( C a r la F a r r a ) , E n r i c a F ic o ( N a d ia ) . P r o d u c tio n com pany: I t e r F ilm (R o m e )-G a u m o n t ( P a r is ) , in c o l l a b o r a t i o n w ith R A I T V 2 . D i s t r i b u t o r : V a lh a lla F ilm s . 35 m m . 131 m in s . I ta ly . 1 9 8 2 .

Cinema Papers, p . 232.

and ultimately non-communist, but which is in keeping with the realpolitik of the region. Bradbury does not criticize this or any position, but, instead, takes his camera to the market place where ideas about the availability of consumer goods are debated by middle-aged women, some of whom support the Sandinistas and some of whom support the old regime. If any thing becomes clear from this film and the market scene in particular, it is that the Nicaraguan people are being edu cated and politicized to understand their role in the defence of the revolu tion. The highlight of Nicaragua no pasa ran is the footage of the Pope. This supreme actor stands in front of an audience of hundreds of thousands of Nicaraguans and tells them to be silent as they chant, “ We want peace.” His angry thrust of the hand to flick the robe from his wrist is the action of an arrogant and irrelevant man. It is a fine record of the people rejecting the authority of an otherwise supreme leader. The film concentrates on Tomas Borge, the last remaining member of the original FSLN who “ symbolized what the revolution is about” . Here, for all to see, is a contemporary leader who has helped direct his nation out of oppression, through a revolution and into a realm of new possibilities. Almost without limits, Bradbury was able to record Borge at work and with the people (but not at play). He is shown as being very different to what the anti-communists of the U.S. State

Department imagine him to be, which is predictable. What this film is show ing is leaders, as people, without the mystery and the cultic status they have suffered from in the past, as revolu tions move out of the mass movement stage into the centralized party phase. Borge is a man committed to his people and their revolution. It is this fact that should be noted by the U.S. instead of it continuing to accuse him and his fellow members of the ruling party of “ exporting revolution” to Central America. The film is always precise and direct in its presentation, using clean edits and gentle zoom shots that allow closeups to be set in context. For example, when entering Tomas Borge’s office, Bradbury begins with a long shot of a multi-storeyed building in Managua, and gradually moves across the road and up to a window in a huge wall of windows — a reflection, perhaps, that Borge is just one of many of the active revolutionaries in Nicaragua. The rhythm of the film is relaxed and moves systematically with the reassur ing narration, never losing sight of the rational mode which must be used to counteract Reagan’s accusations. Finally, the film stands as a testa ment to a form of internationalism that is rare, but which began with the Vietnam War and which continues with the defence of the Nicaraguan revolution. Bradbury is, perhaps, one of the few Australian filmmakers who is capable of seeing politics and film making as essentially nationless because they involve and affect almost

Is s u e 4 7 , A u g u s t 1 9 8 4 ,

Pope John Paul II: an "actor” addresses 600,000 Nicaraguans. David Bradbury’s Nicaragua no pasaran.

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Nicaragua no pasaran

everyone. This concern should be encouraged as Australians move on to the stage where the struggles for dignity must be supported. For, as Bradbury has shown us in this film, they are struggles borne out of love. Nicaragua no pasaran: D ire c te d b y : D a v id B ra d b u ry . P ro d u c e r: D a v id B r a d b u r y . A s s o c ia te p r o d u c e r : L e a h C o c k s . S c r e e n p la y : D a v id B r a d b u r y . D ir e c to r o f p h o t o g r a p h y : G e o f f r e y S im p s o n . E d ito r : S te w a r t Y o u n g . M u s ic : L a u r ie A n d e r s o n , F r e d d y M a r tin O r c h e s tr a , N a r c is c o V a lle L a n u s a , N o r m a E le n a G o d e a . S o u n d r e c o r d is t: T o iv o L e m b e r. N a r r a t o r : M a r k A a r o n s . P r o d u c t io n c o m p a n y : D a v id B r a d b u r y . D is tr ib u to r : R o n in F ilm s . 16 m m . 73 m in s . A u s tr a lia . 1984.

S ilve r C ity Helen Greenwood Silver City is Sophia Turkiewicz’s first feature and is an accomplished piece of filmmaking. In it, Turkiewicz takes up the themes she first explored in her excellent short film, Letters from Poland (1977). Both feature and short focus on a woman who, because of circumstances beyond her control, has been dislocated from her normal life and forced to rebuild another. In both

Silver City

films, the women, unfortunately, attempt to base their new life on a doomed relationship with a man. Here, the similarities between the two films end. Whereas in Letters from Poland the audience is left to assume that Dana (Basia Bonkowski) has the strength and courage to pick up the shattered remains of her hopes and continue to make a life for herself, in Silver City one is shown that this is the outcome. Whereas Letters from Poland is shot in an unforgiving and gritty fashion, closely weaving in the day-to-day problems of a non-English speaking, female migrant on her own with the tragic climax of being married to a man who has discovered that his first wife, presumed dead, is still living, Silver City is gently lit and lushly photographed to give a romantic setting to a story that acknowledges the problems of migrant life but chooses to keep them at a distance and concentrate on the rela tionship between the two main charac ters. Silver City uses the period more as a context in which to situate the story and as a dramatic device to propel it than as a theme in its own right. This is why Silver City disappoints. So much of what is good about the film lies outside the love story but is never developed. Further, what dis tinguishes one love story from another is the characters or the context in which they are placed. By not permit ting the social and historical back

ground to play a major part in estab lishing the characters or in the narra tive, Silver City moves from tragedy to melodrama; it does not, however, manage to create a strong character in volvement. The relationship between Nina (Gosia Dobrowolska) and Julian (Ivar Kants) is one of the main problems. It is difficult to see and, therefore, understand the attraction between Julian and Nina. There is an attempt to present Nina as different to the rest of the migrants — she is certainly pretty, she speaks some English, has a great deal of verve, and aspires to better things in her life — but she does not appear to be Julian’s intellectual equal any more than is his wife, Anna (Anna Jemison). Nor does she appear to be any more optimistic, supportive or stronger than Anna. There is an indication that all is not well between Anna and Julian — “ it has never been quite the same’’ — and that Anna has aged due to her experience during the war. But these are minor in face of the strength of the duty and obligation Julian feels to his family. What then is the element that convinces Julian to forsake that which he has come to a new country for: his family? Although Dobrowolska and Kants make a nice looking couple on the screen, there is no sense of great physical passion burning to be con summated, and it is halfway through the film before they make love. One longs for some indications of incred

Love without passion: Julian (Ivar Kants) and Nina (Gosia Dobrowolska) in Sophia Turkiewicz’s Silver City.

362 — October CINEMA PAPERS

ible mental attunation or even some passionate fumblings between the two lovers. But in keeping with the gentle tenor of the film, their relationship is presented in a passionless, wholesome fashion. There are a few scenes in which remorse and recrimination, surely a normal part of relationships such as these, are allowed to surface. But these are towards the end of the film and lost in the rush of the film to is conclusion. The two climactic sequences in the film — Nina’s breakdown in the country town and her learning that Anna is bearing Julian’s child — are arrived at awkwardly. In the early climax, Nina is sexually harassed by some locals and ignored by her fellow workers. However, these incidents in themselves are not sufficient to explain her inability to cope, nor is it clear that her separation from Julian is the cause of her mental state. This is not to say that the attempted rape scene is not effective. It is a welcome change of pace and mood, and touches on some of the darker side of being a migrant in Australia. And, it is an example, along with the scene between the Pole dealing with a cus toms official, and the fight between Julian, Viktor (Steve Bisley) and the suspected Nazi collaborator, of emo tionally intense scenes which are out side the main storyline. They introduce interesting characters and subjects which are more gripping, yet never exploited. In the second climax, the sequence of events is once again unconvincing, and obvious to the viewer. It is also marred by jumping quickly from event to event without reason and with no emotional effect on the audience. Julian, when confronted by his mother-in-law and the priest with Anna’s illness, seems to do nothing about it and he neither offers an explanation to Nina nor does she demand one. He then gets on the wrong bus, misses his law exam and disappears for the night. When Nina does find him, he announces that Anna is pregnant with his child and that he must return to his family. Why Julian has continued to sleep with his wife during his time with Nina; why Nina with her suspicions about Julian and Anna’s behaviour already aroused does not question or guess at what the ‘illness’ means; and why she lets Julian get on what she suspects is the wrong bus all create a loose set of events. It seems that the denouement, the resolu tion of the relationship, has been artificially imposed on the narrative and, before the audience realizes what has happened (assuming that it, like Nina, has not already guessed), it is back in the present on the train with the two, now ex, lovers. Apart from failing to integrate and develop the powerful theme of people torn from their culture and their country, and apart from the narrative problems towards the end, Silver City has some wonderful moments. As well as the individual scenes mentioned above, the opening scene behind the credits is a delight. The shaky move ments of the camera, the momentary juxtaposition of past and present as the figure of a young girl appears, freezes, then disappears in the door way, and the haunting song that opens and closes the film establish an immediate sense of romance, nostalgia and entry into another cultural world. It is unfortunate that it was not better integrated with the next scene on the train, also an establishing scene but

Silver City

Cammina, cammina

Nina tells Roy (Tim McKenzie), her Australian pen-friend, that she and he are a “big mistake”. Silver City.

more conventional, as a means of drawing the audience into the past. There is also an admirable perform ance by Bisley, as Viktor, the only character who begins to function as a way of involving the audience in the drama and as an illustration of a theme. Bisley manages to retain a con vincing Polish accent throughout and delivers an accurate representation of one of the migrant survivor’s charac teristics: a driving, vice-like grip on life which often emerges from those who have died (as it were) and come to life. Viktor is the foil for the more dis pirited and intellectual Julian who, ultim ately, fails to achieve his ambitions. Viktor is the pragmatist and immediately comes to grips with his situation — “ America takes brains, Australia wants muscle’’ — casting aside romantic illusions, as will, eventually, Julian. This is, indeed, another thematic thread running through Silver City which emerges only at the end. In the final scene, Nina looks with longing and pain as Julian joins his family on the station platform. Despite having achieved a career and fulfilled her aspirations, suggested earlier in the film, Nina still wonders about what might have been: Julian and a family instead of a career. Although she has, as she said, learnt from the relation ship, she has paid a price; realization of one’s potential can only be had with sacrifice. Unfortunately, the credi bility of this message is undermined because one is left wondering what it is that she has sacrificed.

C am m ina, cam m ina Rod Bishop History is always ambivalent; thus, the more time goes by, the more experience and understanding humanity acquires; and the more, therefore, one should re-read history in order to discover the ever new aspects of events that have been en shrined in officially approved ‘standard versions’ . . .

This questioning doubt, transposed to the Christian religion, permeates Ermanno Olmi’s Cammina, cammina (Keep Walking, Keep Walking), a film which Olmi has written, directed, pro duced, edited, photographed, set designed and costume designed. Like his previous work, L’albero degli zoccoli (The Tree of Wooden Clogs, 1978), Olmi has once again cast his film entirely from non-professionals, this time using villagers from Volterra in Tuscany where “ the faces of the people reminded me of the Etruscans, an ancient Italian race” . In this Tuscan village during the Middle Ages, a group of peasants pre pare a pageant play based on the three wise men and the pilgrims who fol lowed them into Bethlehem. A spruiker’s voice warns that the play will be a mixture of “ fact, fiction and the imagination” . That same night, a celestial comet appears above their village, streaming across “ the heavenly vault” — surely a sign from God as prophesied in the Scriptures, announcing the arrival of his Son on Earth. In the village, the local wise man, Mel, a flock of simple peasants, a centurion and a royal coach laden with gifts all gather to begin a pilgrimage in search of the Messiah. Joined by two tribes from the orient, each led by a wise man, their epic journey brings them to Herod’s castle, where their quest is greeted with great suspicion. But they then trudge on to a ruined and overgrown castle, where they accidentally discover a ‘squatter’ family and their new-born son. The pilgrims rejoice, for this surely must be the Son of God. Fear-struck by Herod’s preparations for war, the wise men pretend they

have experienced a divine message and instruct the pilgrims to disperse. But some of the band rebel: they have seen the wise men steal the gold coins they carried as offerings for the Lord and feel the new-born child has been left in mortal danger. One of the rebellious pilgrims rides back to the castle and, in the dawn light, finds the ground strewn with bodies — the massacre of the innocents. Cammina, cammina is about the betrayal of the Magi, the three wise men who converted parables into im penetrable truths and led a desperate band of peasants with the promise of salvation from the material and spiri tual poverty of their lives. The central figure among Olmi’s wise men is Mel — philosopher, scholar, astronomer and priest — a man representing intellectual power, who can no longer distinguish between his own self-importance and the realities of the world around him. Autocratic and authoritarian, Mel’s religious faith is not beyond the prag matic arrogance of his intellect. As the pilgrims stand in the ‘manger’, one of the band asks Mel whether this child of a ‘squatter’ couple can really be the Messiah: “ We must act as if he were” , replies Mel; “ we have no choice but to believe in this certainty.” Despite their doubts and the obvious ambiguities of the situation, the three wise men, at the pinnacle of their charismatic power over the pilgrims, infuse this discovery of the Child with mystical significance, the ferocity of their faith causing them to literally lay the foundations of the future Church on rocky ground. Mel’s personal intellectual degen eracy rises again when, fearing for his own life at the hands of Herod’s

Silver City: D ir e c te d b y : S o p h ia T u rk ie w ic z . P r o d u c e r : J o a n L o n g . S c re e n p la y : S o p h ia T u r k ie w ic z , T h o m a s K e n e a lly . D ir e c to r o f p h o t o g r a p h y : J o h n S e a le . E d ito r : D o n S a u n d e r s . A r t d ir e c to r : I g o r N a y . M u s ic : W illia m M o tz in g . S o u n d r e c o r d is t: M a rk L e w is . C a s t : G o s ia D o b r o w o ls k a ( N in a ) , I v a r K a n ts ( J u lia n ) , A nna J e m is o n (A n n a ), S te v e B is le y ( V ik to r ) , D e b r a L a w r a n c e ( H e le n a ) , E w a B ro k (M rs B ro n o w s k a ), Joel C ohen ( D a n ie l), T im M c K e n z ie (R o y J e n k in s ) , H a lin a A b r a m o w ic z ( E lla ) . P r o d u c t io n c o m p a n y : L im e lig h t P r o d s . D is t r i b u t o r : F ilm w a y s . 35 m m . 100 m in s . A u s tr a lia . 1984. '

Mel (Alberto Fumagalli), centre, prepares fo r a ritual slaughter in thanks fo r the woman’s escape from pursuing horsemen. Ermanno Olmi’s Cammina, cammina.

CINEMA PAPERS October — 363

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Cammina, cammina

“What would be the use o f faith i f we could all understand God’s design?’’: part o f the pilgrimage. Cammina, cammina.

troops, he pretends to have experi on to Bethlehem, “ if we could all enced a ‘visitation’ from a heavenly understand God’s design?” messenger, claiming God has advised Olmi’s narrative subversion of the them to return to their own lands. On nativity story is perfectly rendered this journey home, Mel steals the gold through the bumbling banality of these coins entrusted to him as gifts for the treacherous wise men. For their part, Saviour, quickly stamping on any the pilgrims are merely confused dissent and tying up a devout pilgrim peasants. Promised some redemption who has uncovered the theft of the from the hardship and poverty of their coins: “ But with this money we shall lives, they would follow anyone who build temples to celebrate the coming sounded impressive and could give a of God” , pleads the distraught Mel. half-way decent explanation of the “ You serve God with words, with cere comet that appeared above their monies . . accuses the pilgrim; village. “ you should have let yourself be killed The possessors of knowledge (the defending the Saviour. We trusted you wise men) have led the pilgrims (the with hope. From now on, you will only ignorant) into Herod’s castle (the tem celebrate the death of hope in your poral, military power). Initially dis appointed at not finding the Saviour temples.” Olmi carefully dissects the ability of within its walls, several pilgrims, the intellectual to capitalize on the spurred on by warnings from the local ignorance and blind faith of others. By revolutionaries, invent a new sighting promising salvation and purpose, the of the comet, which they claim dis intellectual is capable of convincing appeared behind the distant hills. others to serve more noble causes. The Thus, the pilgrims stumble on to the death of Christ, the most noble of next castle (“ If there’s a castle, there causes, provides the promise of salva must be a King” ), and literally claim tion and proof for the celebration of the first new-born child they find to be the Son of God. the Christian religion. This scene, with its echoes of the When the devout pilgrim talks to Mel of the death of hope, he foretells ‘discovery’ of the Indian saint of the celebration of death and its per Krishnamurti, is Olmi’s superbly manent embodiment within the institu simplistic vision of the inherent tions and dogmas of the Christian desperation of all religions to make the faith. There remains no proof, no ‘facts’ fit the dogmas. The Bible and accountability, merely the ego-driven the prophecies of the pre-evangelical desire of the wise men to have them priests have simply been reworked by selves enshrined within the ‘divine Olmi to critique the mystified and fabricated religious legends that nearly plan’. Beyond this lie only the intangibles: half of humanity has used as the basis intuition, belief, wish fulfilment. of its Christian faith. These proffered, essential ‘truths’ of “ What would be the use of faith” , muses one pilgrim as the band trudges religious legend are the issues in Cam-

mina, cammina and, by scorning the wise men’s trek to Bethlehem, Olmi merely chooses one of the New Testa ment’s well-known stories to present his view of the origins of all religious faith. The evangelist Matthew left The Bible with its ‘authorized’ account of the nativity story. Yet, this legend, like so many from both the Old and New Testaments, has been recorded by religious communities all over the East and different versions of the Magi’s story have been passed down through history. When the versions are com pared, it is clear the texts of the scrip tures have, over the centuries, been distorted to suit the exigencies of the day. Olmi’s is a personal reworking of the event, governed, of course, by his own intellect but highlighting a story already tampered with, and enriched by, popular imagination. The child Rupo, who accompanies the pilgrims and acts as Mel’s assistant, comes to represent not the New Testament, but the capacity of humanity to wonder: to have the courage to come out into the open and see the world with the innocence of a child. In fact, Rupo attacks Mel long before any of the other pilgrims. He cannot understand the necessity for a blood sacrifice, or the meaningless rituals Mel instructs him to enact. Rupo represents hope, but not the dead hope of a ritualized salvation. In the end, he defiantly confronts the mystification of the Magi and becomes possessed of wonder, intent on under standing his own life and the meaning of the ‘faith’ behind the religiosity he has been handed by others.

It has often been claimed that very little happens in an Olmi film. Perhaps, like the three wise men, it should be suggested to such detractors that they look a little more carefully. All of Olmi’s sublime filmmaking talents are evident in Cammina, cam mina. Stylistically, it is a seamless work: languid, elegiac, mesmeric; its sensual beauties reflected in the autumn and amber browns of the Tuscan countryside, its narrative struc ture toughened by the director’s pene trating screenplay. Originally completed at four and a half hours for Italian RAI Television, the first version for the cinema, shown at the 1983 Cannes Film Festival, was two hours and 40 minutes in length. A further cut has brought the running time back to two hours and 20 minutes and, although it appears to have suffered less than Ingmar Bergman’s Fanny and Alexander in transposition from the small to the large screen, it is regrettable this second edit for the cinema has lost two important sequences.1 1. B o th a r e c o lle c tiv e d is c u s s io n s . T h e firs t is b e tw e e n th e lo c a l V o lte r r a K in g a n d th e p ilg rim s , a n d u n d e r lin e s th e in te lle c tu a l p o w e r h e ld b y M e l o v e r th e w e a lth a n d s o v e re ig n ty o f h is m o n a r c h . T h e s e c o n d is b e tw e e n th e p ilg rim s a n d H e r o d , a n d p r o v id e s a t le a s t p a r t o f th e m o tiv a tio n f o r M e l’s b e tr a y a l (h is lies a b o u t ‘v is its ’ f r o m h e a v e n ly m e s s e n g e rs ). B u t it a ls o e x p a n d s o n th e p r a g m a tis m o f H e r o d ’s p o s itio n , g iv in g g r e a te r re le v a n c e to w ise m a n P e r o z ’s c o m m e n t: “ W h e n p e o p le a r e d is s a tis f ie d , th e s m a lle s t r e lig io u s event can be d a n g e r o u s .”

CINEMA PAPERS October — 365

Street Hero

Cammina, cammina

Audiences outside Italy can only evaluate the version of the film avail able at the time and, if in the 1980s one is helpless to stop the drain of the ‘art house’ directors to television, where their films are qualified and dimin ished by unavoidably shortened theatrical releases, then Cammina, cammina, an astonishing 50 per cent of its original running length, must still be seen for the major and significant work of cinema that it is. If nothing else, Olmi, clearly one of the more important directors working today, always guarantees his audience a cinematic experience. Everything Richard Roud claims for The Tree of Wooden Clogs2 is equally true of Cam mina, cammina: “ One comes out of the film feeling that one has spent a lifetime in another world.” Cammina, cammina: D ir e c te d , p ro d u c e d , w r itte n , p h o t o g r a p h e d , e d ite d , se t d e s ig n e d a n d c o s tu m e d e s ig n e d b y : E r m a n n o O lm i. M u s ic : B r u n o N ic o la i. S o u n d e n g in e e r: B r u n o N ic o la i. C a s t: A lb e r to F u m a g a lli (M e l, t h e p r ie s t) , A n t o n i o C u c c ia rr e ( R u p o , t h e b o y ) , v illa g e r s f r o m V o lte r r a , T u s c a n y . P r o d u c t io n C o m p a n y : R A I R a d io T e le v is io n . D i s tr ib u to r : S h a r m ill F ilm s . 35 m m . 140 m in s . I ta ly . 1983.

S tree t Hero Dave Sargent Music videos are continuing to pro liferate and amaze with dazzling dis plays of image and sound. They are also beginning to produce many effects within feature-length filmmaking, par ticularly those films aimed at a “ young market” . These effects are aesthetic, as well as economic. They also appear to be circumscribed by the grossly distortive “ entertainment discourse” of “ give the kids what they want” : flashy visuals, “ id e n tifia b le ” stories, ‘spunky’ stars and a soaring music soundtrack Dolbyed-to-death. One film that bears many imprints of the music clip — and not surpris ingly since it is presented by pop music (and tennis) entrepreneur Paul Dainty — is Street Hero. The film is produced by Julie Monton, directed by Michael Pattinson, photographed by Vince Monton and written by Jan Sardi, who all contributed to the much-acclaimed Moving Out. Unfortunately, this reviewer has never seen that film. So, no compari sons can be made. However, from “ the word” that circulated about Moving Out, especially in relation to its “ realism” ; Street Hero seems to be quite a departure. This is apparent in the film’s narrative structure and elaboration of story, hyper-realistic set design and lighting, performances, imagery and, of course, musical score. As has been suggested already, this has much to do with the stylistic influ ences of music clips. But it is also related to Hollywood influences: a steady stream of films which, since the end of the 1970s, has (re)introduced the myth of the hero played out against the back-drop of seedy and seamy city streets. These films are part of a longer Hollywood tradition (The Wild One, Rebel Without A Cause, Blackboard 2 . R ic h a r d R o u d , Cinema: A Critical Dic tionary, V o lu m e 2 , T h e V ik in g P re s s , N e w Y o r k , 198 0 , p . 7 2 7 .

366 — October CINEMA PAPERS

Jungle, etc.) which began to emerge in the 1950s when the U.S. began to take sociology and psychology into its (social) body and (unconscious) soul. Street Hero is very much in this genre with its story centred on “ the angry young man” . Vinnie (Vince Colosimo) is an alien ated 17 year-old who inhabits Mel bourne’s high-rise flats and the streets upon which they cast their gloomy shadows. When Vinnie first struts into the film with a cool, masculine confid ence that makes all eyes turn to him, he seems on top of his world. But it soon becomes clear that his macho, princely pose is a facade. Not even his shimmering red-leather jacket can cover the fact that like all angstridden, adolescent males he is just a boy wanting desperately to become a man. But the big question is: what sort of man to become? In this film, Vinnie’s race, class and gender position allows him two options. He can yield to manly, though questionable aspirations, such as box ing and underworld crime, to become a carbon copy of his deceased though greatly remembered father. Or he can pay heed to the women in his life — his devoted mama (Peta Toppano), his cute and street-wise girl friend, Gloria (Sigrid Thornton), and his committed and caring music teacher (Sandy Gore) — all of whom want (and are prepared to make “ great sacrifices” for) him to have a “ better life” : as a drummer. As one would expect in such a male centred story, “ Only Vinnie can make the final choice” . Such is the skeletal structure of Street Hero, shredded of its muscle. But while the narrative is being pumped up by shifting between present and past, moved along in a pacey manner and heavily encoded by signs of the times, the reasons for Vinnie’s youthful confusion are provided by

two rather cliché-ridden, and now very institutionalized, explanations. First, there are the social relations and forces with which Vinnie must come to terms. These include the spaces which he inhabits, and his peers and older “ role models” : mother and misogynist boy friend, underworld characters, corrupt police and bumb ling teachers. Then, there are psychological rela tions and situations which Vinnie must confront. These include a repressed early trauma and resolution of his Oedipus complex, which involves another form of repression: motherson incest. It is not that these explanations are not worthy of consideration in the filmic text. Far too often films ignore

that “ individuals” are caught up in psychological and social relations. But it is how Street Hero deals with this which makes for some very excrucia ting and embarrassing moments. There are some very stereotypical perform ances which perform a quick-speak function, but are obtrusive to the point of ridiculousness. And, the Oedipal strand, which yields to traditionally mawkish melodramatic technique rather than a more inventive style, comes to such an excessive, explosive point of resolution that it virtually rips the film apart. From that moment, the rest of the film resembles a post-script. Whereas in Hollywood melodramas of the 1950s these ruptures and cinematic excesses were often purposely created for subversive reasons, in Street Hero

Top: George (Ray Marshall) supervises Vinnie (Vince Colossimo): copying father. Above: boys o f the night: Freddo, (Tibor Gyapjas), Karl (Darren Boyd), Billy (Jim Fotopoulos) and Vinnie. Michael Pattinson’s Street Hero.

Street Hero

there is little evidence to suggest that the intent is as consciously sophisti cated. Street Hero attempts to layer the film with additional meaning in two ways: set design and music. A valiant effort is made to use these creatively but, ultimately, they mar the film. Extraordinarily imaginative sets by Brian Thomson, whose work in Star struck gave that film a charming vibrancy, once again pay homage to ‘Aussie’ icons. But, in Street Hero, Thomson’s obsession with cultural identity based on ‘objets de kitsch’ is over the top. It disrupts the film in a non-productive way, often making individual walls of the sets far more fascinating than the total picture. Less paint and more restraint might have been more effective visually. The music in Street Hero also suffers from over-kill and is generally disappointing because of its brassy, anthematic sameness. The majority of it is over-produced, over-written and over-performed by some very wellknown names who are probably more appealing to those whose pop-music tastes were shaped in the late 1960s and ’70s rather than in the 1980s. These include, amongst others, Ross Wilson, Garth Porter, Daryl Braithwaite, Marc Hunter, Renée Geyer, Leo Sayer and Ricky Fataar. Bald titles such as “ New Hero” , “ Death Before Dishonour” , “ Some thing To Believe In” and “ Haunting Me” point to the fact that the music is used in a banal way to complement the film action rather than set up any con tradictory tensions. Several segments of the film in which a song occurs resemble little films within a film. These might make for a great few moments on Countdown, but become boring when they are used repetitively in a feature. The hyper-realism of Street Hero, which might have been the film’s saving grace, is, ultimately, the factor which (for this reviewer) does it in. It might have been used to deconstruct the myth of the hero and the romanticization of street-life in some very interesting ways. But, instead, Street Hero reinforces mythology by assert ing itself as: “ more real than the real” .1 Thus, in the end, an over abundance of “ special effects” makes Street Hero a film which is not all that special.

Street Hero: D ir e c te d b y : M ic h a e l P a ttin s o n . P r o d u c e r : J u lie M o n t o n . S c re e n p la y : J a n S a r d i. D i r e c to r o f p h o t o g r a p h y : V in c e n t M o n t o n . E d ito r : D a v id P u lb r o o k . P r o d u c tio n d e s ig n e r : B r ia n T h o m s o n . M u s ic : I a n M o r r i s o n , L e s B a r k e r ; R o ss W ils o n , J a m e s B la c k , D a v id R . P e p p e r ; D el S h a n n o n ; G a r t h P o r t e r ; T o d d H u n te r , J o h a n n a P i g o t t , M a r c H u n t e r ; L e o S a y e r, V in i P o n c i a . S h a ro n O ’N e ill; B r u c e S m e a to n . S o u n d r e c o r d is t: G a r y W ilk in s . C a s t: V in c e C o lo s im o (V in n ie ), S ig rid T h o r n t o n ( G lo r ia ) , S a n d y G o r e (B o n n ie R o g e r s ) , B ill H u n t e r ( D e t. S g t F itz p a tr ic k ) , R a y M a r s h a ll ( G e o rg e ), A m a n d a M u g g le t o n ( M is s R e a g a n ) , P e t a T o p p a n o ( V in n ie ’s m o t h e r ) , P e t e r S a r d i ( J o e y ) , L u c ia n o C a te n a c c i ( C ic c io ) , R o b e r t N o b le (M ic k O ’S h e a ) . P ro d u c tio n com pany: Paul D a in ty F ilm s . D is t r i b u t o r : R o a d s h o w I n t e r n a t i o n a l . 35 m m . 100 m in s . A u s tr a lia . 1 9 84.

1. S e e M e a g h a n M o r r is , “ R o o m 101 O r A F e w W o r s t T h in g s I n T h e W o r l d ” ,

Seduced A n d Abandoned: The Baud rillard Scene, S to n e m o s s , S y d n e y , 1 9 8 4 , p p . 9 1 -1 1 5 .

Where The Green Ants Dream

W here The Green A n ts Dream Dorre Koeser “ You white men are lost. You don’t understand the land. Too many silly questions. Your presence on this earth will come to an end. You have no sense, no purpose, no direction.” This is the premise of the Aboriginal point of view in Where The Green Ants Dream. In kind, director Werner Herzog has succeeded in making a film with no sense, no purpose and no direction. The film’s opening landscapes arouse suspicion. The visual quality of Herzog’s previous work is lacking from the start. Why he put his name to this amateurish production is more mysterious than his admittedly “ per sonal mythology” about the green ants. Herzog has no excuse: he has proven himself a director and writer with a strong personal vision, and his films have favorably borne the trade mark of his obsessive personality and eccentric imagination. But watching Green Ants is rather like being a character in someone else’s bad dream. Not only does Green Ants lack the dramatic impact of Fitzcarraldo, the visual polish of Nosferatu or the thoughtfulness of The Enigma of Kaspar Hauser, but the story-line is nonsensical, a script that does not even approach the level of a neophyte screenwriter’s first draft. The images are tedious, the editing sloppy and the acting mediocre, although one has the distinct impression that that is not the fault of the actors but of a difficult, banal script — and of a short-sighted director having a very bad day in his career. Lance Hackett (Bruce Spence) is the eager geologist employed by Ayers Mining, who is faced with the conflict between the company’s uranium mining interests somewhere in central Australia, and the local Aboriginals’ peaceful attempts to prevent that mining of the land which has been part of their heritage for 40,000 years. “ There will be no drilling here” , they tell Hackett. “ And may I ever so politely ask w hy?” , asks the righteously-indignant bureaucrat-in training. “ This is the place where the green ants dream” , explains the Abori ginal spokesman. Herzog has been criticized for using Aboriginals to disclose his “ personal mythology” . Whether he is exploiting a race of people in the guise of being sympathetic to their struggle or mis representing the actual relationship be tween the Aboriginals and the Austra lian government is another issue. The central problem with the film is this personal mythology he has advertised. What is it? Why is it? What does it have to do with an old woman and her lost dog? Whatever it is, it leaves “ too many silly questions” unanswered, and too many viewers uninterested in even formulating the questions. “ Why am I here?” , repeats the bio logist (Ralph Cotterill) to the inquisi tive Hackett. Why is he there indeed?: a caricature of the mad hermit scientist, m this case alone in the desert playing with his ants. He trembles with excitement as he instructs Hackett that the green ants are the only living crea tures on earth that have a sensory organ for magnetic fields. He is one of several characters who appear out of nowhere to explain a portion of

Lance Hackett (Bruce Spence), an eager geologist from Ayers Mining, and two Aboriginal leaders (Wandjuk Marika and Roy Marika). Werner Herzog’s Where The Green Ants Dream.

Herzog’s otherwise inexplicable green ant legacy. These characters do little to weave a provocative or allegorical myth, but instead emerge as projec tions of arbitrary thought or thought lessness, invented in a vain attempt to make some sense from a senseless story. It was good to see Bruce Spence in a role other than the village idiot, the way in which audiences have pre viously seen him stumbling, drinking and drooling through The Cars That Ate Paris, Buddies and Mad Max 2. Ray Barrett appears red-faced as the Aboriginal-hating, Caterpillar-loving ocker foreman; Norman Kaye is cap able as the compromising executive from Ayers Mining; and Colleen Clif ford appears for no special reason. The Aboriginals sit and sleep and only briefly make music or dance. The mining crew, in their uniforms, dot the bleak desert landscape like little orange soldiers. Wandjuk Marika and Roy Marika maintain a strong and power ful presence as the Aboriginal leaders, but seem to grow impatient as the film progresses. One senses they would like it to all be over soon. During the most boring courtroom scene in cinematic history, they appear as puppets in the hands of a German tyrant, reciting passionless lines meant to reveal the very deep meaning of the land to their people. Arnold (Nicolas Lathouris), the angry young ex-anthropologist defend ing the Aboriginals, is another arbitrary device of Herzog’s bad dream. He attacks the over-educated Hackett at the beginning of the film with uncharacteristic poetic analogies about his being on a train heading into the abyss. Sometime before the train derails, one is led to assume that Hackett is going through a change. He has a luminous experience in a Greek restaurant after being stuck in a lift with two Aboriginals and a bureau crat: “ We wanted so badly to be out of it that this is a figment of our imagina tion . . . We’re still stuck in the lift!” ,

he announces with the glee of a new convert. He befriends the Aboriginals, helps them build an airfield for the Air Force plane they desire and that Ayers Mining is prepared to provide for them as a token of their bribery, interrupts their meditation to bring them Coca Cola, smiles more often and takes the side of his corporate employers less seriously. One is finally urged to be convinced of the truth of Hackett’s inner journey when he reveals his recurring dream to Miss Strehlow (Colleen Clifford), the old woman who is waiting for her dog to materialize. She appears to have died while Hackett delivers his monologue of a Herzoginduced nightmare about lunchboxes and nuns. If Herzog has honestly attempted to advance the understanding of Abori ginal legends and culture, he has strongly missed the mark. Where The Green Ants Dream does little to advance the cause of Aboriginal land rights because of its cinematic sloppi ness and a portrayal of Aboriginal life that does not ring true. If this film is a reflection of the director’s personal spiritual journey, one must assume he has a lot more travelling to accom plish. W h e r e T h e G re e n A n ts D r e a m : D ir e c te d by: W e rn e r H erzo g . P ro d u c e r: W e rn e r H e r z o g . E x e c , p r o d u c e r : L u c k i S tip e tic . S c r e e n p la y : W e r n e r H e r z o g . D ir e c to r o f p h o to g ra p h y : Jo rg S c h m id t-R e itw e in . E d ito r : B e a lte M a in k a - J e llin g h a u s . A r t d ir e c to r : U li B e rg f e ld e r . M u s ic : W a n d j u k M a r ik a (in p a r t ) , G a b r ie l F a u r é . S o u n d r e c o r d is t: K la u s L a n g e r . C a s t: B ru c e S p e n c e ( H a c k e tt) , R a y B a r r e tt ( C o le ), W a n d ju k M a r ik a (M ilid jb i), R o y M a r ik a ( D a y ip u ), C o lle e n C l i f f o r d (M iss S tre h lo w ), N o r m a n K a y e ( F e r g u s o n ) , N ic L a t h o u r i s ( A r n o ld ) , B a sil C la r k e (B la c k w e ll), R a y M a r s h a ll ( C o u l t h a r d ) , R a lp h C o t te r ill ( F le tc h e r) , G a r y W illia m s ( W a ts o n ) . P r o d u c tio n c o m p a n y : W e r n e r H e r z o g F ilm p r o d u k t io n . D i s tr ib u to r : N e w v is io n F ilm D i s tr ib u to r s ( A u s tr a la s ia ) . 35 m m . 9 0 m in s . A u s tr a lia . 1984. ★

CINEMA PAPERS October — 367

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A u s tra lia n C inem a: The F irst E ig h ty Years Graham Shirley and Brian Adams Currency Press in conjunction with Angus & Robertson Publishers, Sydney, 1984 Hardback, 336pp., A$24.95 ISBN 0 207 145814 Rod Bishop

authors have chosen to stay within that framework, the result is a wellbalanced historical coverage. This achievement is at its most obvious in the first two sections. Part One covers a 33-year period from 1896 to 1929 and Part Two chronicles the 34 years from 1930 to 1964. These two sections constitute more than 75 per cent of the book, and are greatly helped by the authors’ strong nation alist sentiments, in evidence when they quote Cozens Spencer’s outburst, as early as 1914, at “ Australians becom ing] the dumping ground for all the producers in the world” . The history of exhibition and distri bution is similarly well-detailed, and the account of the 1926 Royal Com mission, with its spectre of quotas and tariff protection, and the eloquent attacks by Australian producers toward American control of the industry are also well documented. In the mid-1920s, Americans managed to obtain a bargain basement price for the successful German film industry, heaving under that country’s economic collapse. Thus, it comes as no surprise to learn from Shirley and Adams that by 1927 nearly 95 per cent of the films shown in Australia were American in origin. Shirley and Adams give a diligent and well-balanced view of the industry’s past. The contributions of R aym ond L ongford, Beaum ont Smith, Charles Chauvel, Lottie Lyell, Frank Barrett, the McDonagh Sisters, Frank Hurley, Efftee Film Produc tions, Ken Hall, Cinesound, Eric Porter, John Heyer, Lee Robinson and Chips Rafferty (among others) are evaluated with the calm detachment necessary in any factually-based, his torical account. The third and shortest part of this volume covers the years 1965 to 1975, ending when “ the industry’s . . . formerly separate artistic and commer cial achievements were merged in Sunday Too Far Away” . Livelier and more acerbic in tone, Shirley and Adams give a spirited coverage of the industry’s revival. Of particular value is the space devoted by the authors to clarifying

the contributions of the ‘underground’ cinema of the 1960s, and its important transformation during the early 1970s into a varied, exciting and energetic independent cinema. In the early part of this section, emphasis is given to the work of the early pioneers, among them Albie Thoms, Arthur and Corinne Cantrill, Aggy Read, Paul Winkler, the Ubu Films group and the formation of the Sydney Filmakers’ Co-operative. At times, their extensive coverage of this important movement, which pre ceded the renaissance of the main stream commercial industry by nearly 10 years, is a little too partisan. For instance, the account of the so-called “ Carlton” group in the 1960s (com prising Nigel Buesst, Dave Minier, Tim Burstall, Brian Davies and others) gives the impression that the Mel bourne ‘underground’ somehow had it easier than their Sydney counterparts: “ M elbourne’s independent film makers had for many years received monetary aid from the State Film Centre and the Federation of Victorian Film Societies . . . ” In fact, the number of filmmakers who benefited from the limited funds available was very small, and, rather than imply this situation gave the Mel bourne ‘underground’ some sort of enviable headstart on Sydney, the authors may have better amplified on the progressive, even enlightened, atti tude of these Victorian bodies towards the development of an indigenous film culture. But these misgivings are minor, and the significant space accorded to the low-budget cinema gives depth to Shirley and Adams’ gripping and informative account of the resurgence of the industry between 1965 and 1975. Apart from the coverage accorded to the 1972 Tariff Inquiry, the authors follow through the industry lobby for the creation of the Australian Film Development Corporation; the estab lishment of the national film school; and the founding of the Experimental Film and Television Fund. The notorious exploits of Senator Doug McClelland (Minister for the Media in the 1973 Labor Cabinet) and

In 1971, Prime Minister John Gorton, a fan of Westerns and private eye movies, oversaw the establishment of the Australian Film Development Corporation. At the time, Gorton expressed his desire for the AFDC to prove to the rest of the world that Australia was capable of producing films containing “ other things than avant-garde kangaroos and Ned Kellys” . Gorton’s quip, aimed perhaps at British directors Nicolas Roeg and Tony Richardson, underlines the strong nationalist thread that runs through Australian Cinema: The First Eighty Years, this admirable history from Graham Shirley and Brian Adams. National sentiment is only one of the elements built into the historical per spective used by the authors. And, when Shirley and Adams stick rigidly to conventional methods, their work is exact, comprehensive and precise: a charting of the production, exhibition and distribution wings of the Austra lian film industry between 1896 and 1975, set within a context of the pre vailing economic conditions and changing government attitudes. Shirley and Adams have not written this book for readers whose sole interest lies with the content of the films. They are content to offer plot synopses and occasional comment as to the relative critical and commercial impact of any particular film. Indivi dual filmmakers are generally only profiled when their cinematic contri butions have developed directorial techniques or raised the production standards of the industry. The authors also recognize film workers who have m ade sig n ifican t co n trib u tio n s towards lobbying for an indigenous industry. Their book contains an impressive use of primary source material, par ticularly personal interviews, news papers, magazines, diaries and govern ment reports (including excellent coverage of the 1926 Royal Commis sion and the 1972 Tariff Board Inquiry). Adams and Shirley have carefully drawn out the essential his torical facts for each era, giving this book value as both a comprehensive historical account and an essential reference work. It is only the authors’ strict adher ence to calendar chronology that gives the book an occasional pedantic tone. But the crafting of any lucid history is determined by constraints and conventions, and, where the Early days: Charles Tait's The Story o f the Kelly Gang (1906).

his scandalous co-option by the inter nationally powerful Jack Valenti (president of the Motion Picture Association of America) are given great prominence. In hindsight, it is clear that these problems unnecessarily retarded and undermined the un heralded contributions of many local filmmakers toward the development of a viable industry.

Australian Cinema: The First Eighty Years is a historical account of major consequence. Any reader with more than a passing interest in the Austra lian industry should not hesitate to add this volume to his or her collection. And, apart from its content, the book is excellently presented: the simplicity of its index and its ease of access as a reference work cannot be faulted. Although this present volume finishes its account in 1975, the book clearly shows the need for a similar history of the ‘halcyon days’ that fol lowed. Shirley and Adams could pro duce a valuable and beneficial com panion to this otherwise exhaustive and accurate historical account.

The A lte rin g Eye: C o n te m p o ra ry In te rn a tio n a l C inem a Robert Phillip Kolker Oxford University Press, New York, 1983 Paperback, 428pp., A$18.50 ISBN 0 19 503302 7 Dennis Bowers Robert Kolker, who is associate pro fessor of Film Studies at the University of Maryland, has followed his study of contemporary American directors, A Cinema of Loneliness1, with a broad ranging survey and analysis of modernist cinema in Europe and Latin 1. O x f o r d U n iv e r s ity P r e s s , O x f o r d N e w Y o r k , 1980.

and

CINEMA PAPERS October — 369

Book Reviews

in that sense, acted as precursors of Italian neo-realism, which he sees as the substantial beginnings of modern ist cinema. Eric von Stroheim and Jean Renoir are also noted as important influences in the movement leading toward neo-realism. Kolker is alive to the revolutionary implications of neo-realist theory and practice (“ no more actors, no more story, no more sets” , in André Bazin’s famous formulation) and, while aware of the limitations and compromises of the neo-realists, does not, as in some recent re-assessments of the move ment, throw the baby out with the bathwater. Part of its importance for him lies in its refusal to make more of the image than is there, and an attempt to allow the fewest and simplest faces, gestures, and surroundings to speak what they have to say and then to move on. (p. 53) After detailed analyses of Bicycle Thieves, La terra trema and Paisa, Kolker documents the failings and decline of the neo-realists: They rarely dealt with history in such a way as to indicate that their characters might control it rather than only suffer it. They permitted the spectator to see a particular world, but never to see past it. They sometimes suggested, but never clearly presented, possibilities for change in that world, (p. 65) While this is a viewpoint that is hard to deny, it perhaps underestimates the acuteness of neo-realist observation at its best, as in Vittorio De Sica’s Bicycle Thieves, which demonstrates clearly, for the first time on film, the role of the police force as an arm of the State, protecting the rights of substantial property owners. The failings of the neo-realists are located in “ an essentially sentimental attachment to their subject” (betrayed in the frequent use of children which amounts to moral blackmail), a lack of awareness that “ an identification with and emotional reaction to viewed pain and suffering can preclude an under standing of it” . None of the neo realists could achieve Brecht’s ideal of sustained, distanced analysis. They also fell prey to what Kolker identifies as an older convention of realism which postulates the necessity for a sad narrative whose characters come to an unhappy ending. The result was, in Geoffrey Nowell-Smith’s words, “ a deeply rooted pessimistic fatalism” (p. 75) which owed a good deal to the attempt to blend social observation with Catholic faith. Kolker rounds out his first section with an examination of the legacy of Italian neo-realism in England, and the effect on Satyajit Ray, Luis Bunuel

America. His subject in The Altering Eye is “ film made in a spirit of resistance, rebellion, and refusal” : that is, films made in reaction to an American cinema which deals mainly in melodramas in which the processes of identification and naturalization are strong, and the focus is on personal problems and character psychology, rather than on political or social con text. Contrasted with safe, conformist films, modernist cinema works to question and surprise, redefining the notion of film as a reflection of reality, exposing it as cultural artifact and inviting an active response on the part of spectators. Kolker traces the para mount influence of Bertolt Brecht on modernist works in all the narrative arts, and notes the revitalizing of film criticism in the 1970s through develop ment of the tools of semiology, struc turalism and Lacanian psychology, and ideological analysis. Although The Altering Eye is informed by each of these approaches, it is clearly strongest in terms of its Marxist analysis of ideology. The book is divided into three sec tions. In the first, “ The Validity of the Image” , Kolker traces the develop ment of that American cinema of “ escape and evasion” . The flavor of his writing is apparent here: . . . large amounts of money could not be made from peep-shows in working-class neighbourhoods; profit and respectability could only come from an audience with money and respectability. Two things were immediately needed to attract this group: elegant exhibition and a film content that combined the blandest, seemingly most inoffensive morality with sexual titillation which could in turn be defended by a high moral tone . . . The economic, political, and psychological complexities of the film audience’s experience were largely transformed into images that sweetened life by simplifying it and denied economic inequality by denying that such inequality had any importance for happiness. It was a cinema of amelioration in which good characters achieved marriage and a middle-class life, where obedi ence and sacrifice were rewarded, (p. 26-27) Having described the Hollywood model of filmmaking, Kolker briefly discusses Sergei Eisenstein and the German expressionists as filmmakers Dominique Sanda in Bernardo Bertolucci’s who rejected Hollywood realism and, The Conformist. 370 — October CINEMA PAPERS

(Los olvidados), Ermanno Olmi and the Taviani brothers. The second section, “ The Substance of Form” , deals with the period of radical exploration of film form in the 1960s and early ’70s, when filmmakers replaced or subverted established codes and c o n v e n tio n s m ore thoroughly than the neo-realists had been able to, catching up, in the pro cess, on the other arts. Here Kolker focuses on the Brechtian achievements of Michelangelo Antonioni, Alain Resnais, French new wave directors (notably Jean-Luc Godard, Claude Chabrol and Eric Rohmer) and the new German cinema (Wim Wenders, Werner Fassbinder and Werner Herzog). Typical of the insights Kolker arrives at through tracing the influence of earlier movements is this passage on Antonioni: It is as if Antonioni reached through the neo-realist frame back to the expressionist m ovem ent . . ., merging both in an unusual hybrid. The neo-realists disallowed the use of studio sets, the expressionists depended on them. Theirs was a set designer’s world of painted back drops, painted shadows and plaster trees. The distortions of environ ment they created to reflect the emotional distortions or mytho logical world of their characters were made to order, static, staged. Antonioni begins with a place that exists and so arranges his characters in it and his camera’s approach to it, so treats it with lights and lens, that he molds the ‘real’ — the preexistent material he finds — into a mise-enscène that affects, explains, ampli fies, and corroborates the charac ters. The ‘real’ world is given an expressive form . . . (p. 139-40) Since modernist cinema must attempt to “ prevent the spectator from slip ping easily through the structures of presentation into an emotional world of character and action” , the most famous of European directors, Berg man, is dismissed as “ the great melodramatist . . . concerned with indivi duals in the cinematic throes of per sonal crisis . . .” . For Kolker, Berg man is no genuine explorer of form and has no great commitment to intel lectual enquiry. Politics and sexuality are examined in the final chapter; both have caused American filmmakers and critics con siderable unease. Overtly political films are all too readily diagnosed as propaganda in the U.S., whereas the critical climate in Europe has been more favorable, after politicizing of image and narrative in neo-realist films. It is in relation to political cinema that Kolker provides his most detailed analyses of individual films, notably Masculin-Feminin, Red Psalm, Angi Vera, In the Year of Thir teen Moons, La conformista (The Conformist) and Last Tango in Paris. Most of these films also lend them selves to an examination of what they portray about sexuality and its links with the social order, links usually denied in film melodrama, with its fiction of the private life. One striking omission from this dis cussion is Lina Wertmuller, whose films form a major study of sex and politics. Presumably, Kolker considers that the distancing established by Wertmuller’s mixture of comic and melodramatic modes, and the disrup tion of narrative continuity in her com plex arranging of chronology (as in

Seven Beauties) is not sufficient for her to qualify as modernist and Brechtian (though Buñuel does pass the test). Minor quibbles aside, Kolker’s latest book is an important and timely example of criticism informed by recent developments in theory. Familiar classics are often seen from fresh perspectives, the overview of film history is consistent and persuasive, and Kolker’s writing on less wellknown films, such as Lucia and Antonia das mortes, or on familiar ones such as The Conformist, makes one want to view (or review) the film discussed. Though modernist cinema may now be in eclipse, as Kolker claims, his book should provide a strong impulse to a wider critical interest in the Brechtian movement in cinema.

A ustra lian M ovies to th e W orld: The In te rn a tio n a l S uccess o f A u s tra lia n Film s S ince 1970 David White Fontana Australia, Sydney, and Cinema Papers, Melbourne, 1984 Paperback, 144pp., A$12.95 ISBN 0 00 636718 6 Susan Dermody

Australian Movies to the World is rather like an extended chapter from the front of the much-valued (and recently missed) Australian Motion Picture Yearbook. That is the measure of its usefulness and its limitations. It fleshes out a story of gradual overseas recognition for Australian films in a chatty, uncritical way. Sue Matthews’ radio documentary, ‘ ‘A u s tr a lia n F ilm s /A m e r ic a n Dreams” , in 1982 covered some similar territory, concentrating on the flare of American interest in Austra lian films after Breaker Morant in 1982, but the difference in approach is informative. She edited her material to juxtapose positions and opinions in a way that threw some of the central debates about Australian film and its international projection into relief. In a sense, the format itself invited that kind of montage, while White’s book follows the course of least resistance in its own format. It meanders along a chronological road to the present, in leisurely, illustrated fashion. But, for me, the lack of debate, or polemic, or developed critical position that results makes the book less interesting than it might have been. The book takes off from the research and interviews gathered for the 1983 documentary of the same title, written and directed by Gordon Glenn and Scott Murray, and, like the film, it tends to have the non polemical, ‘good-news’ mode of publicity, rather than argument. How ever, the information that it offers on overseas critical and box-office response is valuable, sometimes sur prising and always lucid. Had it in cluded a comparative chart, listing budgets, domestic market returns and international returns, broken down into ‘world’ and U.S. returns, I would call it an invaluable resource. And if the book had been indexed, its resource value would again be greater than it is.

Book Reviews

The title itself is like an announce ment of good news: Australians have broken through the barriers of self doubt, it announces, overcome the tyrannies of distance and are connect ing in some way with the world, through film. Interestingly, though, the title is a sentence without a verb, like “ My love to you” ; it eschews saying “ taken” , “ pushed” , “ pro moted” , “ given” , “ sold” , “ sent” , etc. Instead, it is a headline of the fact accomplished, or the destiny achieved, and it is an invocation to rally around the success and anticipate its future. After announcing a destiny — recognition and acclaim for Australian films in that “ most unlikely place” , Cannes — the book reads back to find the gradual but forward march of the industry to this threshold point. Just as the Yearbook could not exactly afford to find, in any new edition, that the industry had faded, shrunk or nose dived in quality, so Australian Movies to the World cannot really fail to find a perpetually upward curve towards the present. It is within these limits that the book is useful. But what are the effects of these limits? White offers a clear, wellwritten recapitulation of the more worthy, citable moments (films) of the period since 1970. The account is spiced by generous stills selected and laid out in the familiar Cinema Papers style, on A4 format. White concen trates, with ever increasing success as he moves into the 1980s, on the com ments of overseas critics of some moment in their own countries, as they begin to acknowledge Australia’s exist ence and worth. By limiting its account to those films for which the research has shown some definite overseas “ success” in box office or critical terms, or both (and this is always dicey: will [producer] Tony Ginnane, for example, agree with all the omissions?), the evidence of the book seems to offer more grounds than is fair for Pauline Kael’s put-down about the Seal of Good Housekeeping that has blighted many Australian films. By the same token, the book tends to fastidiously avoid the whole fascinatingly repulsive set of ‘international’ films, real downers in their effect on audiences and box office receipts, that seem to mistake misanthropy, cultural limbo and a cast headed by overseas has-beens for genre sophistication and international port ability. These cold-blooded films have bred among the uncertainties of the Australian industry, precisely in its desire for an international projection,

and, as monsters of a lack of cultural quotes) tends to be safely beyond the self-knowledge perhaps, they deserve active moment of debate. This will dis closer attention than they have had so appoint a large potential readership who have become interested in the far. Furthermore, by isolating positive Australian film industry by general media coverage, let alone by Cinema international response for discussion, and not comparing and discussing Papers or Filmnews. I know that I am in danger here of domestic market response (as David Stratton’s The Last New Wave did), criticizing the book for what lies out there is sometimes the unintended side its limits, rather than appreciating sense of the book picking out every it for what it does inside them, and crumb of approval from the remarks that my critique is getting out of pro of overseas critics. This effect belies portion to the much more modest the dominant sense of the book’s pur intentions of this book as well-written pose, of announcing fresh grounds for promotion that is much more useful cultural confidence. It implies that and coherent than mere puff pars. But validation, for Australia, still comes can the book be let by without atten tion to what could be called the poli above all from outside. Debi Enker contributes 21 brief tical moment of its context? If the ‘biogs’ of the actors and directors with book offers applause for the gradual some marquee weight. The exclusion development of overseas stature in an of producers from these thumbnail industry which one is invited to sketches is acknowledged and re identify with, and feel proud about, is gretted, because of lack of space. that enough for an Australian reader Writers appear to have been that much ship and audience that could almost be more expendable, since their complete called a “ client audience” in the absence is not even mentioned. The 1980s? My point is that I don’t think one people who dream a film up, who do the first crucial imagining and shaping can disentangle the question of inter of its ideas, characters, structure and national success as either goal or bonus rhythm, apparently do not figure even for Australian production from the along with the squeezed-out producers fact that all tax-paying residents of this and technicians who are said in the country have a compulsory vested introduction to have had such a “ vital interest in the industry that has role in taking Australian movies to the nothing particularly to do with profit outcomes, but has everything to do world” . This self-imposed limit has several with enjoyment, awareness and other effects. It places the book in the genre “ intangibles” . Only some non-tax of the ‘fanzine’, where films on the paying residents — that is, residents whole manifest themselves on the with a disposable income so ample that screen, and are not ‘made’ objects. it requires relief from taxation — are This effectively rules out a discussion strictly in a position to have direct of the idea of an orientation overseas interest in the profit side and the poss of the Australian industry, which has ible jackpot of international box-office been such an important source of argu success. This internal contradiction ment and rhetoric within the industry makes the question of international and about it. This is because ‘cultural success quite rich ground for discus nationalist’ arguments, such as Bob sion, as Matthews began to show. But Ellis’ late-1970s “ cultural exactitude” , because of the adopted limits, the pertain most strongly to the making: book can skate over this rich ground as the evolution of story, ingredients such if the only real bump to be encoun as casting and place, the whole mental tered was the mild doubts of some set adopted at that point. The proof of people about the Ginnane position on this argument is often given as the international film. So, the book is very readable cir ‘fact’ of the relatively greater amounts of approval (and perhaps profit) culation and re-circulation of mainly accorded overseas to Australian films warm facts, figures and opinions, that have a degree of sensitivity from the release point of the films on towards cultural exactitude. White wards. I can’t see it really changing the addresses the issue only as fleetingly as way that anybody thinks. And like the industry itself, it is vitiated by a soft this: Many Australian filmmakers would approach, a safe non-critical attitude query Ginnane’s definition of a and a constantly rewarmed enthusiasm commercial industry. They do not for itself. accept that, to make money, films should be pushed towards some kind of unfocused ‘internationalism’; or that foreign actors always help over K u b rick seas sales, particularly if their Michel Ciment, translated by presence in a film is incongruous. But there is something in what he Gilbert Adair says about the orientation of the William Collins, London, 1983 industry towards art houses, par Hardback, 238 pp., A$19.95 ticularly when it comes to overseas ISBN 0 00 216353 5 distribution. Even so, art-house distribution over seas may limit earnings; it does not Michael Broderick necessarily preclude them. Some arthouse films can be profitable, while This is the fifth book-length treatment many commercially oriented films printed in English which attempts to can be flops; when that happens, the analyze critically the Kubrick oeuvre. first group of films are better on two Michel Ciment’s methodology is a counts (their art and their profit) combination of photo montage, bio than the second, (p. 79) graphy, interview and critique, all Because he has not sought to establish clearly delineated within a handsomely a cultural position of his own (but produced volume. Unlike the earlier dissertations, rather adopts the position of the , publicist, which is mild when it cannot Ciment has strongly emphasized a be positive), and because the book visual representation of Kubrick’s concentrates on the far end of the life cinema by including more than 300 of its films, all commentary (including illustrations, mostly frame enlarge

ments, and many in color. By cleverly juxtaposing the vast topography of Kubrick’s imagery (in what the direc tor has always described as essentially a “ non-verbal experience” ), the stills evoke a much deeper resonance of artistic identity than has been accomplished in previous text-centred debate. Well aware of this neglect, Ciment stimulates the reader-viewer into form ing associations through “ unexpected analogies or internal rhymes” , effec tively charting a Kubrick iconography. A fine example of this technique is represented by three photos referred to as “ The nocturnal ‘return of the re pressed’ ” , depicting the haunting ‘look’ of Dave Bowman, and Alex and Jack Torrance within the director’s favorite stylistic predilections of “ corridor” framing and reverse track ing. Such a rationale is well suited to the enigmatic and evasive Kubrick, for it is precisely this sense of uncanny ‘association’ one feels with each new Kubrick film or review. A sense of the familiar is found often in the most in hospitable and alienating cinematic terrain: from the temporal dislocation and repetition of The Killing (1956) to the labyrinthine arena of The Shining’s (1979) Overlook Hotel and maze. Ciment divides the text into seven sections, two of which are devoted entirely to photo-essays of the 11 films and images of the director at work. The biographical sketch covers old territory and provides few insights, the author content to dismiss important so cio -th em atic tra its , such as Kubrick’s mastery of chess, as merely reflecting “ his view of life as a game in which one wrong move could be fatal” . And, curiously, for such a wellresearched work, Ciment appears happy to perpetuate the false journal istic myths based on the filmmaker’s particular idiosyncrasies, referring to Kubrick’s purported phobias (of fly ing, speed, etc.), over-protectiveness and isolation. Fortunately, the chapters concen trating on the evolution of the direc tor’s oeuvre are far more satisfying. Employing a mixture of psycho analysis, auteurism and structuralism, the author elicits some fine correla tions between the texts, crucial for an understanding of the metacriticism inherent of each individual film: Kubrick’s approach . . . is centri petal. Based on concentration, its aim is to create an anarchic system. Note how each work refers back to its predecessor, (p. 61) Ciment skilfully traces the director’s thematic preoccupations, highlighting CINEMA PAPERS October — 371

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Australian Movies to the World The International Success of Australian Films since 1970 David White with Profiles o f Actors and Directors by Debi Enker At the end of the 1960s Australia had virtually no film industry. By 1983 its movies were being shown throughout the cinema-going world, from mainstream theatres in America to art houses in Europe. In a rapid transformation, a country which had previously been best known for its kangaroos and koalas produced something new and surprising: to quote Time magazine, “ the world’s most vital cinema, extravagantly creative, fiercely indigenous” . Australian Movies to the World looks at how this transformation came about and how those movies broke into the international market. And, through interviews with Australian and overseas directors, producers, actors, distribution executives and critics, it tells the story of the people who made it all possible. David White is a writer based in Sydney. He worked as a newspaper journalist for 13 years, including stints as a correspondent in Papua New Guinea and as a news executive. He became Federal Publicity Officer of the Australian Labor Party in 1971 and, after Labor’s election to national office in 1972, Media Secretary to Prime Minister Gough Whitlam. He resigned from that post in late 1974 to travel overseas. Back in Australia, he became a film publicist in 1978 and, in that capacity, made a number of trips to Europe and America. He is married to film editor Denise Hunter.

Contents Preface An Unlikely Place Australia through Foreign Eyes 3 Into the Seventies Tim Burstall Bruce Beresford Peter Weir Breakthrough: Europe Jack Thompson Fred Schepisi Phil Noyce Gillian Armstrong Bryan Brown 5 Breakthrough: the World George Miller

George Miller Sigrid Thornton Tom Burlinson Simon Wincer Paul Cox Wendy Hughes David Stevens Helen Morse 6. Australians Overseas Judy Davis Mel Gibson Richard Franklin Philippe Mora Notes Further Reading Acknowledgments

Published by Fontana Australia and Cinema Papers

Book Reviews

the binary oppositions of sexuality and death, reason and aggression, isolation and the individual: Eroticism is displaced from woman to death; and if in American society death tends to be treated as a taboo, the power elite nevertheless operates through institutionalised violence, (p. 67, 70) Avoiding a chronological discussion, the author creates a kind of analytical pot-pourri, in one instance drawing from Hegel, Jonathan Swift and Voltaire to illustrate Kubrick’s obvious fascination with all aspects of 18th Century “ Enlightenm ent” . Such eclecticism serves to exemplify the textual complexity of Kubrick’s cinema. It also reflects the enormous multi-disciplinary research the film maker does at the commencement of each new project. In the chapter concentrating on both 2001: A Space Odyssey (1969) and The Shining, Ciment reveals that a primary focus of Kubrick’s art is the search through the “ fantastic” and its myths for the “ re a so n ” behind the “ irrational” which governs human kind. The Shining is particularly open to psychoanalytic reading and Ciment draws upon key elements essential for understanding its dynamic narrative: The gradual erosion of the frontier between the ego and the world, the real and the imaginary, character istic of schizophrenia — is visible, (p. 135) Similarly, the author traces the Oedipal link between the eye and the phallus, most clearly evident in 2001: It united instinct with intelligence and was linked with the presence of the monolith (the eye of the ape, of the leopard, of HAL 9000, of the astronaut, of the foetus) preceding each of m ankind’s advances. (P- 144) Ultimately, Ciment’s view of Kubrick is that of a “ disillusioned roman tic” who regards life as either a tragedy or a grotesque farce. His oeuvre involves the exposition of both instinct and subconscious, while promoting “ reason” as the real solu tion, though never at the expense of one’s primal self. This argument is best supported by Kubrick’s responses (and those of his colleagues) to Ciment’s well-directed questions. Three interviews spanning a decade also reveal the director’s desire to rationalize his work in psychoanalytic

terms. In A Clockwork Orange (1971), for example, he describes Alex (Mal colm McDowell) as representing the unconscious: man in his natural state, pre-civilized. With regard to The Shining, he speaks of Freud’s essay on the ‘uncanny’ (“ the uncanny is the only feeling which is more powerfully expressed in art than in real life” ) as alone justifying the supernatural genre. Disappointingly, the rarer inter view on Barry Lyndon (1975) is drier and more superficial. In the final interviews, James B. Harris (“ People would listen to Stanley that much more attentively and work that much harder out of respect for him” ), Ken Adam (“ A creative director can add a whole new dimension to your work which you wouldn’t have thought possible” ), John Alcott (“ Working for him is like * going to school and being paid for it” ) and Julian Senior (“ Few people know how to plan their lives as meticulously and pragmatically as Stanley” ) pro vide some interesting anecdotal material and an insight into the mechanics of the director’s craft which Kubrick was either too modest or too apprehensive of misinterpretation to elaborate upon. The Kubrick which Ciment’s por trait evokes, however, is not without contradiction. The author asserts: One of the major obsessions of Kubrick’s films — the desire for absolute control over people and things and its inevitable correlative, the terror of losing control — informs the very practice of his craft. Anxiety, even despair, are at the core of Kubrick’s work; they are also the driving force of his creative activity, (p. 122) Ironically, this romantic image of traditional artistic angst seems to belie the very content of Ciment’s text since Kubrick’s insatiable desire for control touches even his biographers. Not only did Kubrick select many of the stills and frame enlargements himself, but a footnote explains that the director’s interviews were “ revised” and “ ex panded” at Kubrick’s request. There are also a couple of problem atics eschewed by Ciment’s analysis: for example, the criticism of misogyny often levelled against Kubrick and comments such as “ The final shot of 2001 is perhaps the only really peaceful image created by an artist more at ease in nightmare” (p. 107) ignore the important accusation (by authors Susan Sontag, Robert Phillip Kolker et

al) of a fascist ideology operating within the text. Aside from these few lapses, how ever, Ciment’s Kubrick remains an authoritative guide to the cinema of this polemical artist. As an introduc tory work (with its extensive biblio graphy), or as a supplementary text, it has quite a deal to offer.

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Robert Watts

Robert Watts Continued from p. 329 emotions trying to be generated at that point in the film. There are so many comedic parts in the film which, I think, mitigate the violence, which is more Tom and Jerry than Friday the 13th. It is not slash and gore; it is entertainment. But to make that work it has to have definite levels of emotion. In the main, it is light and tongue-in cheek, but there is a fairly dark side to the film. Nervous parents should see it before deciding to take their children. George Lucas is responsible for all these astoundingly successful films, yet he seems to be an enigma. What is he like?

George is a very quiet, shy person. He rarely gives interviews and rarely attends public func tions. I was amazed that he came to the Royal premiere of Temple of Doom because he rarely comes to any. He has changed very little in the time that I have known him, but, though he is modest and quiet, his influence on the people who work for him is enormous. The whole circumstance of the Star Wars trilogy is very personal to him, and his influence comes to bear heavily in post-production and at Industrial Light and Magic.

The Quarter Continued from p. 301 in film underscoring, sparked off in other areas and led to real jazz scores. Johnny Mandel’s jazz score for I Want To Live (1958), Sonny Rollins' jazz sound track for Alfie (1966), the electronic score for Forbidden Planet (1956) and the Beatles’ pop music in A Hard Day’s Night (1964) all opened doors for alternative styles and trends. Nowadays, many films overlap, using both pop music and orchestral scores. Motzing: In the early days music underscored what was on screen. Now it often goes against what’s on screen, implying things that aren’t there. Motzing gave as an example three, seem ingly unrelated scenes from Newsfront which were connected into one sequence by the music. Motzing considers himself a director’s composer. “ I appreciate a director who is very definite. A director who knows what he wants gets a better chance of getting what he wants.” To composers, he sug gested learning the traditions of film music, studying both scores and the films, and being as familiar as possible with film history and all aspects of filmmaking. Motzing: As a film composer you must accept the limitations of timing, or you’re in the wrong job. The challenge is someone asking you to make eight and a half seconds of music that must do some thing specific. ‘‘I thought we were supposed to be talking about scripts” , sighed a frustrated person as Bob Ellis and the night’s participants rehashed the problems of production,

374 — October CINEMA PAPERS

The Quarter

He had a very personal involve ment with Jedi, which was the hardest for him because he had to round off the trilogy. He only visited us three times during the shoot for Temple of Doom because he was busy getting Jedi out. The whole Star Wars saga has been a great drain on him. The only change I have seen in him is that he has an enormous amount of self-confidence, which must come. It has been extremely pleasant working with him. Will Lucasfilm ever produce any thing other than spectacular extravaganzas, such as more per sonal, understated films?

I am certain it will. Lucasfilm has become a very large company, but has very little product if you really think about it. I have been with it for nine years and only worked on five films. I see Lucas film making much more product in the future. That transition will probably happen during the making of the next Indiana Jones film. George Lucas will have less personal involvement in every thing, though he, of course, will have the final say.

does, because he is such a talented director. As well as these Lucasfilm produc tions, you have been involved with a number of smaller films. Are they an expression of your per sonal, creative interests as a pro ducer?

Definitely. Cinema is a medium for all tastes, and I would hate to think there was never going to be anything but Superman, Star Wars, Indiana Jones and James Bond. I am in the process of trying to raise money to do a film this winter which has nothing to do with Lucasfilm. It is a modest *’actors’ piece and a departure from what I have been doing. It is based on a book, White Mischief, which is set in Kenya in 1941. Are the big blockbuster films obscuring and hampering the pro duction of smaller films?

the big action adventure films have always been popular and always will be. Will the Indiana Jones character follow the same formula pattern as James Bond?

I worked on two of the earlier Bond films in the 1960s2, which had atmosphere and sub-text to them. What you have now is an established format which is popu lar with its audience. They will continue to make the Bond films until one of them loses money, not that there is anything wrong with that: it is a commercial medium. I feel this won’t be the case with Indiana Jones. Maybe there will just be three films and that will be it. What have been your favorite Lucasfilm projects?

My favorites have been Star Wars and Raiders, because they

George says he hates directing, but I am certain he is going to do something in the future. I hope he

I truly believe that blockbuster films such as Star Wars, Temple of Doom , Superman and E.T. help smaller films get made. Major companies are more prepared to risk capital and invest in a picture that has a potentially smaller audi ence, if they have had a big recoup from one of the blockbusters, than if they hadn’t. People are always saying, “ Oh no, everybody is feeding pap to the kids of today.” Well, pap or not,

were the originals. You can never quite recapture that moment of originality on other projects in the same series. It was the same with 2001 , because it is also a piece of cinema history. That is not to say the others haven’t been marvellous to work on, but those two will always be a bit special because they were the first. ★

casting and marketing. Ellis mumbled a pre-written speech and entertained with his sardonic wit, largely at the expense of Goodbye Paradise’s other creative per sonnel. He implied that the poor and noble scriptwriter is victimized and his work manipulated and misinterpreted in the hands of uncooperative directors and pro ducers. “ All agree that something is wrong [with Goodbye Paradise]. No one feels easy with it and neither do I” , Ellis said. His obsession with the film’s outcome was boring and excessive, and he prepared the audience, many of whom were viewing the film for the first time, to see its weak nesses rather than its strengths. While it is interesting to know that other actors and music were once considered in the making of a film, dwelling on “ what might have been” served little purpose in the examination of turning words into images, or in a seminar billed as “ Script writing” . One of Ellis’s few comments which did deal with scriptwriting was that one is “ massively overpaid for total frustration as a screenwriter” in comparison with novel writing: “ You don’t get paid at all but have total fulfilment.” The audience tended to sympathize with Ellis, sharing the writer’s vision, perhaps, of the purity of one’s original intent being misused by big, bad directors. In response to a question regarding col laboration, Ellis made the suggestion that one cannot collaborate successfully with someone outside one’s immediate peer group, advice which, if taken, would eradi cate most of world film history and greatly curtail future film artists’ vision and collaborative possibilities. “ It is best to work with people of the same age and background” , Ellis suggested, but also admitted: “ I was brought up a Seventh Day Adventist and there aren’t many of us in the film business.”

The people who wanted to discuss scriptwriting had more of a chance the next evening with writer-director John Duigan. Showing clips from Winter of Our Dreams and One Night Stand, Duigan addressed the process of directing one’s own work: its challenge (“ Ultimately, the director must make things work” ); its advantages (“ You can change a line with out a series of conferences” ); and its per sonal satisfaction (“ One is able to follow an idea to its conclusion” ). Duigan methodically traced the evolu tion of Winter, and gave his thoughts on the main characters’ very different ways of being in the world, the use of professional and non-professional actors, and the cutting and rhythm of the film. He con sidered questions that dealt with every thing from collaborative relationships and art direction to the style of Bryan Brown’s underpants, a choice which confused some viewers. Members of the audience were out spoken in praising and criticizing scenes from One Night Stand, which Duigan referred to as a film in the style of “ espresso realism” . Afterwards, many ex pressed their desire to see One Night Stand again in light of the director’s com mentary, implying that it was a critically misunderstood film. Duigan expressed his disappointment in film criticism in Aus tralia, citing that there is no in-depth analysis, even in alternative magazines which “ dismiss Australian films in a few curt sentences” . Adrienne McKibbins was pleased with the reasonable and professional way the Filmmakers’ Week was presented, and with the positive feedback from audience and filmmakers. She was disappointed, however, in the small attendances at the documentary presentations — they were “ good opportunities for a growing aware ness of different types of filmmaking” — with internationally renowned ethno

grapher Ian Dunlop and documentary film maker Tom Zubrycki. However, Mc Kibbins thinks that documentary film making is rising in importance in Australia, and that several years ago these sessions would hardly have attracted “ three people and a dog” . McKibbins also expressed regret that few or no students and film educators from the Australian Film and Television School, New South Wales Institute of Technology and Australian Screen Studies Association attended. McKibbins:

Will Lucas direct any of these smaller features?

2. ThunderbaU (1965) and You Only Live Twice (1967).

Teachers of Australia should have dialogue with the people involved in making Australian cinema today. It is unfortunate that the students and educators didn’t take this opportunity. It is unfortunate, especiajly in light of the fact that as of 20 August 1984 a decision was made to close AFl cinemas around Australia, in order to cover a deficit. Twenty-four AFl employees received their notice. With no screenings, conferences or Filmmakers’ Week-type events, what will be the function of the AFl? “ That’s a very good question” , replied McKibbins.

Australian Screen Studies Conference 1984 The next Australian Screen Studies Association conference, to be held at Griffith University in Brisbane from 3 to 7 December, 1984, will focus on the con temporary Australian film industry, film and television education, and the cinematelevision interface. Work on the commercial film industry will include its history, policies, politics, products (the films themselves) and its

Concluded on p. 378

i:S§SSii-:|:;$|§;:;:|:::::|::§-:-:;:j:|:Ä:::::>^

Cold Chisel: The Last Stand

O TH

Razorback

GUO

One Night Stand

HTS

Careful He Might Hear You/ Phar Lap

HTS

The Wild Duck The Man from Snowy River/We of the Never Never

S Y D .2

M LB.

(3*)

(2) 2 3 ,1 2 6

41,601

PERIOD 2 9 .4 .8 4 to 2 3 .6 .8 4

PTH

AD L.

B R I.

(3*) 3 4 ,4 6 8

(5) 16,855

(2) 6 ,84 3

(1)

3 ,1 3 3

0) 2 ,4 8 7

(1)

HTS

2 ,4 8 0

Australian Total

41,601

45,594

6,843

Foreign Total0

2,176,160

1,879,426

998,578

Grand Total

2,217,761

1,925,020

1,005,421

36,955

t Not for publication, but ranking correct. * Figures exclude N/A figures. * Box-office grosses of individual films have been supplied to Cinema Papers by the Australian Film Commission, o This figure represents the total box-office gross of all foreign films shown during the period in the area specified. * Continuing into next period NB: Figures in parenthesis above the grosses represent weeks in release. If more than one figure appears, the film has been released in more than one cinema during the period.

T o ta l $

R ank

9 9,1 95

16,8 55

6 ,84 3

3 ,13 3

2 ,4 8 7

2 ,48 0

SYD.

M LB.

PTH

ADL.

B R I.

T o ta l $

R ank

(6) 6 0,7 06

(7)

(6) 4 1,8 14

(6) 1 9,637

(4)

7 6,6 47

2 8 ,5 9 7

227,401

2 2,3 6 4

6 3 ,1 6 7

(1) 4,475

(1)

(2)

3 ,6 6 7

2,101

12,121

(5/3) 3 1,1 07

(3/4) 2 8,0 68

3 ,992

(1)

(1*)

130,993

(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 O c to b e r

Ut 2

D is trib u to r

TITLE

PERIOD 2 4 .6 .8 4 to 1 1 .8 .8 4

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:

April 1984

Frequence

Films Registered W ithout Deletions G (For General Exhibition) Growing Up (16mm): Central Motion Picture Corp., Taiwan, 1056m, Chinese Cultural Centre The Merry Couple: Chiang Jlh-Shan, Taiwan, 1020m, Chinese Cultural Centre Murray River Quest (Videotape): Arbor Prods., Aus tralia, 120 mins, Arbor Prods. Warm Sunshine in the W inter (16mm): Pal Film Co., Taiwan, 1053m, Chinese Cultural Centre

NRC (Not Recommended for Children) Champions: P. Shaw, Britain, 3072.16m, Publishing &

Broadcasting Video, 0(emotional stress) Don Camillo: Paloma Prod., Italy, 3373.89m, Road show Dlst., V(f-l-g) The Far Pavilions: G. Reeve, India-Britain, 3072.16m, Publishing & Broadcasting Video, V(i-l-j), 0(adult concepts) Fire on the 34th Express: Mosfilm, Soviet Union, 2221.83m, Trade Representative of the Soviet Union, V(i-l-j), 0(adult concepts) Grey Fox: P. O’Brien, U.S., 2441.27m, Roadshow Dist., V(i-m-g) Greystoke: The Legend of Tarzan Lord of the Apes (Longer Version) (a): H. Hudson-S. Canter, Britain,

3565.90m, Roadshow Dist., V(f-l-j) Hollywood Out-Takes and Rare Footage: R. Black

man, U.S., 2276.69m, 0(sexual allusions)

Hayden

Theatres,

Lff-l-g),

The Ice Pirates: J. Foreman, U.S., 2496.13m, United

Low

Medium

High

Justified

Gratuitous

i i i i

f f f f

/ / / /

m m m m

h h h h

Ì i i

9 9 9 9

Producer

Country

2825.29m, Joe Siu Int’l Film Co., V(f-l-g) II Gattopardo (The Leopard): G. Lombardo, Italy-U.S.,

4964.83m, Fox Columbia Film Dist., 0(adult concepts) Longest Night: China Films Corp., 1009m, Chinese Cultural Centre, V(f-l-j) Misunderstood: T. Ammar, U.S., 2578.52m, Roadshow Dist., Ofemotional stress)

The

Over the Brooklyn Bridge (Pre-Censor Cut Version):

M. Golan-Y. Globus, U.S., 2468.70m, Hoyts Dist., Ofsexual allusions), Lfi-l-g) Portrait of a Fanatic (16mm): A Y. Hfim, Taiwan, 1206m, Chinese Cultural Centre, V(i-l-j) Seventh Heaven: Continental Century, Hong Kong, 2743m, Joe Siu Int'l Film Co., V(i-m-g) Shaolin vs Ninja (16mm): W. Lan, Taiwan, 921m, Chinese Cultural Centre, Vfi-l-j) Spring Fever: Manson Int’l-Amulet Pictures, Canada, 2660.71m, Seven Keys Films, L(f-l-g), Ofadult concepts) A Swallow in the Storm: T. Chung-Yin, Taiwan, 987m, Chinese Cultural Centre, Ofadult theme) (a) Previously shown on March 1984 List

M (For Mature Audiences) Against All Odds (a): T. Hackford-W. Gilmore, U.S.,

3264.17m, Fox Columbia Film Dist. Belladonna: Kallektive Film 1981, Denmark, 2358.98m, Australian Film Institute, Ofadult concepts), Sfi-m-g) Das Gespens (The Ghost): H. Achternbusch, West Germany, 2441.27m, Consolidated Exhibitors, Ofadult concepts) An Epitaph for Barbara Radziwill (16mm): Not shown, Poland, 998.27m, Consulate-General of the Polish People’s Republic, S(i-m-j) Hard to Hold: D. Conte, U.S., 2550.99m, United Int’l Pictures, Sfi-m-g), Lfi-m-g) Hot Dog (b): E. Feldman, U.S., 2660.71m, Roadshow Dist. Iluzjon — Parts II, VI and VII (16mm): T. Polski, Poland, 1919.75m, Consulate-General of the Polish People’s Republic, Ofadult concepts) Lassiter: A. Ruddy, Britain, 2660.71m, Roadshow Dist., Sfi-l-g), Vfi-m-j) A Little Night Music: E. Kastner, Austria, 3044.73m, Roadshow Dist., Ofadult concepts) Love Streams: M. Golan-Y. Globus, U.S., 3785.34m, Hoyts Dist., Ofadult concepts) Police Academy: The Ladd Company, Canada, 2605.85m, Roadshow Dist., Ofsexual allusions) (a) Issued at the direction of the Films Board of Review. See also under “ Films Board of Review” . (b) Issued at the direction of the Films Board of Review. See also under “ Films Board of Review” .

R (For Restricted Exhibition) Against All Odds (a): T. Hackford-W. Gilmore, U.S.,

3264.17m, Fox Columbia Film Dist., Sfi-m-g), L(f-m-g), V(i-m-g) Angel (b): New World, U.S., 2523.56m, Roadshow Dist., Lff-m-g), V(i-m-g), Ofadult concepts) Hot Legs (Reconstructed version) (c): G. Palmer, U.S., 1920.10m, A.Z. Assoc. Films Dist., S(f-m-g) Just Before Dawn: D. Sheldon-D. Hreljanovic, U.S., 2468m, Hoyts Dist., V(i-m-g) Master of Love: O. Brazzi, Italy, 2880.15m, 14th Mandolin, Sfi-m-g) (a) See also under “ Films Board of Review” . (b) See also under “ Films Board of Review” . (c) Previously shown on March 1984 List.

376 — October CINEMA PAPERS

Submitted length (m)

Applicant

M (For Mature Audiences)

R (For Restricted Exhibition)

Death Challenge: Not shown, Hong Kong, 2500.99m, Joe Siu Int’l Film Co., Vff-m-g) The Hotel New Hampshire: N. Hartley-J. Beach, U.S.,

Prisoners of Paradise: Caribbean Film N.V., U.S., 2029.82m, A.Z. Assoc. Film Dist., Sff-h-g) Deletions: 13.0 metres (28 secs) Reason for deletions: Sfi-h-g)

Films Refused Registration Deep Rub: L. Gucci, U.S., 2273m, 14th Mandolin,

Sfi-h-g) Tara, Tara, Tara, Tara (pre-censor cut version):

Taurus Films, U.S., 2040m, 14th Mandolin, Sff-h-g) Tendres Cousines (Sweet Cousins) (a): V. Belmont, France, 2526m, Consolidated Exhibitors, Ofsexual exploitation of a minor) (a) Previously shown on October 1981 List

2907.58m, Roadshow Dist., Ofsexual allusions), Vfi-m-j), Lff-m-j) Langis at Tubig (videotape): D. Dratu, The Philippines, 110 mins, M.J. Prod., Ofadult concepts) Moscow on the Hudson: Columbia, U.S., 3072m, Fox Columbia Film Dist., Lfi-m-g), Sfi-m-g) Reuben, Reuben: Taft Enterprises, U.S., 2688m, Road show Dist., Ofadult concepts) Romancing the Stone: M. Douglas, U.S., 2825.29m, Fox Columbia Film Dist., Vfi-m-j) Si Malakas, Si Maganda at Si Mahinhin (videotape): Trigon Cinema Arts, The Philippines, 100 mins, M.J. Prod., Ofadult concepts) Up the Creek: M. Meltzer, U.S., 2605.85m, Roadshow Dist., Ofsexual allusions)

R (For Restricted Exhibition)

Films Board of Review Against All Odds (a): T. Hackford-W. Gilmore, U.S.,

3264.17m, Fox Columbia Film Dist. Decision reviewed: Classify “ R" by Film Censorship Board. Decision of the Board: Direct Film Censorship Board to classify “ M” . Angel (b): New World, U.S., 2523.56m, Roadshow Dist. Decision reviewed: Classify “ R” ; by Film Censorship Board. Decision of the Board: Confirm the decision of the Film Censorship Board. Hot Dog (c): E. Feldman, U.S., 2660.71m, Roadshow Dist. Decision reviewed: Classify “ R” by Film Censorship Board. Decision of the Board: Direct Film Censorship Board to classify “ M” . (a) See also under “ Films Registered Without Deletions” (For Restricted Exhibition) and “ Films Registered Without D eletions” (For Mature Audiences). (b) See also under “ Films Registered Without Dele tions” (For Restricted Exhibition). (c) Previously shown on March 1984 List. See also under "Films Registered Without Deletions” (For Mature Audiences).

Baby Love (Lemon Popsicle V): M. Golan-Y. Globus,

Israel-West Germany, 2304.12m, Fox Columbia Film Dist., Sfi-m-g) Friday the 13th — The Final Chapter: F. Mancuso, U.S., 2496m, United Int’l Pictures, Vff-m-g) Sex Number 006: Not shown, Hong Kong, 2413.84m, John Chik, Vfi-m-g), Sff-m-g) Women in Revolt (16 mm): Score Movies, U.S., 1042.15m, Newvision Film Dist., Lff-m-g), Ofsexual allusions)

Films Registered With Deletions R (For Restricted Exhibition) (16 mm): B. Jones, 1064.09m, Stagedoor Prods., Sff-m-g) Deletions: 2 metres (11 secs) Reason for deletions: Sfi-h-g) Coming

Age

Films Registered W ithout Deletions G (For General Exhibition)

Reason for Decision

2441m, Joe Siu Int’l Film Co., Vff-l-j) Swing Shift: Lantana Prods., U.S., 2770.43m, Road show Dist., Ofadult concepts)

M (For Mature Audiences) Banana Cop: Cinema City-Film Co., Hong Kong, 2633.28m, Joe Siu Int’l Film Co., Vfi-m-g), Ofsexual allusions) Children of the Corn: D. Borchers-T. Kirby, U.S., 2468m, Seven Keys Films, Vff-m-g), Ofhorror) The Denouement of Chu Liu Hsian: Wing Yu Films, Taiwan, 2249.26m, Golden Reel Films, Vfi-m-g), Sfi-l-g) The Eight Diagram Pole Fighter: Shaw Bros, Hong Kong, 2660.71m, Joe Siu Int’l Film Co., Vff-m-g) Hocus Pocus: S. Hung, Hong Kong, 2578m, Joe Siu Int’l Film Co., Ofhorror), Vfi-m-g) Pom Pom: S. Hung, Hong Kong, 2660.71m, Joe Siu Int’l Film Co., Vfi-m-g), Ofadult concepts) Purple Hearts: The Ladd Co., U.S., 3154.45m, Roadshow Dist., Lff-m-g), Sfi-m-j) The Revolt of Job: Mafilm, Hungary-West Germany, 2660.71m, Pan American Prods., Sfi-m-j) Rickshaw Boy: Beijing Film Studio, China, 3204m, Golden Reel Films, Ofadult concepts) Slow Moves: J. Jost, U.S., 2386m, Australian Film Insti tute, Ofadult concepts) Streamers: R. Altman-N. Milette, U.S., 3236m, Roadshow Dist., Lff-m-g), Vfi-m-j), Ofadult concepts) Streets of Fire: L. Gordon-J. Silver, U.S., 2550.99m, United Int’l Pictures, Vff-m-g) Tightrope: C. Eastwood-F. Manes, U.S., 3072.16m, Roadshow Dist., Ofadult concepts), Vfi-m-g), Sfi-m-g) Yellow Peril: Continental Century Motion Pictures, Hong Kong, 2578.42m, Joe Siu Int’l Film Co., Vff-m-g)

R (For Restricted Exhibition) Australia,

The Devil in Miss Jones, Part II (soft version): Nibo

Films, U.S., 2194m, Hoyts Int’l, Sff-m-g) Deletions: 3.5 metres (8 secs) Reason for deletions: Sfi-h-g) Tropic of Desire (a): G. Palmer, U.S., 1728.09m, A.Z. Assoc. Film Dist., Sff-m-g) Deletions: 5.2 metres (12 secs) Reason for deletions: Sfi-h-g) (a) Previously shown on February 1984 List.

Films Refused Registration

May 1984

The Spirit of the Sword: Shaw Bros, Hong Kong,

Films Registered With Deletions

Int’l Pictures, Vff-l-g), S(i-l-g) Kids from Shaolin: L.P. Kwan-L.K. Kin, Hong Kong,

Purpose

Frequent

S (Sex)........... V (Violence).... L (Language). O (Other)........ Title

Expiicitness/lntensity

Infrequent

Series: Cagney and Lacey, episode ‘The Inform ant’

(16 mm) (a): Orion Prods, U.S., 538m, ATN-HSV, Ofdrug abuse) Emmanuelle IV: A. Siritzky, France, 2755m, Filmways A’asian Dist., Sfi-h-g) (a) Previously shown on August 1983 List.

Aphrodesia’s Diary: Gold Prods., U.S., 2194m, Road

show Dist., Sff-m-g) Bike Boy (16mm): A. Warhol, U.S., 1162.82m, New vision Film Dist., Ofallusion to bestiality) Death Stalker: Palo Alto Prods., U.S., 2139m, Seven Keys Films, Vff-m-g), Sfi-m-g) Deep Rub (reconstructed version) (a): L. Gucci, U.S., 2029.82m, 14th Mandolin, Sff-m-g) Everlasting Love: Johnny Mak Prods., Hong Kong, 2743m, Golden Reel Films, Sff-m-g), Vfi-m-g) L ’Albero di Guernica: F. Cinieri, Italy, 2743m, Valhalla Films, Sfi-m-j), Vfi-m-j) Mike’s Murder: Skyeway Prods., U.S., 2633m, Road show Dist., Ofdrugs), Vfi-m-g) New York Nights: R. Vanderbes, U.S., 2825.29m, Seven Keys Films, Sfi-m-g) Rumble Fish: F. Roos-D. Claybourne, U.S., 2578m, Hoyts Dist., Lff-m-g), Vfi-m-g) Seeding of a Ghost: Shaw Bros, Hong Kong, 2441m, Joe Siu Int’l Film Co., Ofhorror), Sfi-m-g), Vff-m-g) They’re Playing with Fire: H. Avedis-M. Schmidt, U.S., 2578m, Roadshow Dist., Sfi-m-g), Vfi-m-g) (a) Previously shown on April 1984 List.

Films Board of Review

Film Registered w ith Deletions

Nil

The Slim Dusty Movie: The Slim Dusty Movie, Aus

tralia, 2935.01m, Greater Union Film Dist. A Stolen Happiness: Not shown, Soviet Union, 2852m, Ukrainian Film Society

Film Refused Registration

June 1984

Coed Teasers: L. Gucci, U.S., 1914m, 14th Mandolin,

Sfi-h-g)

NRC (Not Recommended for Children)

Films Board of Review

Beat Street: D. Picker-H. Belafonte, U.S., 2907m,

Roadshow Dist., Lff-l-j) The Bounty: B. Williams, U.S., 3538m, Hoyts Dist., Vfi-l-j), Ofadult concepts) Broadway Danny Rose: R. Greenhut, U.S., 2304.12m, Roadshow Dist., Ofadult concepts) Curry Greenham Home (videotape): B. Kidron-A. Richardson, Britain, 66 mins, Sydney Filmmakers Co operative, Lfi-m-j) Gremlins: M. Finnel, U.S., 2880.16m, Roadshow Dist., Ofhorror), Vfi-m-g) Iceman: Universal, U.S., 2743m, United Int’l Pictures, Ofsurgical techniques) Indiana Jones and the Tem ple of Doom: Lucas Film, U.S., 3181m, United Int’l Pictures, Vff-l-g) Secrets of the Phantom Caverns: S. Howard-R. Bailey, U.S., 2468.70m, Roadshow Dist., Vfi-m-g) Sixteen Candles: H. Green, U.S., 2468.70m, United Int’l Pictures, Ofadult concepts), Lff-l-g) Teppanyaki: M. Hui, Hong Kong, 2550.99m, Joe Siu Int'l, Ofadult concepts)

Tendres Cousines (Sweet Cousins) (a): V. Belmont,

Films Registered W ithout Deletions G (For General Exhibition) Family Light Affair: Shaw Bros, Hong Kong, 2633m, Joe Siu International Film Co. La Petite Bande: M. Deville, France, 2468.70m, Sydney Film Festival

France, 2526m, Consolidated Exhibitors. Decision reviewed: Refusal to Register by Film Censor ship Board. Decision of the Board: Confirm the decision of the Film Censorship Board. (a) Previously shown on October 1981 List and April 1984 List.

■ ■ ■ ■ ■ ■ iv id e o 1 ■ ■ ■ ■ ■ ■

NRC (Not Recommended for Children)

Week Ending 30 March 1984

The Natural: Tri-Star, U.S., 3730m, Fox Columbia Film

Dist., Ofadult concepts) Prince Charming: Shaw Bros, Hong Kong, 2688.14m,

Joe Siu Int’l Film Co., Ofsexual allusions), Vfi-l-g) Space Raiders: New World Pictures, U.S., 2386m,

Seven Keys Films, Vff-l-g)

Adventures of the W ilderness Family: A. Dubs, U.S., 100 mins, Video Classics Aladdin and the Wonderlamp: Toei Company, Japan, 65 mins, Video Classics

Film Censorship Listings

The Am azing Adventures of Joe 90: Not shown,

Britain, 90 mins, Syme Home Video American W ilderness: A. Dubs, U.S., 100 mins, Video

Classics Around the W orld with Dot: Yoram Gross Film Co., Australia, 90 mins, Video Classics Bud and Lou: R. Thompson-C. Phillips, U.S., 95 mins, Video Classics Countdown to Disaster: R. Hill, Britain, 90 mins, Syme Home Video The Desert Fox: 20th Century Fox, U.S., 84 mins, CBSFox Video Lost in the Noonday Sun: G. Wigan, Britain, 95 mins, VCL Communications Go For It: P. Rapp-R. Rosenthal, U.S., 90 mins, Video Classics Graham Kerr — Baking Bread: Not shown, U.S., 60 mins, Video Classics Graham Kerr — Desserts and Beverages: Not shown, U.S., 60 mins, Video Classics Graham Kerr — Soups and Salads: Not shown, U.S., 60 mins, Video Classics Here Comes Noddy Again: Cosgrove-Hall-Bosanquest, Britain, 53 mins, Syme Home Video How to Steal a Million: F. Kohlmar, U.S., 118 mins, CBS-Fox Video The Long Days of Summer: D. Curtis, U.S., 73 mins, Syme Home Video Marie-Anne: Arista Films, Canada, 83 mins, Video Classics Murder in the First Person Singular: W. Kenney, U.S., 66 mins, Syme Home Video Night before Christmas: Media Home Entertainment, U.S., 30 mins, Video Classics Noddy Goes to Toyland: Cosgrove and Hall, Britain, 58 mins, Syme Home Video The Outer Space Connection: S. Landsburg, U.S., 94 mins, Syme Home Video The Pride of the Yankees: S. Goldwyn, U.S., 122 mins, CBS-Fox Video Puss ’N ’ Boots: Media Home Entertainment, U.S., 90 mins, Video Classics Revenge of the Mysterons from Mars: R. Hill, Britain, 91 mins, Syme Home Video The Robe: 20th Century Fox, U.S., 108 mins, CBS-Fox Video The Shillingsbury Blowers: G. Smith, U.K., 78 mins, Syme Home Video Silent Night: Media Home Entertainment, U.S., 27 mins, Video Classics Super Monster: Tokuyama-Shinohara-Ohba, Japan, 94 mins, Video Classics The Xllth Comm onwealth Games Brisbane 1982 — The Highlights: Not shown, Australia, 180 mins, Video

Classics

The Wackiest Wagon Train in the West: T. Parker-M.

Parker, U.S., 88 mins, Video Classics Well Done Noddy: Cosgrove and Hall, Britain, 58 mins, Syme Home Video W ilderness Family Part II: A. Dubs, U.S., 101 mins, Video Classics

PG Ambush Murders: D. Goldsmith, U.S., 110 mins, Video

Classics, 0(adult concepts) Bogie: P. Barry, U.S., 120 mins, Video Classics, Ofadult concepts), V(i-l-j) Bruce Lee — True Story: The Eternal Film Co., Hong Kong, 93 mins, Video Classics, V(i-m-g) Challenge to be Free: A. Dubs, U.S., 90 mins, Video Classics, V(i-l-g) Coach: M. Tenser, U.S., 100 mins, Video Classics, Ofsexual allusions) Death in Space: C. Dubin, U.S., 66 mins, Syme Home Video, Ofadult concepts) Dirty Money: M. McKeand, France, 102 mins, Syme Home Video, V(i-l-g) The Enemy Below: 20th Century Fox, U.S., 94 mins, CBS-Fox Video1 Enola Gay: S. Kaliis, U.S., 140 mins, Video Classics, Ofadult concepts, Lfi-l-g) Escape to Victory: F. Fields, U.S., 114 mins, CBS-Fox Video, Vfi-l-j), Lfi-l-j) Firebird 2015 AD: Mara Films, U.S., 97 mins, Video Classics, Vfi-l-g), Ofnudity) Flash Gordon: D. De Laurentiis, Britain, 117 mins, Video Classics, Vff-l-j) Frankenstein: D. Curtis, Britain, 125 mins, Syme Home Video, Ofhorror) Frankenstein Island: Chiswar Prods, U.S., 95 mins, Video Classics, Ofhorror) The Hard Way: M. Dryhurst, Britain, 85 mins, Syme Home Video, Vfi-l-g) Hombre: M. Ritt-I. Ravetch, U.S., 106 mins, CBS-Fox Video, Vfi-l-g) The Hot Rock: H. Landers-R. Roberts, U.S., 98 mins, CBS-Fox Video, Vfi-l-g) The House on Garibaldi Street: Viacom Films, U.S., 98 mins, Video Classics, Vfi-l-g) The Hustler: 20th Century Fox, U.S., 127mins, CBSFox Video Invasion: U.F.O.: R. Hill, Britain, 95 mins, Syme Home Video, Vfi-l-g) Joan of Arc: W. Wanger, U.S., 100 mins, Video The Jayne M ansfield Story: Otto-Barnett, U.S., 97 mins, Syme Home Video, Ofadult concepts) The Last Train: Lira Films, France-ltaly, 120 mins, Video Classics, Sfi-l-j), Ofadult concepts) The Long Hot Summer: J. Wald, U.S., 112 mins, CBSFox Video Marathon: Otto-Barnett, U.S., 100 mins, Syme Home Video, Ofadult concepts) Manbeast! Myth or Monster: Landsburg-Webster, U.S., 70 mins, Syme Home Video Mating Season: J. Quill, U.S., 96 mins, Video Classics, Ofadult concepts) Mysterious Two: G. Credle-S. Fox, U.S., 94 mins, Syme Home Video, Vfi-l-g) Oh Baby, Baby, Baby . . .: K. Hoffman, U.S., 66 mins, Syme Home Video, Ofadult concepts) Out of the Past: R.K.O., U.S., 97 mins, Video Classics The President’s Mistress: H. Hirschman, U.S., 97 mins, Video Classics, Vfi-l-g) The Prisoner — Checkm ate: D. Tomblin, Britain, 92 mins, Syme Home Video The Prisoner — The General: D. Tomblin, Britain, 92 mins, Syme Home Video Rainbow: P. Dunne, U.S., 98 mins, Video Classics, Ofadult concepts) Red Flag: The Ultim ate Game: P. Greenberg, U.S., 92 mins, Syme Home Video, Ofadult concepts) Rising Damp: R. Skeggs, Britain, 94 mins, Syme Home Video, Ofadult concepts)

1. Code reasons unavailable for films originally classi fied before 1972.

Rock a Die Baby: L. Savadore, U.S., 66 mins, Syme Home Video, Vfi-l-g), Ofsexual innuendo) Rodeo Girl: L. Steckler, U.S., 92 mins, Syme Home Video, Ofadult concepts) Roller Boogie: B. Curtis, U.S., 103 mins, Video Classics, Ofsexual innuendo) Ruby and Oswald: P. Freeman, U.S., 133 mins, Syme Home Video, Vfi-l-j) Running: R. Cooper-R. Cohep, Canada, 100 mins, Video Classics, Lfi-l-g) The Sand Pebbles: R. Wise, U.S., 179 mins, CBS-Fox Video The Scarlet and the Black: B. McCutchen, Italy, 137 mins, Syme Home Video, Vff-l-g) Suspicion of M urder: J. Chapot, France-ltaly, 100 mins, Video Classics, Vfi-l-g) That Lucky Touch: D. De Grunwald, Britain, 90 mins, Video Classics, Ofsexual allusions) The Triangle Factory Fire Scandal: P. Freeman, U.S., 97 mins, Syme Home Video, Ofadult concepts) The Undefeated: R. Jacks, U.S., 113 mins, CBS-Fox Video Warlock: E. Dymtryck, U.S., 117mins, CBS-Fox Video

M M. Trabulus, U.S., 71 mins, Video Classics, Lfi-m-g), Ofadult concepts) Ash Wednesday: D. Dunne, U.K., 99 mins, Video Classics, Ofsurgicai procedures, adult concepts) The Attic: R. Dryden, U.S., 92 mins, Video Classics, Ofemotional stress) Back Roads: R. Shedlo, U.S., 94 mins, CBS-Fox Video, Lfi-m-j), Ofadult concepts) Baby Comes Home: List-Hoffman, U.S., 97 mins, Syme Home Video, Ofadult concepts) The Bad Seed: Not shown, U.S., 123 mins, Warner Home Video, Ofadult concepts) Bruce Lee Fights Back from the Grave: Head Gorilla Releasing Inc., Hong Kong, 97 mins, Video Classics, Vff-m-g) The Carpathian Eagle: R. Skeggs, Britain, 50 mins, Syme Home Video, Vfi-m-g) The Cat and the Canary: R. Gordon, U.K., 98 mins, Video Classics, Vfi-m-g) The Challenge: R. Backman-R. Rosen, U.S.-Japan, 108 mins, CBS-Fox Video, Vff-m-g) Children of the Full Moon: R. Skeggs, Britain, 50 mins, Syme Home Video, Vfi-m-g) Cuba Crossing: J. White, U.S., 96 mins, Video Classics, Vfi-m-g), Lfi-m-g) Dangerous Davies: The Last Detective: G. Smith, U.K., 105 mins, Syme Home Video, Ofsexual innuendo) Deadly Games: R. Dryden, U.S., 94 mins, Video Classics, Vff-m-g), Sfi-m-g), Lfi-m-g) Django: M. Bolognini, Italy, 87 mins, Filmways A’asian Dist., Vff-m-g) Dr Heckyl and Mr Hype: Golon Globus Co., U.S., 98 mins, Video Classics, Vff-m-j) Face to Face: I. Berman, Sweden, 121 mins, Video Classics, Ofadult concepts, sexual references) The First Deadly Sin: G. Pappas-M. Shanker, U.S., 107 mins, Warner Home Video, Vfi-m-g) The French Connection: P. D’Antoni, U.S., 100 mins, CBS-Fox Video, Vff-m-g) The Godsend: Cannon Films, U.S., 84 mins, Video Classics, Ofoccuit theme), Vfi-m-j) Guardian of the Abyss: R. Skeggs, Britain, 50 mins, Syme Home Video, Ofadult theme) The Haunting of Julia: P. Fetterman, U.S., 96 mins, Video Classics, Vfi-m-g) House of Whipcord: P. Walker, Britain, 98 mins, VCL Communications, Vfi-m-g), Ofnudity) Incoming Freshman: E. Lewald-G. Morgan, U.S., 80 mins, Video Classics, Ofnudity) Incubus: Guardian Trust Co., Canada, 91 mins, Video Classics, Vff-m-g) Innocent Bystanders: G. Brown, Britain, 111 mins, Video Classics, Vfi-m-g) I Will, I Will . . . for now: G. Barrie, U.S., 108 mins, CBS-Fox Video, Lfi-m-g), Ofsexual references) The Junkman: H. Halicki, U.S., 89 mins, Filmways A’asian Dist., Vff-m-g) Justine: P. Berman, U.S., 110 mins, CBS-Fox Video Laserblast: C. Band, U.S., 80 mins, Video Classics, Vfi-m-g), Ofdrug references) The Medusa Touch: A. Coates-J. Gold, Britain, 105 mins, CBS-Fox Video, Vfi-m-g) The Medusa Touch: A. Coates-J. Gold, Britain, 105 mins, Pakenham Video Library, Vfi-m-g) Noctorna: NAI Bonet Productions, U.S., 82 mins, Video Classics, Ofsexual allusions) Not Just Another Affair: G. Strangis-L. Konner-A. McLaird, U.S., 95 mins, Video Classics, Ofsexual allusions) Am erican Raspberry:

Prisoner W ithout a Name, Cell W ithout a Number:

L. Yellen, U.S., 92 mins, Video Classics, Vff-m-j), Ofemotional stress) Ransom: J. Hart, U.S., 84 mins, Video Classics, Vff-m-g) Room at the Top: Romulus, Britain, 117 mins, Video Classics The Rose: M. Worth-A. Russo, U.S., 128 mins, CBSFox Video, Lfi-m-g), Sfi-m-g), Ofdrug references) Rude Awakening: R. Skeggs, Britain, 50 mins, Syme Home Video, Vfi-m-g), Ofhorror) Scobie Malone: C. Robinson, Australia, 97 mins, Syme Home Video, Vfi-m-g), Sfi-l-g) The Shadow Box: J. Marti-S. Newman, U.S., 96 mins, Video Classics, Ofadult concepts, emotional stress) Skokie: R. Berger, U.S., 125 mins, Video Classics, L(i-m-j), Ofemotional stress) Slithis: P. Fabian-S. Traxler, U.S., 86 mins, Video Classics, Vff-m-g) Squizzy Taylor: R. Le Mesurier, Australia, 100 mins, Video Classics, Vfi-l-j), Sfi-l-j) The Stepford Wives: E. Scherick, U.S., 115 mins, Video Classics, Vfi-m-g), Sfi-m-g) The Strange Vengeance of Rosalie: J. Kohn, U.S., 107 mins, Video Classics, Vfi-m-g) The Sw eet Ride: J. Pasternak, U.S., 106 mins, CBSFox Video Tuxedo Warrior: G. Rose, U.S., 92 mins, Syme Home Video, Sfi-m-g), Vff-m-g) The Tw o Faces of Evil: R. Skeggs, Britain, 50 mins, Syme Home Video, Vfi-m-g) 2019 After the Fall of New York: Nuova Dania Cinematografica-Les Films du Griffon, Italy-France, 94 mins, Filmways A ’asian Dist., Vff-m-g) Valley of the Dolls: D. Weisbart, U.S., 117 mins, CBSFox Video, Sfi-m-g), Ofadult concepts) Virginity: U. Tocci, Italy, 83 mins, Syme Home Video, Ofsexual allusions) W erewolf of Washington: N. Schulman, U.S., 90 mins, Video Classics, Vfi-m-g) Zappers Blade of Revenge: L. Shonteff-E. Gray, Britain, 93 mins, Video Classics, Vff-m-g)

R Carny: R. Robertson, U.S., 102 mins, CBS-Fox Video,

L(f-m-g), Vff-l-g) Cruel Passion: C. Boger, Britain, 93 mins, VCL Com

munications, Sff-m-g) Crypt of the Living Dead: L. Shaw, U.S., 81 mins,

Syme Home Video, Vff-m-g) Emily: C. Neame, Britain, 84 mins, Video Classics, Sff-m-g) Exposed: W. Emerson, U.S., 74 mins, Blake Films,

Sff-m-g) Savage: P. Brown, U.S., 85 mins, Video Classics, Vff-m-g) The Gun: D. De Laurentiis, Italy-France, 96 mins, Video Classics, Vff-m-g) Happy Hooker Goes to Washington: W. Levey, U.S., 80 mins, Video Classics, Sfi-m-g), Lff-m-g) Hell Night: J. Wolf-C. Russell, U.S., 100 mins, Video Classics, Vff-m-g) How Sleep the Brave: E. Laurie, U.S., 87 mins, Video Classics, Vfi-m-g), Lff-m-g) I Drink Your Blood: J. Gross, U.S., 81 mins, Video Classics, Vff-m-g) Madame O lga’s Pupils: Produociones Balcazar, SpainBritain, 78 mins, Video Classics, Sff-m-g) Mary, Mary: Essex, U.S., 80 mins, Video Classics, Sff-m-g) M isbehavin’: Essex, U.S., 80 mins, Video Classics, Sff-m-g) The Other Side of Midnight: F. Yablans, U.S., 159 mins, CBS-Fox Video, Sfi-m-g), Vfi-m-g) Pepper: J. Amero, U.S., 80 mins, Video Classics, Sff-m-g) Scream and Die: D. Daubeney, Britain, 103 mins, Video Classics, Vff-m-g), Sfi-m-g) Secrets of a Door to Door Salesman: D. Grant, Britain, 80 mins, Video Classics, Sff-m-g) Silent Night Bloody Night: J. Kanvitz-A. Artzi, U.S., 90 mins, Video Classics, Vff-m-g), Ofhorror) SS Girls: Media Home Entertainment, West Germany, 82 mins, Video Classics, Sff-m-g) Sudden Death: C. Byrd, U.S.-The Philippines, 84 mins, Video Classics, Vff-m-g) Sunnyboy and Sugarbaby: Lisa-Geisel Gasteig, West Germany, 86 mins, Video Classics, Sff-m-g) Tattoo: J. Levine-R. Levine, U.S., 99 mins, Video Classics, Sfi-m-g), Lff-m-g) Titillation: Citrus Productions, U.S., 86 mins, Video Classics, Sff-m-g) The Transform ation of Sulka: Not shown, U.S., 30 mins, W.B. and J.E. Wathen, Oftransexuai theme) The Valachi Papers: D. De Laurentiis, U.S., 124 mins, Video Classics, Vff-m-j) Gentle

X Alme . . . Comme Minet: J. Cadinot, France, 60 mins,

W.B. and J.E. Wathen, Sff-h-g) The All-male Hits Are Here: Laguna Pacific, U.S.,

60 mins, W.B. and J.E. Wathen, Sff-h-g) The Best Little W arehouse in L.A.: Laguna Pacific, U.S., 90 mins, W.B. and J.E. Wathen, Sff-h-g) The Big Surprise: Laguna Pacific, U.S., 60 mins, W.B. and J.E. Wathen, Sff-h-g) Bijou: H. Shulman, U.S., 72 mins, Joyfrey Nominees, Sff-h-g) Body Magic: M. Corby, U.S., 73 mins, Video Classics, Sff-h-g) The Boys of San Francisco: Laguna Pacific, U.S., 90 mins, W.B. and J.E. Wathen, Sff-h-g) The Boys of Venice: Laguna Pacific, U.S., 70 mins, W.B. and J.E. Wathen, Sff-h-g) Brief Affair: J. Lewis, U.S., 95 mins, Video Classics, Sff-h-g) Broadford 83: G. Petherick, Australia, 90 mins, Tag Video, Sfi-h-g) Brothers Should Do It: Laguna Pacific, U.S., 90 mins, W.B. and J.E. Wathen, Sff-h-g) Buster goes to Laguna: Laguna Pacific, U.S., 90 mins, W.B. and J.E. Wathen, Sff-h-g) The Class of ’84, Part 1 : Laguna Pacific, U.S., 90 mins, W.B. and J.E. Wathen, Sff-h-g) Colour Climax No. 309: Colour Climax Corp., Den mark, 28 mins, W.B. and J.E. Wathen, Sff-h-g) Colour Climax No. 321: Colour Climax Corp., Den mark, 58 mins, W.B. and J.E. Wathen, Sff-h-g) Colour Climax No. 323: Colour Climax Corp., Den mark, 26 mins, W.B. and J.E. Wathen, Sff-h-g) Colour Climax No. 326: Colour Climax Corp., Den mark, 56 mins, W.B. and J.E. Wathen, Sff-h-g) Colour Climax No. 328: Colour Climax Corp., Den mark, 26 mins, W.B. and J.E. Wathen, Sff-h-g) Colour Climax No. 329: Colour Climax Corp., Den mark, 28 mins, W.B. and J.E. Wathen, Sff-h-g) Colour Climax No. 330: Colour Climax Corp., Den mark, 26 mins, W.B. and J.E. Wathen, Sff-h-g) Colour Climax No. 332: Colour Climax Corp., Den mark, 26 mins, W.B. and J.E. Wathen, Sff-h-g) Colour Climax No. 334: Colour Climax Corp., Den mark, 58 mins, W.B. and J.E. Wathen, Sff-h-g) Colour Climax No. 336: Colour Climax Corp., Den mark, 26 mins, W.B. and J.E. Wathen, Sff-h-g) Colour Climax No. 338: Colour Climax Corp., Den mark, 28 mins, W.B. and J.E. Wathen, Sff-h-g) Cuming of Age: Man Tricks Prods, U.S., 90 mins, W.B. and J.E. Wathen, Sff-h-g) Dangerous: Studio T.C.S., U.S., 75 mins, W.B. and J.E. Wathen, Sff-h-g) Doing It: Studio T.C.S., U.S., 90 mins, W.B. and J.E. Wathen, Sff-h-g) Dormitory Daze: Nova Prods, U.S., 60 mins, W.B. and J.E. Wathen, Sff-h-g) Excalibur — Blazing Redheads: Not Shown, U.S., 60 mins, Balesam, Sff-h-g) Excalibur 2 — Yumm y Youngies: Not Shown, U.S., 60 mins, Balesam, Sff-h-g) Excalibur 3 — Udderly Fantastic: Not Shown, U.S., 60 mins, Balesarn, Sff-h-g) Excalibur 8 — G . . . ! Th e y’re Big: Not Shown, U.S., 60 mins, Balesarn, Sff-h-g) Excalibur 9 — Blond at Both Ends: Not Shown, U.S., 60 mins, Balesarn, Sff-h-g) Excalibur 1 1 — Three Way: Not Shown, U.S., 60 mins, Balesarn, Sff-h-g) Falcon Pac 21: Laguna Pacific, U.S., 90 mins, W.B. and J.E. Wathen, Sff-h-g) Frat House One: Laguna Pacific, U.S., 90 mins, W.B. and J.E. Wathen, Sff-h-g) Games: Surge Studio, U.S., 75 mins, W.B. and J.E. Wathen, Sff-h-g) The Girls from Warn Bang: Royce Distributing Co., U.S., 60 mins, Venus Video, Sff-h-g) Good Tim es Coming: Laguna Pacific, U.S., 60 mins, W.B. and J.E. Wathen, Sff-h-g) The Handymen: Signet Studios, U.S., 60 mins, W.B. and J.E. Wathen, Sff-h-g) Healthy Spa: W. Ward, The Netherlands, 78 mins, W.B. and J.E. Wathen, Sff-h-g)

Hot Trash: Hawk Prods, U.S., 100 mins, W.B. and J.E. Wathen, Sff-h-g) How I Got the Story: Nova Prods, U.S., 60 mins, W.B. and J.E. Wathen, Sff-h-g) intim ate Lessons: History Prods, U.S., 85 mins, Palace Home Video, Sff-h-g) Kept After School: Nova Prods, U.S., 90 mins, W.B. and J.E. Wathen, Sff-h-g) Kip Noll and the W estside Boys: Laguna Pacific, U.S., 60 mins, W.B. and J.E. Wathen, Sff-h-g) Little Girls Blue: W. Dancer, U.S., 72 mins, Blake Films, Sff-h-g) Lust Vegas Joyride: M. Jewel, U.S., 83 mins, Blake Films, Sff-h-g) Made to Order: Nova Prods, U.S., 90 mins, W.B. and J.E. Wathen, Sff-h-g) Malibu Days — Big Bear Nights: Laguna Pacific, U.S., 110 mins, W.B. and J.E. Wathen, Sff-h-g) Members Only: Laguna Pacific, U.S., 90 mins, W.B. and J.E. Wathen, Sff-h-g) The Memoirs of Fanny Hill: M. Fishbein, Britain, 60 mins, Balesarn, Sff-h-g) Miss Layed Genii: Xerxes Prods, U.S., 90 mins, Blake Films, Sfi-h-g) M om m y’s Panty Boy: Not shown, U.S., 58 mins, Venus Video, Sff-h-g) New York City Pro: Him Films, U.S., 70 mins, W.B. and J.E. Wathen, Sff-h-g) Oh, Brother: Nova Prods, U.S., 60 mins, W.B. and J.E. Wathen, Sff-h-g) Open Nightly: Not shown, The Netherlands, 78 mins, W.B. and J.E. Wathen, Sff-h-g) Pacific Coast Highway — A California Odyssey:

Laguna Pacific, U.S., 100 mins, W.B. and J.E. Wathen, Sff-h-g) Pink Champagne: M. Corby, The Netherlands, 72 mins, W.B. and J.E. Wathen, Sff-h-g) Please Mr Postman: V.C.A., U.S., 80 mins, Video Classics, Sff-h-g) Pleasure Beach: Laguna Pacific, U.S., 90 mins, W.B. and J.E. Wathen, Sff-h-g) Printer’s Devil: Laguna Pacific, U.S., 90 mins, W.B. and J.E. Wathen, Sff-h-g) Rear Deliveries: Laguna Pacific, U.S., 95 mins, W.B. and J.E. Wathen, Sff-h-g) Robin’s Nest: Ashton Films, U.S., 82 mins, W.B. and J.E. Wathen, Sff-h-g) Rolls Royce, Volume II: P.R. Prods, U.S., 60 mins, W.B. and J.E. Wathen, Sff-h-g) Rolls Royce, Volum e III: P.R. Prods, U.S., 60 mins, W.B. and J.E. Wathen, Sff-h-g) Rolls Royce, Volume VI: P.R. Prods, U.S., 60 mins, W.B. and J.E. Wathen, Sff-h-g) Scare College: J. Cadinot, France, 60 mins, W.B. and J.E. Wathen, Sff-h-g) Sex Games: Blinding Light Prods, U.S., 80 mins, Luhaze, Sff-h-g) Shore Leave: Nova Prods, U.S., 60 mins, W.B. and J.E. Wathen, Sff-h-g) Skin Deep: Emerson Films, U.S., 90 mins, W.B. and J.E. Wathen, Sff-h-g) Sound of Love: A. Vydra, The Netherlands, 74 mins, W.B. and J.E. Wathen, Sff-h-g) Strictly for Ladies Only: Laguna Pacific, U.S., 90 mins, W.B. and J.E. Wathen, Sff-h-g) The Summ er of Scott Noll: Studio T.C.S., U.S., 90 mins, W.B. and J.E. Wathen, Sff-h-g) Swedish Erotica, Vol. 47: Cabellero Control Corp., U.S., 80 mins, Luhaze, Sff-h-g) Talk Dirty to Me: J. Ross, The Netherlands, 62 mins, W.B. and J.E. Wathen, Sff-h-g) Th a t’s My Daughter: Pacific Ocean Prods, U.S., 90 mins, Joyfrey Nominees, Sff-h-g) These Bases Are Loaded: Laguna Pacific, U.S., 95 mins, W.B. and J.E. Wathen, Sff-h-g) Trophy No. 7 — Seamen: Vitruvian Video Prods, U.S., 90 mins, W.B. and J.E. Wathen, Sff-h-g) W et Shorts: Laguna Pacific, U.S., 90 mins, W.B. and J.E. Wathen, Sff-h-g) The Young Olympians: Laguna Pacific, U.S., 90 mins, W.B. and J.E. Wathen, Sff-h-g)

Refused Classification Nil

Week Ending 6 April 1984 G The Adventures of Huckleberry Finn: Schick Sunn

Classics Prod., U.S., 97 mins, Video Classics The Alaska W ilderness Adventure: F. Meader-E. Meader, U.S., 90 mins, Video Classics The Amazing Mr Blunden: B. Levinson, Britain, 98 mins, Video Classics Big Bad Wolf: American Int’l Childhood Prods, U.S., 51 mins, Video Classics Caring for Your Newborn: Not shown, U.S., 120 mins, Video Classics The Children of Theatre Street: E. Mack, BritainSoviet Union, 93 mins, Video Classics Everyday with Richard Simmons: S. Karl, U.S., 90 mins, CBS-Fox Video Faerie Tale Theatre — Sleeping Beauty: S. Duvall-J. Taplin, U.S., 65 mins, CBS-Fox Video ' Fall of the Roman Empire: S. Bronston, U.S., 184 mins, Video Classics Felix The Cat: Not shown, U.S., 120 mins, Video Classics Felix The Cat No. 2: Not shown, U.S., 60 mins, Video Classics 55 Days at Peking: S. Bronston, U.S., 153 mins, Video Classics For the Love of Benji: B. Vaughan, U.S., 87 mins, Video Classics Fox and the Hare Part II: Not shown, Britain, 45 mins, Video Classics Funniest Man in the World: M. May-V. Becker, Britain, 95 mins, Video Classics Guys and Dolls: S. Goldwyn, U.S., 150 mins, CBS-Fox Video Hercules: Not shown, U.S., 120 mins, Video Classics Hercules II: Not shown, U.S., 60 mins, Video Classics How to Marry a Millionaire: N. Johnson, U.S., 90 mins, CBS-Fox Video Leave ’em Laughing: Highgold H.V., U.S., 75 mins, Video Classics Little Boy Lost: A. Spires, Australia, 97 mins, Video Classics Love at First Sight: P. O’Brian, U.S., 84 mins, Syme Home Video The Man From Button Willow: D. Detiege, U.S., 81 mins, Video Classics

Concluded on p. 384 CINEMA PAPERS October — 377

New Products and Processes

The Quarter

The Quarter C ontinued fr o m p . 374

interactions with the international context: that is, film markets, film cultures. Work in the education section w ill cover curriculum organization and development; educational resources; the cultural policy of the Australian Film Commission and the Australian Film Institute; the uses of film and television in English and other curricula; and the possibility of developing links between different kinds of film training on both secondary and tertiary levels. The section on the film-television interface will cover recent work on the economic relations between film and tele vision; the study of television; and the economic, policy and theoretical implica tions of the “ dissemination” of film into television. All three sections will involve formal papers delivered by speakers, panel-dis cussions, workshops, and screenings of films and videotapes. Expected visitors include Mandy Merck, editor of Screen, and Thomas Guback, the American scholar and researcher who wrote The International Film Industry. For further information please contact Stuart Cunningham, Dugald Williamson or Jill Weber at Griffith University, Nathan, Queensland, 4111. Telephone (07) 275 7111.

Festivals will also be held in Wellington and Auckland in New Zealand. The festival is intended to bring to Aus tralian film-goers recent films (1982-1984) of French filmmakers who do not receive commercial distribution in Australia. The festival is being brought to Australia with the assistance of Perspectives du Cinema Francais International, an industry body set up by the French government to promote and create an understanding of French cinema overseas. Further information can be obtained from Daniel Chambon, DCF Distribution, PO Box 86, North Carlton, 3054. Tele phone: (03) 489 0314.

Australian Film Awards

B est Film Annie’s Coming Out My First Wife Silver City Strikebound

B est D ire c to r Gil Brealey (Annie’s Coming Out) Ken Cameron (Fast Talking) Paul Cox (My First Wife) Sophia Turkiewicz (Silver City)

B est O rig in al S c reen p la y

DCF Film Distribution is planning a festival of contemporary French cinema to be held in Melbourne, Sydney and Can berra from October to November.

Ken Cameron (Fast Talking) Paul Cox (My First Wife) Jan Sardi (Street Hero) Sophia Turkiewicz, Thomas (Silver City)

New Products and Processes C ontinued fr o m p . 345

main difference in design is the fibreglass and high-impact plastic construction which reduces the weight and, with good ventilation, keeps the outer casing at a low temperature. There is an inner casing to prevent any back-spill light, and a locking

Everett De Roche (Razorback) Patrick Edgeworth (BMX Bandits) Richard Lowenstein (Strikebound) John Patterson, Chris Borthwick (Annie’s Coming Out)

B est A ctress Carol Burns (Strikebound) Gosia Dobrowolska (Silver City) Wendy Hughes (My First Wife) Angela Punch McGregor (Annie’s Coming Out)

B est S u p p o rtin g A ctress Sandy Gore (Street Hero) Anna Jemison (Silver City) Monica Maughan (Annie’s Coming Out) Peta Toppano (Street Hero)

B est A c to r

The nominations for the annual Australian Film Awards, to be held in Melbourne on 5 October at the State Theatre in the Vic torian Arts Centre, were announced on 12 September. The categories and nomina tions are:

French Film Festival

B est A d a p ta tio n as a S c reen p la y

Keneally

device for the power lead. The basic kit has a fine hair-wire mesh screen for pro tection against glass breakage, and accessories available include barndoors, scrims and stands. John Barry will make up three- and four-head kits with acces sories and stands. Contact: John Barry Group Pty Ltd, 27 Hotham Parade, Artarmon, NSW, 2064.

Drew Forsythe (Annie’s Coming Out) John Hargreaves (My First Wife) Chris Haywood (Strikebound) Ivar Kants (Silver City)

B est S o u n d Dean Gawen, Gethin Creagh, Frank Lipson, Marin Oswin, Reg Watts (Strike bound) Tim Lloyd, Ron Purvis, Peter Fenton, Phil Heywood, Greg Bell, Helen Brown (Razorback) Andrew Steuart, John Patterson, Robyn Judge, Phil Judd, Gethin Creagh (BMX Bandits) Gary Wilkins, Mark Wazuitak, Roger Savage, Bruce Lamshed, Terry Rodman (Street Hero)

B est Ed iting William Anderson (Razorback) Jill Bilcock (Strikebound) Alan Lake (BMX Bandits) Tim Lewis (My First Wife)

B est M usic

B est C in em ato g rap h y

Iva Davies (Razorback) William Motzing (Silver City) Garth Porter; Bruce Smeaton; Hunter, Hunter and Pigott; Sayer and Poncia; Sharon O ’Neill; Wilson, Black and Pepper; Morrison and Barker; Del Shannon (Street Hero) Simon Walker (Annie’s Coming Out)

Andrew de Groot (Strikebound) John Seale (Silver City) Dean Semler (Razorback) Yuri Sokol (My First Wife)

Corrigendum

B est S u p p o rtin g A c to r David Argue (BMX Bandits) Steve Bisley (Silver City, Fast Talking) Peter Hehir (Fast Talking)

B est P ro d u ctio n D esign Igor Nay (Silver City) Brian Thomson (Street Hero) Bryce Walmsley (Razorback) Tracy Watt, Neil Angwin, Harry Zettel, MacGregor Knox (Strikebound)

B est C o stu m e D esign Jan Hurley (Silver City)

latter is made of black, thermoplastic material and has a very small, squarewave electronic ballast. It can be used as a sungun or the handgrip accepts a stand mount. The big gun, however, is the new SIRIO, l2kW, discharge Fresnel spotlight. A 500 mm (20-inch) lens, good ventilation, safety microswitches and key lock are all

In the previous issue of Cinema Papers (p. 273) Peter Malone’s review of The Evil That Men Do and The Star Chamber should conclude: . . . the paradoxical vengeance film of the 1970s and ’80s will appeal to film theoreticians as they do now to the public. ★

Edilok. Made by a German company, g.t.c., the small desktop unit (155 mm high x 260 mm wide x 330 mm deep) or 19-inch rack mount, slaves a V2 -, 3A- or 1-Inch video recorder to a standard flat-bed

Rank Electronics also have some lighting news, having been appointed exclusive distributor of the Quartzcolor laniro range. Advertised in the last issue were a new studio softlight, the ARTURO, available as

a 3200k Tungsten Halogen, or 5600k Discharge model; a 575W HMI “ Blonde” called the Shaula model (that’s Italian?); and a cleverly designed, 200W portable discharge floodlight, the Bellatrix. The

part of the deal, and the Ballast unit is designed for location handling. Contact: Rank Electronics offices in Sydney, Melbourne, Brisbane, Adelaide and Perth will supply details. One of the many electronic interlock devices to allow either standard audio or film editing equipment to control or be ‘slaved’ to videotape machines, which were displayed at the show, was the Film-

378 — October CINEMA PAPERS

Ross Major (One Night Stand) Norma Moriceau (Street Hero) Jennie Tate (Strikebound)

editor. The flat bed has to have a refer ence signal out and may need a shaftencoder pulse fitted (most of the new machines already have this), and the video machine needs time code (vertical or on one of the audio tracks) output. The accuracy is quoted at better than + or V2 a frame and, if the VCR allows synchronization, the interlock is phase locked at sound speed. For $8900, ex Sydney, you will get the Central Processing unit (rack or table), software for the suggested video slave (JVC 5500, 6600, 5550 or 6650), one LTC or VITC reader, one character inserter (to display the frame position of master and slave on a monitor, and it also shows sync and lock indication), power supply and all cables and connectors. Contact: g.t.c. Australia Pty Ltd, 54a Beecroft Rd, Beecroft, NSW, 2119. ★ If manufacturers and distributors would like new product information included in this section they should send photo graphs and details to New Products and Processes editor, MTV Publishing L im ite d , 644 V ic to ria S t, N orth Melbourne, Vic., 3051.

To all the film makers awaiting announcem ent of AFT awards,

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Two animators — Yoram Gross

Yoram Gross Continued from p. 338 story of today. Mia Farrow, who starred in the film, has adopted two kids from Korea and two kids from Vietnam. Maybe this is one of the reasons she accepted the role, because she is familiar with this tragedy. It is not light enter tainment.

A r o u n d the W o rld with D ot In 1981, with “ Around the World with D o t” , you returned to more light-hearted entertainment . . .

It is more a lesson in geography. After watching this film most children will know more about it than they knew before. How has the film fared in the cinemas?

The film has been sold in the U.S. and was distributed in Aus tralia by Hoyts. Today, it is a best seller on video in England; in the U.S., it has been screened every Christmas since it was made, which is twice already. It has beautiful music, beautiful songs. Bob Young was again the composer.

D o t a n d the B u n n y Dot and the Bunny (1982) was

done when I was hoping to make an entertaining docum entary

about Australian flora and fauna. It has beautiful photography by John Shaw from Film Australia and uses animation. For a lot of people, it is the first time they have seen the birth of a kangaroo, or crocodiles coming out of eggs. I like films that have a lot of messages. Dot and the Bunny is about a bunny who wants to be a kangaroo because he thinks bunnies are not good enough. Even when a kangaroo is killed, it can be a souvenir from Australia. But we don’t like bunnies; we kill them as pests. So Bunny puts on a tail and jumps up and down, doing all the things kangaroos do. The conclusion of Dot and the Bunny is that when you are born Bunny, you will die Bunny: c ’est la vie. But he decides there is nothing wrong with being a bunny. This is one of A production still from Around the World with Dot: the six kangaroos became two, and the messages. Father Christmas substituted his traditional cap fo r a bush hat.

That is the story which carries over from “ Dot and the Kangaroo” , where the kangaroo lost her joey . . . Dot and the Kangaroo, Around the World with Dot and Dot and the Bunny are a trilogy; one story

comes out of the other and they are all intertwined. What did the budget rise to on “ Dot and the Bunny” ?

It was $600,000. But our current film, The Camel Boy, has a budget of $1.3 million. Sarah had three animators, while The Camel Boy has 40 animators and assistants. The production process is faster, and there are more drawings of better quality. All the production and pre-pro duction is in the hands of anima

Dot and the Bunny: “. . . when you are born Bunny, you will die Bunny:

380 — October CINEMA PAPERS

c ’e st la v ie. ”

tion directors: for example, the animation director on Epic (1983) was Athol Henry; on Dot and the Koala it was Gairden Cook; on Dot and Keeto and The Camel Boy, Ray Nolan. In this way I am able to produce and direct a few productions at once, helped by people who have been in the animation business for a long time.

footage that we found by John Shaw. Here again, we learn incred ible things about the insects. We are also trying, for my first time, to do a form of musical. So you are returning to music, your first love . . .

All the films, except the last one, for technical reasons, are involved in music. But we tried to make Dot and Keeto a musical. When we see the Queen Ant produce her eggs, we hear a song that describes how it is her job to make a new society. On Monday she produces eggs to be lawyers, on Tuesday workers, on Wednesday soldiers . . . On Sunday, of course, she produces eggs for the royal family. We use live footage of insects in an entertaining way — it won’t be a dry documentary — and by the end Dot and the kids will know a lot about insects. This film is in production. In pre-production are Dot and the Whale, Dot and the Bunyip and Terra Australis. Terra Australis is about the history of Australia 30,000 years ago. Dr Michael Archer is a consultant and the film is based on his archaeological dis coveries. It is an animated film with puppets, the first time I have used them since Joseph the The Camel Boy,

Have the number of drawings increased? For example, in “ Dot and the Kangaroo” , how many cells or pieces of artwork did you have?

About 10,000. On The Camel Boy, there were 60,000, which ma k e s f or animation.

better-evolved

The story of Dot continues on and becomes “ Dot and the Koala” in 1984 . . .

In Dot and the Koala, the story is set in Tasmania, and is about the conflict that surrounded the dam ming of the Franklin River. The humans are presented as domestic animals which want to lead the small town toward a better life — in their opinion. The native animals are against this dam: they prefer to retain the beautiful river and bush where they live. In the end, helped by Dot, the native animals succeed in preventing the dam being built and the domestic animals realize how beautiful life is with what they have, without the development which would have damaged nature. I am not saying in the film that you should not develop things, but that progress can be made without damaging something that is beautiful. Then we have Dot and Keeto. The story is that Dot, instead of eating the root she ate in Dot and the Kangaroo to understand the animals, eats another root by mistake and shrinks. In this way, we can introduce insect life. The film is based again on magnificent

Dreamer. Why are you returning to three dimensions?

Because we have found very talented people who produce puppets. What have been some of the tech nical developments in the Yoram Gross Film Studio?

There are three new develop ments. The first is the introduction of a line-test machine from Japan, the first in Australia. It is a computer, not a video recorder, and has a memory bank capable of storing 250 line drawings. Each

Two animators — Yoram Gross

FIFTH SYDNEY SUPER 8 FILM FESTIVAL 1984 Contributions are now being accepted. Title, Speed, Sound/Silent, Synopsis, Duration, and Instructions for Return. D E A D L IN E : 1st Nov. ’84. No films can/will be accepted after this date. E N Q U IR IE S : (02) 356 4392. IN C L U D E :

S e n d film s to :

Super 8 Film Group, PO Box A307, Sydney South 2000, Australia. With the assistance of the Australian Film Commission

DXX Gross on location fo r the background filming o f The Camel Boy.

animator can register the drawings he has done on paper into the computer, which takes five to 10 minutes, and call up the drawings immediately on a monitor. Let us say he is looking at his 20 drawings and suddenly sees that drawing number 14 is not good enough: he can take it out from the memory and replace it with another drawing without reregistering the existing drawings, as happens now. Themachine is one of the reasons that our standard of animation is improving. What are the other advances?

director was Greg Flynn and the premiere, opened by the Prime Minister, was on May 5 in Sydney. The Festival may, in future, be part of UNESCO’s involvement in promoting children’s film festivals around the world. The Festival was a non-profit venture because the aim was to expose children’s films which are not accepted in the cinema for some reason. This way children will be able to see Aus tralian and international children’s films which, though not com mercially viable, are artistically valuable.

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technical

We have an incredible Xerox machine, which is again the only one in Australia and comes from Japan. It duplicates a pencil drawing on celluloid without scratching the celluloid or leaving spots. It does the job faster and better. We also have a new camera which allows us to see instantly on a large television screen, instead of on a small monitor, what is being shot by the camera operator. It is a normal film camera combined with a television camera. What do you feel is your con tribution to Australian cinema, to children and to animated film?

My contribution is that I produce feature films, non-stop, in Australia. My aim is to have these films shown here, too. I believe our Dot films are well-known overseas, in the U.S. and in Europe, and every year they are becoming more well-known. In Australia, however, we are still fighting to show them. We are trying to achieve this through our own company, Young Australian Films, by taking our films to schools. Now, because we wish to expose these films in cinemas as well, we initiated an Australian Children’s International Film Festival. The

what next?

F ilm o g ra p h y Features 1961 Joseph the Dreamer 1964 One Pound Only 1977 Dot and the Kangaroo (animated) 1979 The Little Convict (animated) 1980 Sarah (animated) 1981 Save the Lady (scriptwriter only) Around the World with Dot (animated) 1982 Dot and the Bunny (animated) 1983 The Camel Boy (animated) Epic (animated) 1984 Dot and the Koala (animated, in production) Terra Australis (in production) Dot and Keeto (animated, in production)

...course!

Open Program

Shorts 1958 We Shall Never Die Chansons sans paroles 1959 Kashkeshet Shir lelo mylym 1962 And the Earth was Without Form and Void 1963 Yemenite Fantasy 1966 Kazvuv met Bulim mesaprim 1967 Muscol a murit 1968 Lumina verde 1969 Bon appetit 1970 Prelude 1971 To Nefretiti 1974 The End 1975 Sun

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Documentaries 1970 The Politicians 1977 The First Animated Step

Everyone needs professional advice sometimes.

if CINEMA PAPERS October — 381

Chris M u ir

Chris Muir C ontinued fr o m p . 325 absolutely no idea how it would work in a cinema. And you wouldn’t get investors wanting to put money into that sort of material because it is so high risk. So, television enables you to develop subject matter which otherwise may not be produced.

O th er P ro je c ts Should the ABC be in the position of producing more experimental material? The word “ ex p erim en ta l” worries me because it is always associated with “ high-risk” and “ non-professionalism” . But, it is always very attractive for pro ducers in the organization to have a time slot available to try out new technologies and new forms of drama, and hopefully still attract a large audience. Producers in this department would find this very useful in the 1980s.

What do you think are your department’s most outstanding productions? I am a bit paralyzed when it comes to questions such as that because I am so fixed into the future and the present. In tele vision, one o f the problems for any person in my position is that the past disappears very quickly. But, inevitably, you hold on to the favorites in your memory because you are making measurements. Without being offensive to other producers, it would be appropriate to list A Timeless Land, I Can

Jump Puddles, Scales of Justice and 1915. There is also Alan Burke’s production o f A Toast to Melba, a one-off drama which everyone remembers as being experimental, successful and inno vative — all those adjectives which describe something that is fresh and daring. There was the child ren’s series Home, which is now screening in England, and you

could also look right back to the 1960s, to a series such as My Brother Jack, which was most impressive in its time. One’s perspective o f the past constantly changes, so something one now regards as unimportant or ineffective can gain new meaning; for example, Bellbird, o f which I was not particularly fond, I now look back on as having consider able qualities. It had its usefulness: it entertained an audience and was, at the time, a trail blazer.

“ Scales of Justice” was filmed using realist techniques rather than naturalism. Do you think it has opened the door to more contro versial, pioneering work? We do not set out to be contro versial but rather to bring together a set o f situations which inevitably will be in conflict. If those charac ters and conflicts are put in a modern setting, o f course, it gives the drama a dynamic. A controver sial drama has a feeling o f contem porary truth about it.

Some of that contemporary truth creates an audience reaction which can be quite exciting, which, of course, is good drama . . . Scales of Justice had a strong reaction because it dealt with com plex political matters in a contem porary setting. A lot o f producers are coming to terms with the fact that some series were using history as a buffer, as a device to tackle a lot o f issues so the audience could come away say ing, “ Tut tut, weren’t things terr ible then.” Producers in Australia now realize that the audience is sophisticated enough to see con temporary themes projected on the screen. Another of my concerns about continuing to make historical drama is that we are not making anything at the moment to leave behind about our industry. Archivists in 100 years should be able to go to a lead vault and say, “ The ABC did a funny thing called Man of Letters: let’s put that up and see what they were doing in

those days.” It is very important

that we don’t get locked into only reproducing the past, forgetting the present.

“ Sweet and Sour” is, therefore, an attempt to relate to contemporary issues and capture the present mood of a generation . . . With Sweet and Sour, we recog nized that there was an audience of young people which was not being catered for by ABC television drama. We worked out some strict guidelines for the series: that it was not to be pessimistic; it was to be a bit zany; and it would have an integration o f rock music. It was a fairly high-risk area: although Geoffrey Nottage, who is an estab lished director, did the first few episodes, the directors who came on line after that were all ABC trainee directors, and it was Jan Chapman’s first stab at executive producing in the ABC. Our feeling was that it would demonstrate again that the Drama department was not a fuddy-duddy department locked into a particular style.

What have the ratings been? A lot o f people who watch Dr. Who in that time slot threw up their hands in horror and said, “ We are going to leave the ABC till Dr. Who comes on again.” At the beginning, the ratings were normal but it is interesting that they have climbed through the series. And, although the research we did indicated that the age group we were aiming for would be any thing from 14 to 24, it seems to be much wider than that.

Your other series, “ The Young Wife” , is an authentic and rather unusual look at Melbourne’s migrant community . . . The Young Wife recognizes the roots of our multiculturalism, and it certainly says a great deal about Greek-Cypriots in Australia 30 years ago. We have discovered some very fine actors through that series, and there will be a continuing recogni tion of new actors from multi cultural backgrounds. We are now doing, for instance, a play by Louis Nowra, Displaced Persons, about a group of refugees which arrives in Sydney from Eastern Europe immediately after World War 2. For that, we have cast Eastern European actors living in Australia. Matt Carroll, of Channel 10, said recently that the ABC was failing to produce sufficient unusual pro grams springing from the minorities in our community and, therefore, was not fulfilling its charter . . .

Johanna Pigott and Tim Gooding, who devised Sweet and Sour and wrote six of the 20 episodes. 382 — October CINEMA PAPERS

In terms o f fulfilling our charter, we would like to be doing much more. But I would have thought that Sweet and Sour and

Scales of Justice were pioneering work. I don’t have any more to say; if Matt Carroll stays tuned he will see some more pioneering work. We have material In hand that has not even been thbught of by the commercial channels. Do you ever feel hamstrung being a creative department within a public-service framework? It is more a framework to pro tect public money and see that money is spent wisely. Sure, you have problems, but you have them if you are running a small theatre or an independent film company, and it is important to have admin istrative rules. The ABC is still one o f the great places for relative crea tive freedom.

What other projects are you plan ning? We are hoping to retain the

Sweet and Sour group because they are bright people to have in the department. They are looking at another series which will have music associated with it. We are doing a 10-part series in Sydney called Palace of Dreams being pro duced by Sandra Levy which will, again, introduce the element o f multiculturalism. I am pleased that multiculturalism is part o f our charter, not through tokenism but simply because it is a very powerful dramatic area that hasn’t been tapped sufficiently in this country. What I hope will happen in the next few years is that we will see films along the lines o f those that Elia Kazan was making in the 1950s. Multicultural drama will be a turning point in Australian writing in the next two to three years. It may not be in television but it is in evitable, particularly with all the tension with immigration, that someone is going to tap it and write something brilliant. Once we start to look at the conflicts and the positive passions which exist between the mix o f nationalities we have in Australia, there is no doubt we will start to get a new kind of writing. There is a force there which will suddenly pick up and it is very important for ABC Drama to be at the forefront of that.

Why then did ABC Drama not take up the offer of producing “Women of the Sun” some years ago? The difficulty was not to do with the subject matter, but with the resources and facilities to handle it at the time. The ABC did buy the second run. I wouldn’t like to be leading a drama department that shied away from explosive issues or confronta tional drama. But there has to be a balance: if you are going to upset one section o f the audience, you should, hopefully, be pleasing another section. ★

M ichael Pattinson and Jan Sardi

Pattinson and Sardi C o n tin u e d f r o m p . 3 1 8

visual style changed since “Moving Out” ? Pattinson: I don’t think it has changed a lot, but it is a progres sion. Obviously, moving a camera works very well with music, and can give the effect o f the film going like a steam train. Some people have said they find some things difficult to follow. It is interesting that the adult audi ence tries to compile information in a linear or rational manner: something is introduced and adults want to see it developed and resolved clearly. The kids’ compre hension o f the film seems far greater than a lot o f adults: they take small pieces o f information and hang on to them for a small amount o f time. If it amounts to nothing, the kids will just toss it away rather than confuse them selves by trying to work out where it is supposed to be going. Sardi: That is right. Adults intellectualize. When kids watch pop clips they interpret them and assume their own story, whereas adults tend to sit back and look for the conventional story-line, and wait for it to be resolved. And while they are doing that, they are missing what is happening on the screen. They really can’t see the forest for the trees. Kids will re ceive those impressions and they will do something with them.

The design of the film and the photography are quite bold and striking. To what extent did Brian Thomson [production designer] and Vince Monton [director of photography] decide on the look and atmosphere of the film? Pattinson: The film was con ceived, at a script stage, as one which borrowed from other genres and was heavily stylized. Vincent’s and Brian’s contributions to that stylization are enormous. I had worked with Brian on another pro ject being developed in Sydney years ago and, from the moment that Jan and I started to develop this idea, Brian was the first person to whom we spoke. A lot o f Australian films don’t really look like anything in particu lar, except well exposed. Brian is a designer, not an art director. An art director more often than not walks into a location and says, “ Well, I think that painting should be a Norman Lindsay rather than a Picasso” , or “ I don’t like the color o f the ashtray.” Brian walks into a location and says, “ Right. We will get rid o f that wall there. We will paint the whole place, change all the tables and move the roof up three fe e t.” He starts from scratch. There is no point having a very talented designer, such as Brian, if you are not going to go all

out for something that really has a distinctive look and style. That is why a lot o f the film is constructed around sets. Brian built a massive back-lot which constitutes Easy Street. That was an idea that grew out o f con versations between Brian and my self. Rather than set the film in a million different locations, we decided to find somewhere where a lot o f the activity could occur, even though Jan had written a specific location for Easy Street. Brian took a lot o f those ideas and put them all in one spot. And Brian and Vincent worked very closely together on the lighting and style. The emphasis on red is totally Brian’s idea, and I think it looks stunning.

Did you have an audience, or an international market, in mind when you decided to make the film look as though it could be set in any city, in any country? Pattinson: If your question is, “ Were we trying to be mid Pacific?” , the answer is most definitely no. Sardi: It is part o f the height ened reality o f the film. Brian’s sets are poetry more than real life. I like to describe the film as having its feet in social reality but its head way up in the clouds, and that is a type of poetry. Pattinson: The whole nature o f the story is drawn from real events and collaged to make one story. Given that, there was no single location that suited all o f our requirements. So we thought it was far better to create something fic tional which drew together a lot of truths, but was not set in any par ticular city. It is not really an attempt to be general: but, al though there was no conscious effort to avoid it, the film does not take on a parochial feel. It prob ably does give the production a fairly international look.

In a film such as “ Flashdance” or “ Saturday Night Fever” , the music plays an enormous part in identification with characters. How did you go about selecting the music for “ Street Hero” ? Pattinson: Obviously, the music is crucial, but it is really the fusion between the music and the images that creates that feeling. In Rocky, it is the fusion between that famous anthem and the shots of Rocky bouncing up and down with his arms in the air on the steps of the Philadelphia Town Hall. They click together. Some of the music for Street Hero was recorded in a rough demo fashion before we shot the film, so that we could film to a cer tain rhythm and pace. Even in the cases where it was recorded after wards, we knew that a particular scene was going to be in about a 6/8 tempo so we could use other tracks as guide tracks to get an idea

o f what the pace o f the film should be. A lot o f the music was selected by sifting through thousands o f demos o f different people’s work and trying them with the rough pictures or trying ideas in different spots. The odd thing with music is that songs which, on first inspec tion, you would never think would work with the sort o f imagery you have for some reason just fit into shape: for instance, the song that Sharon O’Neill wrote for us, “ Blood Red Roses” . I had thought o f that sequence as much more up tempo than it was — not so much in terms o f the cutting patterns o f the pictures, but o f what the music was doing. But a slower song seems to be a nice counter-balance. Sardi: With films such as Flash dance and Staying Alive, the film just seems to be a coathanger on which to hang a lot o f music and sell the film. We try and do a little more than that. A lot o f films have a radio or transistor in every shot so you can have music blaring, and then they fill in the images, or do a montage. But in Street Hero there is a lot going on through the music sequences, which kids pick up on. They are used to watching video clips and interpreting those, so it wasn’t a question o f just, “ Oh, time for another song now, let’s shoot some im ages.” We tried to imply information to give impres sions o f what was happening and o f character development.

Many of the words in the songs relate directly to the action. The opening number, “ I’ve Got to be a Hero” , defines Vinnie . . . Pattinson: That is the one song which relates directly to visuals. I feel quite strongly that, when writing a song for a film, the worst thing one can do is narrate the action with the lyrics. Most of the songs express the sort o f environ ment in which Vinnie moves and, in an esoteric way, what are his hopes and aspirations. But if it gets to the point where the lyrics are a narration, then it just doesn’t work. You think you are working towards a fusion between the

music and the pictures, but in fact it is just getting further away, because you are forced to focus either on one or the other. Sardi: What we want is music to create the right mood or atmo sphere to enhance the drama, rather than fill the gaps.

“ Street Hero” and “Moving Out” strive to incorporate elements that are going to attract adolescent audiences. Do you think that Aus tralian films have neglected that section of the audience in the past? Pattinson: Every prospectus one reads for a film says that it is going to appeal to the 15- to 25-year-old au dien ce, b ecause everyb ody knows they represent the majority o f cinemagoers. When you read on, in a lot o f cases, it becomes clear that it may not have much appeal to that audience.

What does appeal to that audi ence? Sardi: Something with a lot o f energy and a sense o f optimism. Plus the sense o f wanting to break out o f the environment and the community that you live in. There are also fantasies. Every kid has had a teacher that they wanted to screw, a teacher they wanted to punch in the mouth. So you tap their fantasies and dreams, even if it is just wanting to play a musical instrument or bash up the local bully. They want to live those moments. They want to escape. Pattinson: When we set out to make this film, we looked very carefully at films such as Rocky and Flashdance and what they do to kids. While the critics may assassinate these films because they might not conform to what they believe a film should be in terms o f construction, you cannot argue with the fact that the kids come out excited. It might last only until they get out the front door or back to the carpark, but they want to jump in the air and scream. It motivates them to do something with their lives. It was precisely that stirring feeling we aimed at, and a factor in creating that is the sense o f personal achievement. ★

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CINEMA PAPERS October — 383

F ilm C e n s o rsh ip L is tin g s

Film Censorship Listings C ontinued fr o m p . 377

The Man From Clover Grove: W. Hillman-W. Hines, U.S., 96 mins, Video Classics Mary of Scotland: RKO, U.S., 91 mins, Video Classics More Adventures of the Fox and the Hare: Estudios Castilla SL, U.S., 45 mins, Video Classics Peter Allen and the Rockettes at Radio City Music Hall: W. McKanna, U.S., 87 mins, CBS-Fox Video The Return of the Pink Panther: B. Edwards, Britain, 108 mins, CBS-Fox Video Room Service: RKO, U.S., 78 mins, Video Classics Sailor Beware: J. Clayton, U.S., 80 mins, Video Classics Sinbad the Sailor: Medallion, U.S., 117 mins, Video Classics Sleeping Beauty: F. Genschow, West Germany, 70 mins, Video Classics Son of Kong: RKO, U.S., 70 mins, Video Classics The Story of Vernon and Irene Castle: RKO, U.S., 93 mins, Video Classics Swingtime: RKO, U.S., 103 mins, Video Classics A Talent for Murder: BBC, Britain, 80 mins, CBS-Fox Video Top Hat: RKO, U.S., 97 mins, Video Classics The Who Rocks America: J. Calmes, U.S.-Canada, 114 mins, CBS-Fox Video Winds of Kitty Hawk: L. Schiller, U.S., 97 mins, Video Classics

PG The Amazing Dobermans: D. Chudnow, U.S., 78 mins, Video Classics, V(i-l-g) American Nitro: B. Kinberlin, U.S., 72 mins, Video Classics, Ofadult concepts) Baltimore Bullet: J. Brascia, U.S., 90 mins, Video Classics, Lfi-i-j). V(i-l-j) The Beast Must Die: M. Rosenberg-M. Subotsky, Britain, 90 mins, Video Classics, V(i-l-g) Beat the Devil: Romulus, Britain, 92 mins, Video Classics' Becket: H. Wallis, U.S., 148 mins, Video Classics Bethune: R. Sherrin, Canada, 88 mins, Video Classics The Blue Max: C. Ferry, U.S., 148 mins, CBS-Fox Video, V(f-l-i), S(i-l-g) Buffalo Bill and the Indians. R. Altman, U.S., 127 mins, Video Classics, Lfi-l-g), Ofadult concepts) Carrington V.C.: T. Baird, Britain, 106 mins, Video Classics The Comancheros: G. Sherman, U.S., 104 mins, CBSFox Video, V(i-l-g) The Count of Monte Cristo: E. Small, U.S., 109 mins, Video Classics Crossbar: B. Walker, Canada, 77 mins, Video Classics, Ofemotional stress) Dawson Patrol: P. Kelly, Canada, 75 mins, Video Classics, Ofadult concepts) D-Day The Sixth of June: C. Brackett, U.S., 99 mins, CBS-Fox Video A Farewell to Arms: D. Selznick, U.S., 146 mins, CBSFox Video Figures in a Landscape: J. Kohn, Britain, 100 mins, CBS-Fox Video, V(i-l-j), L(f-l-j) Follow the Fleet: RKO, U.S., 110 mins, Video Classics The Gay Divorcee: RKO, U.S., 107 mins, Video The Gentleman Bandit: J. Quill, U.S., 96 mins, Video Classics, Ofadult concepts) The Hunchback of Notre Dame: RKO, U.S., 117 mins, Video Classics I’ll Get You for This: Romulus, Britain, 83 mins, Video Classics The Informer: RKO, U.S., 123 mins, Video Classics Innocents in Paris: A. De Grunwald, Britain, 93 mins, Video Classics Kublai Khan: D. De La Patelliere-N. Howard, FranceItaly, 111 mins, Video Classics The Last Train from Gun Hill: Paramount, U.S., 94 mins, CBS-Fox Video The Man In the Iron Mask: RKO, U.S., 119 mins, Video Classics Mighty Joe Young: RKO, U.S., 94 mins, Video Classics Mr Dean: Lone Star Pictures, U.S., 80 mins, Video Classics, V(f-l-g) Murder My Sweet: RKO, U.S., 95 mins, Video Classics My Husband is Missing: J. Shaner-A. Ramrus, U.S., 97 mins, Video Classics, Ofadult concepts) None but the Lonely Heart: RKO, U.S., 113 mins, Video Classics Operation Thunderbolt: Cannon Int’l, U.S., 122 mins, Video Classics, V(f-l-j) Penny Gold: G. Brown, Britain, 90 mins, Video Classics, V(i-l-j) Porridge: A. McKeown-l. Le Frenais, Britain, 95 mins, Syme Home Video, Ofadult concepts) Private Eyes: L. Elliot-W. Dell, U.S., 85 mins, Video Classics, Vfi-l-g) The Prize Fighter: L. Elliot-W. Dell, U.S., 99 mins, Video Classics, Vff-l-j) The Rover: A. Bini, Italy, 107 mins, Syme Home Video Running Scared: P. Glicker, U.S., 97 mins, Video Classics, Vff-l-j) Russian Roulette: J. Bick, Britain, 87 mins, CBS-Fox Video, V(f-l-g) Sayonara: W. Goetz, U.S., 141 mins, CBS-Fox Video Shadow of the Eagle: A. Havelock-Alien, Britain, 91 mins, Video Classics The Sound and the Fury: 20th Century Fox, U.S., 110 mins, CBS-Fox Video Spy Story: L. Shonteff, Britain, 103 mins, Video Classics, Vfi-l-g), Lfi-l-g) Stamping Ground: W. Schmldt-S. Waynberg, U.S., 90 mins, Video Classics, Ofnudity) Suspicion: RKO, U.S., 90 mins, Video Classics Two Missionaries: D. De Laurentiis, Italy, 93 mins, Video Classics, Vfi-l-g) Unfaithfully Yours: M. Worth-J. Wizan, U.S., 95 mins, Fox Columbia Film Dist., Ofsexual allusions), V(i-l-j) Whiffs: G. Barrie, U.S., 92 mins, CBS-Fox Video, Ofadult concepts) M And Now the Screaming Starts: M. Rosenberg-M. Subotsky, U.S., 87 mins, Video Classics, Vfi-m-g), Ofhorror) 1. Code reasons unavailable classified before 1972.

for films

originally

384 — October CINEMA PAPERS

Angel on my Shoulder: B. Rosenzweig, U.S., 93 mins, Video Classics, Vfi-m-g), Ofsexual innuendo) Beyond Death's Door: Schick Sunn Prods, U.S., 97 mins, Video Classics, Vfi-m-g), Ofsexual allusions) Blood of Dracula’s Castle: Adamson and Carlton, U.S., 82 mins, Syme Home Video, Vfl-m-g) Cattle Annie and Little Britches: R. Hltzig-A. King, U.S., 88 mins, Video Classics, Ofadult concepts), Lfi-m-g) Cola, Candy, Chocolate: Lisa Films, West Germany, 77 mins, Video Classics, Ofnudity, sexual allusions) Darker Side of Terror: J. Shaner-A. Ramrus, U.S., 96 mins, Video Classics, Vfi-m-g) East of Eden Parts 1 and 2: M. Neufeld, U.S., 215 mins, Video Classics, Vfi-m-g), Ofadult concepts) Emmanuelle on Taboo Island: M. Mansi, Italy, 88 mins, Video Classics, Sff-l-g), Vfi-m-g) The Execution: D. Commerz, West Germany, 84 mins, Video Classics, Vfi-m-g), Sfi-m-g) Fade to Black: I. Yablans-S. Tabet, U.S., 100 mins, Video Classics, Vfi-m-j) For Ladies Only: F. Levy-G. Harrison, U.S., 97 mins, Video Classics, Sfi-m-g), Lfi-m-g) The Girls Next Door: Jones and Hong, U.S., 90 mins, Video Classics, Sfi-m-g), Lfi-m-g) The Grass is Singing: M. Forstater, Sweden-Britaln, 110 mins, Video Classics, Ofadult concepts, nudity) The Great White Hope: U.S., 97 mins, CBS-Fox Video The Happy Hooker Goes to Hollywood: M. Golan-Y. Globus, U.S., 84 mins, Video Classics, Sfi-m-g) Isle of the Dead: RKO, U.S., 72 mins, Video Classics, Ofhorror) The Last Day of the War: S. Abarbanel, Spain, 96 mins, Video Classics Legend of the Werewolf: K. Francis, Britain, 90 mins, Video Classics, Vfi-m-g) Loving Couples: R. Valente, U.S., 97 mins, Video Classics, Ofsexual allusions), Lfi-m-g) The Muthers: C. Santiago, U.S., 83 mins, Video Classics, Ofsexual allusions), Lfi-m-g) 99 and 44/100% Dead: 20th Century Fox, U.S., 99 mins, CBS-Fox Video, Vfi-m-g) No. 1 of the Secret Service: E. Gray, Britain, 94 mins, Video Classics, Vfi-m-g) Orea the Killer Whale: Famous Films N.V., U.S.-Italy, 96 mins, Video Classics, Vfi-m-g) Patrick: A. Ginnane, Australia, 115 mins, Video Classics, Vfi-m-g), Sfi-m-g) Psychomania: A. Donally, Britain, 90 mins, Video Classics, Vff-m-g) Santee: D. Paoli-E. Platt, U.S., 93 mins, Video Classics, Vfi-m-g) The Seduction: I. Yablans-B. Curtis, U.S., 103 mins, Video Classics, Vfi-m-g), Ofsexual violence) Sextette: Manson Int’l, U.S., 91 mins, Video Classics, Ofsexual innuendo) The Sin of Adam and Eve: M. Zachary, U.S., 71 mins, Video Classics, Ofnudity), Vfi-l-j) Starship Invasion: N. Glick-E. Hunt-K. Gord, Canada, 87 mins, Video Classics, Vfi-m-g), Ofsexual allusions) Thirst: A. Ginnane, Australia, 90 mins, Video Classics, Vfi-m-g), Sfi-m-g) Tintorera: G. Green, Britain, 86 mins, Video Classics, Vfi-m-g), Sfi-m-g) Title Shot: R. Iveson, Canada, 88 mins, Video Classics, Vfi-m-g), Lfi-l-g)

R Alice in Wonderland: W. Osco, U.S., 76 mins, Video Classics, Sfi-m-g) The Amazons: R. Billi, Italy-Spain, 93 mins. Video Classics, Vff-m-g), Sfi-m-g) Assault on Precinct 13: J. Kaplan, U.S., 91 mins, Video Classics, Vff-m-g) The Big Zapper: L. Shonteff, Britain, 92 mins, Video Classics, Vff-m-g), Sfi-m-g) The Brute: J. Quested, Britain, 86 mins, Video Classics, Vfi-m-g), Sfi-m-g) Can I do it — Till I need glasses: M. Callle, U.S., 73 mins, Video Classics, Lff-m-g), Sfi-m-g) Cherry Hill High: Cannon Int’l, U.S., 85 mins, Video Classics, S(f-l-g), Ofsexual allusions) The Choirboys: M. Adelson-L. Rich, U.S., 119 mins, CBS-Fox Video, Vff-m-g), Lfi-m-g) Come Play With Me 2: E. Dietrich, Switzerland, 91 mins, Video Classics, Sff-m-g) Cruising: J. Weintraub, U.S., 102 mins, CBS-Fox Video, Sfi-m-g), Vfi-m-g), Lff-m-g) Desires within Young Girls: H. Lime, U.S., 72 mins, Video Classics, Sff-m-g) The Ecstasy Girls: H. Lime, U.S., 70 mins, Video Classics, Sff-m-g) Fingers: G. Barrie, U.S., 90 mins, CBS-Fox Video, Vfi-m-g), Sfi-m-g), Lff-m-g) Frightmare: P. Walker, Britain, 83 mins, VCL Com munications, Ofhorror) Fyre: T. Zephro, U.S., 90 mins, Video Classics, Sfi-m-g), Ofdrug abuse) The Golden Lady: K. Cavele-P. Cowan, Britain, 89 mins, Video Classics, Sfi-m-g), Vfi-m-j) If You Don’t Stop It You’ll Go Blind: M. Collie-B. Levy, U.S., 80 mins, Video Classics, Sfi-m-j), Ofsexual allusions) Immortal: C. Mulot, France, 83 mins, Video Classics, Sff-m-g) Lady Chatterly vs Fanny Hill: Negus, Britain, 91 mins, Video Classics, Sfi-m-g), Ofsexual allusions) Lipstick: D. De Laurentiis, U.S., 90 mins, Video Classics, Sfi-m-g), Vff-m-g) Little Girls Big Tease: R. Mitrotti, U.S., 83 mins, Video Classics, Sff-m-g) The Long Swift Sword of Siegfried: D. Friedman, U.S.-West Germany, 88 mins, Video Classics, Sff-m-g) Maid in Sweden: A. Artzl, U.S.-Sweden, 90 mins, Video Classics, Sff-m-g) Mandingo: D. De Laurentiis, U.S., 121 mins, Video Classics, Vff-m-g), Sfi-m-g) Man from Deep River: O. Assonitis, Thailand-ltaly, 88 mins, Video Classics, Vff-m-g) Naughty Blue Knickers: A.G.C.-M.M.P., France, 91 mins, Video Classics, Sff-m-g) The Passage: J. Quested, Britain-U.S., 98 mins, Video Classics, Vff-m-g) Slavers: J. Goslar, West Germany, 98 mins, Video Classics, Vff-m-g) Snow White and the Wise Men: S. Fabrizi, Italy, 95 mins, Video Classics, Lff-m-g), Sff-m-g) The Stud: R. Kass, Britain, 92 mins, Video Classics, Sff-m-g) Temptations: D. Eagle, U.S., 79 mins, Video Classics, Sff-m-g) ' Trip to Kill: T. Stern, U.S., 89 mins, Video Classics, Vff-m-g), Ofdrug abuse) Vigilante Force: United Artists Corp., U.S., 89 mins, Warner Home Video, Vff-m-g)

What’s Up Nurse: M. Green, Britain, 87 mins, Video Classics, Sff-m-g) Wild and Beautiful on Ibiza: Lisa Films, West Germany, 86 mins, Video Classics, Sff-m-g)

X Bangkok Connection: E. Stew, The Netherlands, 84 mins, W.B. and J.E. Wathen, Sff-h-g) Beauty: W. Evans, U.S., 90 mins, Video Classics, Sff-h-g) Bizarre Moods: Gourmet Video, U.S., 60 mins, Venus Video, Sff-h-g) Blondes Have More Fun: Producers Associated, U.S., 76 mins, Video Classics, Sff-h-g) Centrefold Fever: R. Milner, U.S., 81 mins, Video Classics, Sff-h-g) Country Comfort: D. Sala, U.S., 86 mins, Video Classics, Sff-h-g) The Dirty Mind of Young Sally: D. Buckalew, U.S., 80 mins, K&C Video, Sff-h-g) Dream Girls Collection No. 2: Royce Distribution Co., U.S., 60 mins, Venus Video, Sff-h-g) Inside Seka: H. Howard, U.S., 96 mins, Video Classics, Sff-h-g) Joy: D. Davidson, U.S., 75 mins, Video Classics, Sfi-h-g) Kiss and Tell: Not shown, U.S., 70 mins, W.B. and J.E. Wathen, Sff-h-g) Let’s Talk Sex: E. Gorley, U.S., 83 mins, Luhaze, Sff-h-g) Lips: P. Vatelli, The Netherlands, 84 mins, W.B. and J.E. Wathen, Sff-h-g) Memphis Cathouse Blues: E. Lewis, U.S., 72 mins, Video Classics, Sff-h-g) Nightlife: J. Lewis, The Netherlands, 75 mins, W.B. and J.E. Wathen, Sff-h-g) Private Nurses: Gourmet Video, U.S., 60 mins, Venus Video, Sff-h-g) Skintight: M. Weldon, Not shown, 92 mins, J. Sobota, Sff-h-g) Tramp: C. Vincent, U.S., 68 mins, Video Classics, Sff-h-g)

Refused Classification Nil

Week Ending 13 April 198411 G Blue Hawaii: H. Wallis, U.S., 98 mins, CBS-Fox Video Charlotte’s Web: Hanna-Barbera Prod., U.S., 94 mins, Video Classics The Corsican Bros: E. Small, U.S., 111 mins, Video Classics Dinner at 7 — Cuisine française: Not shown, U.S.-France, 108 mins, Video Classics Electric Light Orchestra Live at Wembley: Jet Hold ings, Inc., Britain, 58 mins, CBS-Fox Video Flying Down to Rio: RKO, U.S., 89 mins, Video Classics Great Expectations: R. Fryer, Britain, 120 mins, CBSFox Video Lassie’s Great Adventure: J. Wrather, U.S., 90 mins, Video Classics Mr Blandings Builds His Dream House: RKO, U.S., 93 mins, Video Classics The Optimists: A. Gaye-V. Lyndon, Britain, 110 mins, Video Classics Run for the Roses: M. Crespo, U.S., 92 mins, Video Classics Snow White: American Int’l Childhood Prod., U.S., 70 mins, Video Classics Star: S. Chaplin, U.S., 163 mins, CBS-Fox Video Superbug — Craziest Car in the World: K. Nowak, Switzerland, 96 mins, Video Classics Tall in the Saddle: RKO, U.S., 79 mins, Video Classics The Wild and the Free: P. Radin, Britain-U.S., 92 mins, Syme Home Video

PG Ballad of Joe Hill: B. Widerberg, U.S., 115 mins, Video Classics, Ofadult concepts) Bedazzled: S. Donen, Britain, 99 mins, CBS-Fox Video, Sfi-l-g), Ofsexual innuendo) The Body Snatcher: V. Lewton, U.S., 77 mins, Video Classics2 Conquest of the Planet of the Apes: A. Jacobs, U.S., 82 mins, CBS-Fox Video, Vfi-m-g) Early Days: T. Donovan, Britain, 67 mins, CBS-Fox Video, Ofadult concepts) Earthquake: Mark Robson Filmakers Group, U.S., 116 mins, Rigby-Cic Video, Vfi-m-g) Flight to Holocaust: Aycee Prods, U.S., 90 mins, Video Classics, Vff-l-g) I Walked with a Zombie: RKO, U.S., 69 mins, Video Classics King Kong: D. De Laurentiis, U.S., 135 mins, Video Classics, Vfi-l-g) Kiss Me Goodbye: R. Mulligan, U.S., 98 mins, CBS-Fox Video, Lfi-l-g) Leopard Man: RKO, U.S., 66 mins, Video Classics The Magnificent Ambersons: RKO, U.S., 88 mins, Video Classics Memed My Hawk: F. Kavur, Britain-Yugoslavia, 102 mins, Fllmways A’asian Dist., Vfi-l-g), Ofsexual allusions) Message from Space: B. Uemura-Y. Watanabe-T. Takaiwa, Japan, 105 mins, Video Classics, Vfi-m-g) Mr Lucky: RKO, U.S., 99 mins, Video Classics Murder Impossible: G. Nonty, U.S., 66 mins, Syme Home Video, Vfi-m-g), Ofsexual allusions) Perfect Gentleman: J. Cooper, U.S., 93 mins, RigbyCic Video, Vfi-l-g), Ofsexual allusions) Planet of the Apes: A. Jackson, U.S., 108 mins, CBSFox Video Strangers: R. Christiansen-R. Rosenberg, U.S., 96 mins, Video Classics, Ofadult concepts) Triple Cross: J. Bertram, U.S., 117 mins, Video Classics The Valdez Horses: D. De Laurentiis, Italy, 101 mins, Video Classics, Vff-l-g) The Word (Part 1): D. Manson, U.S., 98 mins, Video Classics, Vfi-m-g)

1. Published in General Gazette, 8 May, 1984. 2. Code reasons unavailable for films originally classi fied before 1972. '

The Word (Part 2): D. Manson, U.S., 98 mins, Video Classics, Vfl-m-g) M Adam and Eve (The First Love Story): E. Doria, Italy, 90 mins, Video Classics, Sfl-m-j) Asylum: M. Rosenberg-M. Subotsky, Britain, 88 mins, Video Classics, Vff-m-g) The Baby: M. Polsky-A. Polsky, U.S., 85 mins, Video Classics, Vfi-m-g) Carry on Emmanuelle: P. Rogers, Britain, 90 mins, Video Classics, Ofsexual allusions) The Culpepper Cattle Co.: P. Helmich, U.S., 88 mins, CBS-Fox Video, Vff-m-g) Gas Pump Girls: D. Davies, U.S., 83 mins, Video Classics, Sfi-m-g) Goodbye Norma Jean: L. Buchanan, U.S., 96 mins, Video Classics, Sfi-m-g), Vfi-m-g) Hard Country: D. Greene-M. Bing, U.S., 97 mins, CBSFox Video, L(i-m-j), Vfi-m-j) Harlequin: A. Ginnane, Australia, 96 mins, Video Classics, Ofadult concepts), Vfi-m-g) Heartbreak Kid: E. Scherick, U.S., 106 mins, Video Classics, Ofadult concepts) Hells Angels ’69: American Int’l Pictures, U.S., 97 mins, Video Classics, Vfi-m-g) House of Shadows: R. Tudela, Spain, 99 mins, Video Classics, Vff-m-g) Joysticks: G. Clark, U.S., 91 mins, CBS-Fox Video, Ofnudity, sexual allusions) March or Die: D. Richards-J. Bruckheimer, U.S., 105 mins, CBS-Fox Video, Vfi-m-j) One More Chance: D. Womark, U.S., 91 mins, Video Classics, Vfi-m-g) The Ordeal of Patty Hearst: W. Finnegan, U.S., 138 mins, Rigby-Cic Video, Vfi-m-g), Sfi-m-g) Pretty Poison: M. Backlar, U.S., 87 mins, CBS-Fox Video Quintet: R. Altman, U.S., 115 mins, CBS-Fox Video, Vfi-m-j) A Rumour of War: D. Manson, U.S., 150 mins, Video Classics, Vff-m-j) Saturn 3: S. Donen, Britain, 88 mins, CBS-Fox Video, Vfi-m-g) Secrets: J. Hanson, U.S., 115 mins, Video Classics, Sfi-m-j) Snapshot: A. Ginnane, Australia, 92 mins, Video Classics, Sfi-m-g), Vfi-m-g) Someone Behind the Door: R. Danon, France, 90 mins, Video Classics, Vfi-m-g), Ofadult concepts) Student Bodies: A. Smithee, U.S.-Britain, 83 mins, Rigby-Cic Video, Ofadult concepts) 3 Days of the Condor: D. De Laurentiis, U.S., 118 mins, Video Classics, Sfi-m-g), Vfi-m-g) Twice a Woman: W. Howard-A. Lordon, U.S., 78 mins, Video Classics, Sfi-m-g), Ofadult concepts) The Vault of Horror: M. Rosenberg, Britain, 86 mins, Video Classics, Vfi-m-g), Ofhorror) War Brides: Canadian Broadcasting, Canada, 97 mins, Video Classics, Ofadult concepts)

R Because of the Cats: F. Rademakers, Belglum-The Netherlands, 92 mins, Video Classics, Vff-m-g), Sfi-m-g) Communion: R. Rosenburg, U.S., 103 mins, Video Classics, Vff-m-g) The Confessions of a Nympho: A. Brummer, West Germany, 83 mins, Video Classics, Sfi-m-g), Ofnudity) Farewell Uncle Tom: G. Jacopetti-F. Prosperi, Italy, 127 mins, Video Classics, Vff-m-g), Sff-m-g) The Fury: F. Yablans, U.S., 114 mins, CBS-Fox Video, Vff-m-g) The Happy Hooker: F. Caruso, U.S., 90 mins, Video Classics, Sfi-m-g), Ofsexual allusions) La Marge: R. Hakim, France, 81 mins, Rigby-Cic Video, Sff-m-g) ' Nana: M. Golan-Y. Globus, U.S., 90 mins, Syme Home Video, Sff-m-g) Pandora’s Mirror: W. Evans, U.S., 83 mins, Video Classics, Sff-m-g) Porky’s: D. Carmody/R. Clark, U.S., 94 mins, CBS-Fox Video, Lff-m-g), Sfi-m-g) A Scent of Heather: W. Eagle, U.S., 78 mins, Video Classics, Sff-m-g) Take Off: A. Weston, U.S., 103 mins, Video Classics, Sff-m-g) Under the Doctor: R. Barcham, Britain, 83 mins, Video Classics, Sff-m-g) Woman From Deep River: Danla Film, Italy, 90 mins, Video Classics, Vff-m-g), Ofdrug abuse)

X Bella: Not shown, The Netherlands, 86 mins, W.B. and J.E. Wathen, Sff-h-g) Bom Erect: Not shown, The Netherlands, 85 mins, W.B. and J.E. Wathen, Sff-h-g) Colour Climax 335: Colour Climax Corp., Denmark, 26 mins, W.B. and J.E. Wathen, Sff-h-g) Confessions of Seka: L. Gucci, U.S., 80 mins, Land mark Films, Sff-h-g) Desires Within Young Girls: H. Lime, U.S., 90 mins, W.B. and J.E. Wathen, Sff-h-g) The Erotic World of Angel Cash: H. Howard, U.S., 83 mins, Video Classics, Sff-h-g) Every Inch a Lady: Amero Bros, U.S., 80 mins, Video Classics, Sfi-h-g) Expose Me Lovely: A. Weston, U.S., 80 mins, Video Classics, Sff-h-g) Extremes: Filminvest Corp., The Netherlands, 68 mins, W.B. and J.E. Wathen, Sff-h-g) The Girl From S.E.X.: E. Gorley, The Netherlands, 82 mins, W.B. and J.E. Wathen, Sff-h-g) Girls From Hollywood Hills: Not shown, U.S., 80 mins, W.B. and J.E. Wathen, Sff-h-g) Happy Holidays: A. Vydra, The Netherlands, 84 mins, W.B. and J.E. Wathen, Sff-h-g) Hotel Hooker: Gourmet Video, U.S., 60 mins, Venus Video, Sff-h-g) Hots Rackets: S. Norvell, The Netherlands, 84 mins, W.B. and J.E. Wathen, Sff-h-g) The Operator: A. Schatz, U.S., 64 mins, 14th Mandolin, Sff-h-g) Romeo and Juliet/The First Convertible: Gourmet Video, U.S., 60 mins, Venus Video, Sff-h-g) Sailor In the Wind: Laguna Pacific, U.S., 102 mins, Venus Video, Sff-h-g) Silky: H. Howard, U.S., 86 mins, Video Classics, Sff-h-g) ‘V’ — The Hot One: R. McCallum, U.S., 96 mins, W.B. and J.E. Wathen, Sff-h-g)

Refused Classification Nil

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